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#3051 macoran

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Posted 07 December 2009 - 23:35

Tony, I am right mouse clicking (unless you have a southpaw) them and saving to documents to view off line, they're great because the large format keeps em supersharp.

Sorry don't mean to be a smartass

Edited by macoran, 07 December 2009 - 23:39.


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#3052 Tony Matthews

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Posted 07 December 2009 - 23:54

Sorry don't mean to be a smartass

Smartass. Or more correctly spelt, smartarse. ;)

#3053 macoran

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Posted 08 December 2009 - 00:10

Smartass. Or more correctly spelt, smartarse.;)

I'm not 100% on that Tony,

tyre/tire
gray/grey
colour/color
boot/trunk
bonnet/hood
mudguard/fender
tomato/tomato (pronounciation wise)

stateside I don't think they say smartarse, but OK this is a UK forum.
afterall I am a bit Brit (GCE A levels and all) and a bit Yank..sorry (having served in JUSMAG in the Far East)
actually I am even more Thai than I am Dutch

Go to bed Marc !!


night, night don't let the bugs bite

#3054 Tony Matthews

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Posted 08 December 2009 - 00:12

I'm not 100% on that Tony,

tyre/tire
gray/grey
colour/color
boot/trunk
bonnet/hood
mudguard/fender
tomato/tomato (pronounciation wise)

stateside I don't think they say smartarse, but OK this is a UK forum.
afterall I am a bit Brit (GCE A levels and all) and a bit Yank..sorry (having served in JUSMAG in the Far East)
actually I am even more Thai than I am Dutch

Go to bed Marc !!


night, night don't let the bugs bite

OK smartass.

#3055 macoran

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Posted 08 December 2009 - 00:20

At least we got 3 more hits along the way to 4000 !

#3056 TWest

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Posted 08 December 2009 - 00:48

Jim's illustrations were never released with annotation, that was up to the publication. However, if you don't do it yourself you cannot rely on some non-technical hack getting it right. If I thought that an illustration was going to be annotated - and this tended to happen mostly in the 'popular' press - I would include a rough print with labelling as a guide. Still couldn't guarantee accuracy, though! Best way, as I did with the Marlboro exploded drawings, was to do it yourself, complete with key, written in American.

TW, your posted JA illustrations are still coming up 1½ screens wide...nice, but awkward.



Tony,
I am not sure why that would be happening. On this window for the Board, it just widens out to allow the whole image to show. You have to use the scroll bar, of course, but I am trying to make sure to keep the file at 2000 pixels width. How do they work for you if you download them? I always use the images in Photoshop for adjusted viewing, as, you are correct, it isn't possible here. And, there are much larger files that show up here. How do those work for you?
On the other hand ... maybe you need a larger monitor ...
Just sayin' ...
Tom West

#3057 TWest

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Posted 08 December 2009 - 00:50

Amazing, only need a further 944 to hit that 400 mark ... oh, make that 943 now ...
Tom West

#3058 TWest

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Posted 08 December 2009 - 03:02

No Ibsen, the one I wanted had a Hewland (I think) transaxle mounted on the back. The engine was drawn from the induction side. It may be that Tom W has it in his collection! Thanks.



Tony,
Not sure that this is the subject, but I just came up with a BRM engine-gearbox combination. It is DOHC F1 from the 1961 car. Sounds like it may be a bit early for what you were searching, but I will scan it when I get a chance, and keep looking for that Climax engine setup. This is from the February, 1961 Sports Cars Illustrated, fyi.
Tom West

#3059 Tony Matthews

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Posted 08 December 2009 - 07:02

Not sure that this is the subject, but I just came up with a BRM engine-gearbox combination. It is DOHC F1 from the 1961 car. Sounds like it may be a bit early for what you were searching...

Well, I could be mistaken, it may have been a BRM, 1960/61 sounds about right, I was 16 at the time, and a bit over-awed, but the engine was facing left, gearbox/transaxle to the right.

I normally post no bigger than 1024 pixels wide, there was talk of limiting everyone to 800 max. Yes, I can see all your scans if I scroll right, and my screen is 22". I'll copy and enjoy at leasure! Keep 'em coming... and thanks!

