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#101 Tony Matthews

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Posted 07 February 2010 - 12:31

I'm going to start a series of quick, sketchy paintings of my favourite cars. Here's the first - Fiat Mefistofele...

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It was a characteristic of early camera shutters that moving wheels always 'leaned', and in the process made cars look as if they were really speeding along! It works in your very nice sketch too, smarj, helped by the 'trail' behind the aero-screen! It is a wonder that mankind can live at such speeds...

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#102 B Squared

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Posted 07 February 2010 - 14:08

I tried my hand in this piece, an ambiguous IndyCar, about 5-6 years ago for my Dad as a birthday gift. I carved the main monocoque and bodywork out of a chunk of pine. Used black acrylic for the front and rear wings, delrin for the wheels and mounted it on a piece of granite.

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#103 smarjoram

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Posted 07 February 2010 - 18:09

Nice to see some sculpture on this thread. I like it - great carving skills - nice finish too.

Tony - it's a slit-scan or focal plane shutter isn't it. Lartigue's photo 'Papa at 80kmh' is perhaps my favourite motorsport image and shows the effect brilliantly. I have a medium format camera that will probably do it but I haven't tried it yet. I did a bit of experimenting with a home made, cardboard shutter mounted on my digital camera. It works - but only for slow moving things because it's hand powered and slow. You can get some weird effects though. I once got an image of a horse with its legs on back to front...

slit scan experiments

I noticed a lot of the old car paintings featured the sloping wheels. Whether it was influenced by the photography of the time or whether they just did it because it made it look fast I don't know. Here's yesterday's - a Renault 40CV...

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#104 Tony Matthews

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Posted 07 February 2010 - 18:29

Nice to see some sculpture on this thread. I like it - great carving skills - nice finish too.


I'll echo that! I meant to 'sculpt' the design I did for Paul Morgan's Talbot body, but couldn't decide what material to use, then the project, as usual, got put to one side...

Tony - it's a slit-scan or focal plane shutter isn't it. Lartigue's photo 'Papa at 80kmh' is perhaps my favourite motorsport image and shows the effect brilliantly. I have a medium format camera that will probably do it but I haven't tried it yet. I did a bit of experimenting with a home made, cardboard shutter mounted on my digital camera. It works - but only for slow moving things because it's hand powered and slow. You can get some weird effects though. I once got an image of a horse with its legs on back to front...

slit scan experiments

I noticed a lot of the old car paintings featured the sloping wheels. Whether it was influenced by the photography of the time or whether they just did it because it made it look fast I don't know. Here's yesterday's - a Renault 40CV...

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I nearly wrote 'focal plane' shutter, but as I wasn't certain, and didn't want to make a bigger fool of myself than necessary, didn't! All modern shutters employ slit-scans above a certain speed, which is what limits flash-cync., (leaf shutters excluded), perhaps it has to do with earlier shutters operating left-to-right, rather than up-and-down. Your example is fascinating!

The horse with reversed legs must be the one I bet on!

The Renault is great!

#105 mikemUK

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Posted 07 February 2010 - 18:51

There's a hell of a lot of talent out there - here are some of my pencil drawings I have done over the years - some are commission and some are just for my own pleasure
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#106 Tony Matthews

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Posted 07 February 2010 - 19:45

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Cool! I'm impressed by the portraits too, difficult things, faces!

#107 Tony Matthews

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Posted 07 February 2010 - 20:13

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A rare rendering - not very artistic, I'm afraid, but probably what you would expect from me. Gotta loosen up...

Edited by Tony Matthews, 07 February 2010 - 20:15.


#108 mikemUK

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Posted 07 February 2010 - 20:34

Thanks for the comment Tony - just had a look at your web page - I wish I had the patience that you obviously have - very nice images - particularly like the Vincent (is there a print available?) Mike

#109 Tony Matthews

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Posted 08 February 2010 - 09:20

- I wish I had the patience that you obviously have

It's not patience, Mike, it's determination and the need to eat.

#110 smarjoram

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Posted 08 February 2010 - 11:54

Nice work Mike - I agree, the face on the XJ13 is particularly good.