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#3060 TWest

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Posted 08 December 2009 - 16:43

Well, I could be mistaken, it may have been a BRM, 1960/61 sounds about right, I was 16 at the time, and a bit over-awed, but the engine was facing left, gearbox/transaxle to the right.

I normally post no bigger than 1024 pixels wide, there was talk of limiting everyone to 800 max. Yes, I can see all your scans if I scroll right, and my screen is 22". I'll copy and enjoy at leasure! Keep 'em coming... and thanks!


Tony,
You just described the illustration that I have here. Will take some time and try to get it scanned in so I can clean out that lovely green background (British Racing Green, roughly ... and appropriately) and upload it here. I had originally done my drawings down to the size you see, but they do start to fuzz up a touch that way. I have been doing these scans and setups from the magazines at about a tabloid size layout at 300dpi, so they are roughly half that size, more or less, at 2000 pixels across.
Obviously, I can adjust the size down if everyone is having problems getting them here. If there is some guideline, I certainly missed it, and felt like I had a decent compromise size from the tiny ones to the almost full resolution files.
Anyway, I am very flexible ... unless you are talking about my right hip.
And, conversation regarding that area hasn't happened with a real purpose for a little while now ...
Will be happy to continue this off the board with any Tech Illustration groupies there may be out there. Get in touch ... :)
Tom West

#3061 Tony Matthews

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Posted 08 December 2009 - 17:10

Tony,
You just described the illustration that I have here. Will take some time and try to get it scanned in so I can clean out that lovely green background (British Racing Green, roughly ... and appropriately) and upload it here.


I wasn't complaining Tom, just commenting! Glad you found the cutaway, I never saw it reproduced, I just have this memory of it on his drawing board, almost finished.

Will be happy to continue this off the board with any Tech Illustration groupies there may be out there. Get in touch ... :)


If there are any TI groupies, both my hips are fully-functional...

#3062 TWest

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Posted 08 December 2009 - 19:23

I wasn't complaining Tom, just commenting! Glad you found the cutaway, I never saw it reproduced, I just have this memory of it on his drawing board, almost finished.



If there are any TI groupies, both my hips are fully-functional...


It's getting bettah. (Not sure that translates as coming from Monty Python, does it)
And, Advil works wonders ...
Tom

Just to throw some cheap talk in here, I have the pages scanned on that BRM illustration, so it will be sent out shortly ... read that as within a couple of days.
And ... has anyone ever seen a TI groupie??? Actually, as I think of it, I guess I have. Not exactly the model type, but certainly got into things very nicely ...
But, I digress.

#3063 macoran

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Posted 08 December 2009 - 21:12

Checking Ibsen's Cutaway Index I see we are missing a Lotus 18
1960 by Dick Ellis
Posted Image

Edited by macoran, 08 December 2009 - 21:14.


#3064 ibsenop

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Posted 08 December 2009 - 21:30

And a Lotus 18 by G. Gedo

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Ibsen

#3065 Tony Matthews

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Posted 08 December 2009 - 22:02

Just found a long-lost cutaway on 35mm, Lotus 87. It needs a good work-over which I will give it when I've got more time!

Posted Image

Edited by Tony Matthews, 08 December 2009 - 22:03.


#3066 ABG

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Posted 09 December 2009 - 02:46

Tony
Please excuse me if I'm out of line, but the Devil made me do it. I played with your Lotus 87 from the above posting.
Al

http://img20.imagesh...ewslotus87.jpg/

#3067 Tony Matthews

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Posted 09 December 2009 - 06:55

Tony
Please excuse me if I'm out of line, but the Devil made me do it. I played with your Lotus 87 from the above posting.
Al

http://img20.imagesh...ewslotus87.jpg/

ABG, the Devil is our mutual friend! It looks better than the long-lost original! Thanks.

#3068 DOHC

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Posted 09 December 2009 - 17:43

Tony
Please excuse me if I'm out of line, but the Devil made me do it. I played with your Lotus 87 from the above posting.
Al

http://img20.imagesh...ewslotus87.jpg/


Ah, there we are!

And isn't this a fantastic thread! Due to lack of time, I have only managed to stop in every now and then, and when it comes to the wire mesh, I just find myself much too late an entrant to contribute to the comments. Suffice it to say that the moment I spotted it, I just couldn't believe how such an appealing rendition could be created by an artist/illustrator. :up::up::up:

#3069 Tony Matthews

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Posted 09 December 2009 - 18:00

When I shut off the line layer image in Photoshop of a painting, the color work looks like hell!

I've been ruminating on this comment, Tom, and it has dawned on me that there may be a slight misconception. I'm sure that when you remove all the linework from your illustration it must look a bit 'soft' and lacking in bite, but if you did that to mine you'd get the same result. Just because I don't start with a line drawing, or at least one with well-defined black lines, doesn't mean that I don't use lines. Just about every component in one of my colour cutaways has an edge, not necessarily in black, but a darker colour, and sometimes softened. However, it is the last thing to be added, and the big difference is that I use light-coloured or white lines to accentuate lines that would have a high-light - the 'internal' edges. I'll see if I can think of some examples as I may not be making much sense here - either that or I've misunderstood you.

#3070 carvad

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Posted 09 December 2009 - 18:43

OSI Alfa Romeo Scarabeo 1966 by Sergio Baratto

Posted Image

Edited by carvad, 09 December 2009 - 18:51.


#3071 Cam2InfoNeeded

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Posted 09 December 2009 - 19:07

Does anyone have a nice copy of the 1969 Sunoco Camaro see-thru drawing that Dave Kimble did. I contacted him many years ago and he either couldn't find it or had sold it (I don't remember now).

#3072 TWest

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Posted 09 December 2009 - 21:38

Tony,
This should be the illustration that you saw from James Allington. I pulled it from Sports Cars Illustrated, February, 1961.
Amazing little representation of that BRM 2.5-litre 4 with the transaxle attached. Can see why this might have caught your imagination at the time.
Hope this represents that point well for you.
Tom West

Posted Image

Posted Image

#3073 macoran

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Posted 09 December 2009 - 22:04

Tony,
This should be the illustration that you saw from James Allington. I pulled it from Sports Cars Illustrated, February, 1961.
Amazing little representation of that BRM 2.5-litre 4 with the transaxle attached. Can see why this might have caught your imagination at the time.
Hope this represents that point well for you.
Tom West


Posted Image

That must be one of the most amazing cutaways ever !!
Love all the detailing..................look at the 1,2,3,4 and R on the gear selector pawls !

I must also read up on the construction details of this engine, it looks like it had a built up crankshaft .

No wonder this piece of Jim's work never left your memory Tony !

Thanks Tom for bringing this to us :up:

#3074 Tony Matthews

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Posted 09 December 2009 - 22:10

Posted Image

Thank you very much Tom, first time I've seen that for about 50 years! I can well understand how that grabbed me, especially seeing it being drawn by a human being. It still happens that I meet people that don't fully understand that these things are, in the main, produced by hand, by people sitting down with pencil, pen and brush! Ah well, if I haven't got the original at least I have a scan to look at - thanks again.

Interesting that Jim used so much stippling on the cut sections, much more than he used later, and I certainly didn't expect to see it. We normally used a little to emphasise a change in the plane of the cut, and I used a small amount, with light stippled colour, to indicate that it was a section, not a machined feature, on colour cutaways.

Edited to say that I really wanted to do the Ferrari F2000 engine and gearbox in the same way, but for editorial reasons it made more sense to split them.

Edited by Tony Matthews, 09 December 2009 - 22:13.


#3075 macoran

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Posted 09 December 2009 - 23:14

Roger Lund kindly sent me this scan of the Ginetta G18 FFord
Posted Image
by Bill Bennett. Did he often sign in longhand?

Edited by macoran, 09 December 2009 - 23:16.


#3076 TWest

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Posted 10 December 2009 - 00:36

Thank you very much Tom, first time I've seen that for about 50 years! I can well understand how that grabbed me, especially seeing it being drawn by a human being. It still happens that I meet people that don't fully understand that these things are, in the main, produced by hand, by people sitting down with pencil, pen and brush! Ah well, if I haven't got the original at least I have a scan to look at - thanks again.