Tony, to get the cars to lean you need an up and down shutter. If it goes from side to side you either compress or stretch the car. There are some really extreme examples here...

http://golembewski.a...cles/index.html

I also have a question regarding your astounding working drawings - am I seeing various layers on top of each other or a single sheet of paper? In some areas the detail is so dense that it must be hard to see which line you need. If you were ever to issue prints - those are the ones I'd be interested in. The extra annotations and workings out around the edge make the image doubly interesting.

#111 smarjoram

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Posted 08 February 2010 - 16:44

Here's todays 'painting'. Quite pleased with this. It's a FIAT S76 also known as 'The Beast of Turin' - so I tried to make it look as scary as possible...

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#112 Tony Matthews

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Posted 08 February 2010 - 17:36

Here's todays 'painting'. Quite pleased with this. It's a FIAT S76 also known as 'The Beast of Turin' - so I tried to make it look as scary as possible...

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Lovely - yet scarey!

All modern camera shutters, as far as I know, and apart from leaf shutters, work vertically - the Nikon F had a horizontal shutter, all Nikons since then are vertical! So I don't think that is the answer..

#113 Tony Matthews

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Posted 08 February 2010 - 21:12

I also have a question regarding your astounding working drawings - am I seeing various layers on top of each other or a single sheet of paper? In some areas the detail is so dense that it must be hard to see which line you need. If you were ever to issue prints - those are the ones I'd be interested in. The extra annotations and workings out around the edge make the image doubly interesting.

It is usually a single sheet of film, smarj, the only time it was doubled up was if an area got too confusing and I would tape a patch over, work out the problem on that, then slip it under and transfer the important lines to the 'top copy', but any that I have posted, if they have a patch, I have taped it on the side or edge where it doesn't cover anything of importance. When you've been working flat out on a working drawing for two or three weeks you tend to know which lines are important!

#114 smarjoram

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Posted 09 February 2010 - 10:34

All modern camera shutters, as far as I know, and apart from leaf shutters, work vertically - the Nikon F had a horizontal shutter, all Nikons since then are vertical! So I don't think that is the answer..

Yes, a vertical movement will give you the leaning effect. Modern cameras do still create it but you hardly ever notice it because they open the shutter in about 4ms, stay open for as long as they need to and snap shut just as quickly. Some of the older camera shutters travelled continuously and much more slowly over the film plane so the leaning or stretching effects were much more pronounced.

Glad you liked the painting. I'll have to think of one for today. Perhaps the Ford 999.

#115 Tony Matthews

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Posted 09 February 2010 - 20:22

Yes, a vertical movement will give you the leaning effect. Modern cameras do still create it but you hardly ever notice it because they open the shutter in about 4ms, stay open for as long as they need to and snap shut just as quickly. Some of the older camera shutters travelled continuously and much more slowly over the film plane so the leaning or stretching effects were much more pronounced.

Glad you liked the painting. I'll have to think of one for today. Perhaps the Ford 999.

It certainly makes sense that a vertically opening shutter would give 'leaning' wheels - well, leaning anything moving past the camera! So, it's all down to fast film, fast lenses and high shutter speeds. I have always been mystified because the effect was attributed to 'focal plane' shutters, never vertical shutters. Does this mean that very early cameras with in-lens iris shutters gave perfect results? I've got a Pentax 67 and a 90mm lens with a leaf shutter, but I've never tried panning a fast-moving car with it!

#116 smarjoram

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Posted 11 February 2010 - 10:46

Had a couple of attempts at this one from this angle - and an aborted one from lower down. It's much harder to do the later cars than the early ones. I'm learning a little more each time I do one though, which is good...

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#117 Tony Matthews

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Posted 11 February 2010 - 15:39

Had a couple of attempts at this one from this angle - and an aborted one from lower down. It's much harder to do the later cars than the early ones. I'm learning a little more each time I do one though, which is good...

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Lovely, smarj - you are on a roll!

#118 alansart

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Posted 15 February 2010 - 12:49

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I missed these as I was away last week.

I love the style - very effective :up:


#119 Duc-Man

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Posted 15 February 2010 - 14:12

I love that Golden Arrow. That's something I'd put up on my wall.