Interesting that Jim used so much stippling on the cut sections, much more than he used later, and I certainly didn't expect to see it. We normally used a little to emphasise a change in the plane of the cut, and I used a small amount, with light stippled colour, to indicate that it was a section, not a machined feature, on colour cutaways.


Tony,
I have this thing as a file that is about 3X this size, and it took a while just to clean up the bad registration of the green background. They certainly did not do the historian of this artwork any favors in the way they treated these things, at least in the US magazines. I found a couple of drawings (Brian Hatton pieces) in a Car & Driver out of the late 60s, and they had run maybe half an inch of drawing off the page. Overfilling the space, registration missed, printing that looked like it was done with a sponge and a squeegee ... really great quality stuff back then.
If any of you ever saw the old Rex Burnett drawings that appeared in Hot Rod in the late 40s and early 50s, the printing was really bad. Looked like they printed the old Petersen magazines with printers who might have done newspaper flyers or something like that. For as simple as those drawings were, they were probably about as well suited to the quality of the process as they could be.
Glad you like this particular piece. There is probably still a bit more that could be done to fix a few things, from the rusty staples that cut into the drawing, to the overlap of the green into the image, you can see some clinkers in there. It would be possible to come up with a pretty decent reproduction if one were to put in the work on it.
Tom West

#3077 ABG

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Posted 10 December 2009 - 02:31

Since I lucked out with the Lotus figured I'd push it by revisiting two Penskes from page 33 of the thread. Lovely drawings of cars that just looked right. Curious about what is being reflected in the side pod of the Essex Penske.

Al


http://img38.imagesh...spenskepc6.jpg/

http://img41.imagesh...spenskepc9.jpg/

#3078 Tony Matthews

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Posted 10 December 2009 - 08:45

Curious about what is being reflected in the side pod of the Essex Penske.

Al

Well done Al! The Essex Penske had, as I'm sure you know, David Thieme's signature chrome foil on the sidepod vertical surface, and I did my best to make it look like chrome! One of the odd things about cutaways, especially in colour, is that often you have a situation where you need the shadow of something you have removed to indicate form or depth, but as it has been removed, how can the shadow exist? In the case of this cutaway, there was no background to reflect, I think I saw the car with no colour scheme applied, I just had to 'invent' a reflection and hope it worked. I was reasonably happy at the time, now you've got me worrying! :)

#3079 Tony Matthews

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Posted 10 December 2009 - 12:35

That must be one of the most amazing cutaways ever !!
Love all the detailing..................look at the 1,2,3,4 and R on the gear selector pawls !

I must also read up on the construction details of this engine, it looks like it had a built up crankshaft .

No wonder this piece of Jim's work never left your memory Tony !

I'm not surprised you like it Marc! As to the crankshaft, that was my first impression, but it is a one-piece job, the drillings are oil-ways, and the big-ends are split and bolted. Four bolts per B/E no less! The drawing does have a slightly 'vintage' look, Jim did change his penmanship a little over the years, but he was never that interested in neatness - in fact he liked using a mapping pen, saying that he was very happy when the nib snagged on a straight edge and caused a 'splatter'! However, the Rapidograph was so much more convenient that it took over. It is interesting - to me at least - that this illustration was done without elipse guides, just a straight-edge, French curves and freehand.

And you can't use a mapping pen with elipse guides, I've just realised! Somewhere I've got a small tub full of blued-steel mapping pen nibs. Me, a hoarder?

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#3080 TWest

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Posted 10 December 2009 - 13:12

I'm not surprised you like it Marc! As to the crankshaft, that was my first impression, but it is a one-piece job, the drillings are oil-ways, and the big-ends are split and bolted. Four bolts per B/E no less! The drawing does have a slightly 'vintage' look, Jim did change his penmanship a little over the years, but he was never that interested in neatness - in fact he liked using a mapping pen, saying that he was very happy when the nib snagged on a straight edge and caused a 'splatter'! However, the Rapidograph was so much more convenient that it took over. It is interesting - to me at least - that this illustration was done without elipse guides, just a straight-edge, French curves and freehand.

And you can't use a mapping pen with elipse guides, I've just realised! Somewhere I've got a small tub full of blued-steel mapping pen nibs. Me, a hoarder?



Tony,
And you wonder why I call you guys artists, as a positive attribute of your illustration work.
I had decided to finally try one of my drawings in pen, so I ended up with a full set of Rapidographs from something like 0000 up to 12, or whatever sizes it was. I did a drawing early in 1973, just before I relocated to New York to go into the modelkit business. My next drawing was done in 1979, and the next in 1987. I think that pen stuff must have spooked me or something, although I still have those pens around somewhere. Not sure they will ever get used again, and they are close to brand new. I did try to use a couple of them on mylar at one point, and that stuff will take the precise ends off and grind them down like you are putting them on a cutting wheel; creates quite a chisel-edge to the tips.
Back to the pencil lead, I guess.
And, as to doing it with a straight edge and French curves, I probably have the largest set of all that stuff in Southern California, as I would be lost without them. You don't want to see what I come up with freehand ...
Tom West

#3081 Tony Matthews

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Posted 11 December 2009 - 10:11

Back to the pencil lead, I guess.

Tom, are you saying that all your dragster cutaways are done in pencil? I just assumed it was ink - you must be super-human not to smudge them to hell! Do you work in graphite, scan and turn them to solid black line?

#3082 alansart

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Posted 11 December 2009 - 11:12

I've just found some old samples in the loft. Nothing special but a different technique.

These were produced when I was at Eckard's in Wolfsburg and are bits of VW Golfs. These were line illustrations on board and the coloured up using Letrafilm. I dread to think how many 10a scalpel blades I went through!

Posted Image

Quite often these drawings started off as sketches made standing in front of the car in VW R&D. They were then tidied up a bit back at the office.

Posted Image


Not a cutaway, but exploded drawing. Bread and Butter work for many illustrators. A Nikki Carburetter.

Posted Image




#3083 Tony Matthews

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Posted 11 December 2009 - 12:25

After the model aircraft diversion, something to wear! A rather soft scan of a MkIVa - or b, not sure, probably b.

Posted Image

Edited by Tony Matthews, 11 December 2009 - 12:28.


#3084 Tony Matthews

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Posted 11 December 2009 - 12:39

I've just found some old samples in the loft. Nothing special but a different technique.

These were produced when I was at Eckard's in Wolfsburg and are bits of VW Golfs. These were line illustrations on board and the coloured up using Letrafilm. I dread to think how many 10a scalpel blades I went through!

Posted Image

Quite often these drawings started off as sketches made standing in front of the car in VW R&D. They were then tidied up a bit back at the office.

Posted Image


Not a cutaway, but exploded drawing. Bread and Butter work for many illustrators. A Nikki Carburetter.

Posted Image

They're nice Alan - as you say, bread and butter work, how many of those have we done? This is where a computer would have saved not only loads of surgical steel but our sanity too. I enjoyed doing exploded drawings, especially smaller items like carburettors/ers (?), something you could hold in your hand. I bought my very first ¼ drive socket set just for dismantling items like that, it made a nice change from working from photographs, engineering drawings and sketches.

I like the way you used the Letracolor, I used some Letrafilm and Letracolor, mainly on illustrations for DIY articles, like how to dig your rotten floor out and replace it with a new concrete slab!

#3085 TWest

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Posted 12 December 2009 - 02:15

Tom, are you saying that all your dragster cutaways are done in pencil? I just assumed it was ink - you must be super-human not to smudge them to hell! Do you work in graphite, scan and turn them to solid black line?



Tony,
I will take that as a complement (hope it was meant that way), as all of my drawings except one have been done in pencil. All of the early ones were done in pencil (standard Eagle Turquoise, usually) on vellum, then I changed over to mylar using the same lead.
They do smear on occasion, but it has gotten a lot better after I switched to sitting and having the board fairly vertical. I have always used a lot of tracing paper cut to cover sections that were not being worked on.
Have actually gotten comments from some others about keeping the drawings clean.
But, I do bring them up from a stat neg and can play with the brightness and contrast to clean out any of the grey areas that might have been created. I still have a couple of illustrations left to get finished to send out, but I have not had the time to clean them out from being a bit speckled looking, as they were scanned but never shot as a neg. Would much rather get the neg then build the drawing.
Tom West

#3086 Tony Matthews

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Posted 12 December 2009 - 11:54

Tony,
I will take that as a complement (hope it was meant that way), as all of my drawings except one have been done in pencil.


Of course it was!

They do smear on occasion, but it has gotten a lot better after I switched to sitting and having the board fairly vertical. I have always used a lot of tracing paper cut to cover sections that were not being worked on.
Have actually gotten comments from some others about keeping the drawings clean.



That's interesting - I started sitting on a tall stool at a drawing board, complete with parallel motion, then, at Motoring News and Motor Sport, a desk-mounted drawing board. I abandoned this when I found it difficult to paint on an angled board, and although I reverted to a drawing board when I started working from home, as soon as the house was sufficiently re-built to give me a studio and a desk, I went back to working flat.

I used a lot of layout paper, bought in A2 pads, to cover areas not being worked on - Sod's Law states, amongst other things, that any square millimetre of exposed virgin board will inevitably attract a dollop of strongly-staining ink or paint. The only exception was the colour version of the Ilmor-Mercedes 500I engine, which was too tall to comfortably reach the plenum area. For this I made a fully adjustable, desk-mounted easel, which brought the board to about 70°. I found this very easy to work on, but it was only used for that one painting, and is now languishing in the attic.

The drawing board that I started with at home was bought from a nearby engineering company that had decided to up-date. It was massive, mostly cast iron, with a socking great counter-balance made of a solid iron cylinder about three feet long and 6 inches in diameter. Even the counter-balance for the drafting machine was cast iron, and the whole thing was finished in hammer-effect silver enamel. However, that was not immediately apparent, as the long-time user had been a very heavy smoker, and the paint was hidden under a thick, greasy layer of niccotine. It took me two days scrubbing with hot, soapy water and a stiff brush to remove it. Then I sprayed it matt black!

#3087 Duc-Man

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Posted 12 December 2009 - 13:55

...the whole thing was finished in hammer-effect silver enamel...
...Then I sprayed it matt black!

:cry:
That...that...I'm speechless. That is a sacrilege!

#3088 Tony Matthews

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Posted 12 December 2009 - 14:34

:cry:
That...that...I'm speechless. That is a sacrilege!

I know, DM, I know! It's the sort of thing you do when you have some matt black paint left over from another task, and an itchy trigger finger...

#3089 ibsenop

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Posted 12 December 2009 - 17:14

Alfa Romeo 33 1967 cutaway by unknown artist.

Posted Image

Alfa Romeo 33 1967 cutaway by Giovanni Cavara.

Posted Image

Alfa Romeo 33 1967 drawings (not a cutaway) by Betti (Giulio or Bruno?)

Posted Image, Posted Image

Better scans are welcome.

Ibsen

#3090 TWest

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Posted 12 December 2009 - 23:29

Of course it was!



That's interesting - I started sitting on a tall stool at a drawing board, complete with parallel motion, then, at Motoring News and Motor Sport, a desk-mounted drawing board. I abandoned this when I found it difficult to paint on an angled board, and although I reverted to a drawing board when I started working from home, as soon as the house was sufficiently re-built to give me a studio and a desk, I went back to working flat.

I used a lot of layout paper, bought in A2 pads, to cover areas not being worked on - Sod's Law states, amongst other things, that any square millimetre of exposed virgin board will inevitably attract a dollop of strongly-staining ink or paint. The only exception was the colour version of the Ilmor-Mercedes 500I engine, which was too tall to comfortably reach the plenum area. For this I made a fully adjustable, desk-mounted easel, which brought the board to about 70°. I found this very easy to work on, but it was only used for that one painting, and is now languishing in the attic.

The drawing board that I started with at home was bought from a nearby engineering company that had decided to up-date. It was massive, mostly cast iron, with a socking great counter-balance made of a solid iron cylinder about three feet long and 6 inches in diameter. Even the counter-balance for the drafting machine was cast iron, and the whole thing was finished in hammer-effect silver enamel. However, that was not immediately apparent, as the long-time user had been a very heavy smoker, and the paint was hidden under a thick, greasy layer of niccotine. It took me two days scrubbing with hot, soapy water and a stiff brush to remove it. Then I sprayed it matt black!


Tony,
I dig the fact that everyone seems to have cobbled together things that work out of what comes to hand. I had been working on a 6-foot Hamilton powered board with L-return when I was with General Motors back in the early 70s. I moved to the toy business, where they told me to get what I was used to using ... which ended up costing probably twice as much as the rest of their design group combined.
I actually did most of my early stuff on a wood board that I stuck on top of a cheap student table, which I had screwed into the top of a desk. Used that thing for years, but when I started up again in the mid-80s after moving back to LA, I picked up a lightly used Hamilton L-return board, and a pretty heavy 40" light table when Revell was being closed down. Still have them both, and think I paid a total of $65 for them, including the double beam drafting machine on the big table.
Of course, you can probably do all of that stuff on your desk on a computer now, so all the furniture is a bit redundant ... at least it probably isn't worth much (Think I might be able to get my $65 back, however).
Tom West

#3091 macoran

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Posted 13 December 2009 - 12:44

Bill Bennett cutaway of F3 Lotus 41
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Posted Image
Scanned for us with accompanying article by Roger Lund


#3092 ibsenop

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Posted 13 December 2009 - 13:21

Alfa Romeo 33-2 1968-69 cutaway? Does anyone have a scan?

Alfa Romeo 33-3 1970 by Betti (Giulio or Bruno?)

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Alfa Romeo 33-3 1971 cutaway? Does anyone have a scan?

Alfa Romeo 33TT3 1972 by Bruno Betti

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Ibsen

Edited by ibsenop, 13 December 2009 - 13:26.


#3093 DHFiallo

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Posted 13 December 2009 - 16:18

Alfa Romeo 33-2 1968-69 cutaway? Does anyone have a scan?

Alfa Romeo 33-3 1970 by Betti (Giulio or Bruno?)

Posted Image

Alfa Romeo 33-3 1971 cutaway? Does anyone have a scan?

Alfa Romeo 33TT3 1972 by Bruno Betti

Posted Image Posted Image

Ibsen


Thanks for these Alfas. This brings back some memories of the first big race I attended. The 1972 edition of the 12 Hours of Sebring. The Alfas battling a squadron of Ferrari 312PBs. It seems more like a dream now. It has been so long since Alfa and Lancia were represented on the sports car scene. :cry:

#3094 macoran

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Posted 13 December 2009 - 16:36

60's Dolphin F Jr by Clarence LaTourette
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#3095 bradbury west

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Posted 13 December 2009 - 18:20

For more Dolphin information, see Frank Sheffield's excellent marque webiste here;
http://home.roadrunn...f/dolphin01.htm
where there is also this drawing of the Dolphin Porsche taken from SCG 8.63
Posted Image
Perhaps someone can provide a larger size picture, scanned from SCG, off line if necessary.
Roger Lund


#3096 ibsenop

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Posted 13 December 2009 - 20:46

Alfa Romeo 33TT12 1973 cutaway by Bruno Betti

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Alfa Romeo 33SC12 1977 cutaway by unknown artist (Macoran kindly sent me this scan some time ago)

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Ibsen

#3097 Duc-Man

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Posted 14 December 2009 - 11:28

Thanks for all those Alfa 33 racers. It's great to see the 'evolution' of a car over the years.

Does anyone have the Alfa 33 street car? And I'm not talking about the production car from the 80ies.

#3098 macoran

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Posted 14 December 2009 - 21:23

No more Alfas over here, but
Does anyone have a good one of the BRM P115 ?
This is all I can offer, it's by Dick Ellis
Posted Image

#3099 macoran

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Posted 14 December 2009 - 21:31

For more Dolphin information, see Frank Sheffield's excellent marque webiste here;
http://home.roadrunn...f/dolphin01.htm
where there is also this drawing of the Dolphin Porsche taken from SCG 8.63
Posted Image
Perhaps someone can provide a larger size picture, scanned from SCG, off line if necessary.
Roger Lund

That is an nteresting site Roger, I've gone and downloaded most of the articles from there... :up:

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#3100 ibsenop

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Posted 14 December 2009 - 21:57

Here is another one. BRM H16 by Vitorio Dal Basso (Can anyone confirm this?) - Only low resolution.

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Ibsen