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#120 Ivan

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Posted 15 February 2010 - 23:14

Smarjoram,
:eek: :up: :up: :up:

#121 Tony Matthews

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Posted 15 February 2010 - 23:53

Hey, Ivan! You've quoted me! I'm...I'm... All I can do is raise one hand from the ground and salute you!


#122 smarjoram

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Posted 16 February 2010 - 17:27

Smarjoram,
:eek: :up: :up: :up:


Thanks everyone - I must get on with the next one. There might also be some interesting developments in this area. I'll let you know more in the next few days hopefully.

#123 alansart

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Posted 18 February 2010 - 15:39

A modern one.

A friend of mine is looking for sponsorship, so I've produced a vector illustration where the colour scheme can be changed fairly quickly to suit different sponsors livery. (I've removed all the signwriting and changed the colours of the car slightly so I don't give the game away).

Just a quick job with not a lot of detail, but it's nice to be working on racing cars again :)

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Edited by alansart, 18 February 2010 - 15:40.


#124 smarjoram

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Posted 18 February 2010 - 16:18

I like the way you've rendered the complex, shiny surfaces - nice and clear but still realistic. Did you do it in illustrator? Did you start with a 3D model or base it on a freehand drawing?

#125 alansart

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Posted 18 February 2010 - 16:22

I like the way you've rendered the complex, shiny surfaces - nice and clear but still realistic. Did you do it in illustrator? Did you start with a 3D model or base it on a freehand drawing?


It's in Illustrator so it can be enlarged without loosing image quality. I used a photo as a template but modified slightly for effect.




#126 Ivan

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Posted 18 February 2010 - 18:02

Hey, Ivan! You've quoted me! I'm...I'm... All I can do is raise one hand from the ground and salute you!

:rotfl:

#127 Andrew Kitson

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Posted 18 February 2010 - 18:23

A modern one.

A friend of mine is looking for sponsorship, so I've produced a vector illustration where the colour scheme can be changed fairly quickly to suit different sponsors livery. (I've removed all the signwriting and changed the colours of the car slightly so I don't give the game away).

Just a quick job with not a lot of detail, but it's nice to be working on racing cars again :)

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Nice job Alan...the new Formula Renault 2.0 ? Talking of which, watch out for Stig Blomquist's young son Tom in FR this year. Very quick in testing.


#128 smarjoram

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Posted 19 February 2010 - 18:11

I've got a few new ones. Some sketches and another quick painting...
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#129 werks prototype

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Posted 20 February 2010 - 03:56

You will find some really very nice work here as well. http://www.peterhutt...rator.com/cards.

BRM P115
BRM P261
CONNAUGHT TYPE B
GILERA 500/4
CAGIVA 500
1972 ALFA ROMEO T33/TT3
Masseratti 250F CM
ALFA ROMEO TIPO 159
LANCIA D50
BENTLEY SPEED 6
FERRARI 312 T5
MV AGUSTA
Canon Porsche 956

#130 smarjoram

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Posted 20 February 2010 - 11:47

I've always enjoyed seeing Peter's work - there's an ad in Motor Sport most months. One thing I will say though is that I feel they rely quite heavily on photos. I prefer the artist to either draw from life or use photos as reference for their own composition - I think that way you see more of the artist in the work and it becomes more unique. That's what I loved about Bob Freeman's work. Even though it was very precise and technical it also had the warmth and energy of a quick sketch. (Hope that doesn't sound too negative - I do really like Peter's work)

#131 werks prototype

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Posted 20 February 2010 - 20:33

Ever tackled the Napier Railton smarjoram? There is a beautiful contrast between the body work and the Union Jack.

#132 smarjoram

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Posted 21 February 2010 - 00:39

Ever tackled the Napier Railton smarjoram? There is a beautiful contrast between the body work and the Union Jack.

It's on my list. I did begin a sketch at Prescott but it was late in the day and it was taken away before I could get anywhere. I'll get it this year.

#133 werks prototype

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Posted 24 February 2010 - 18:51

Anybody not familiar with Paul Chenard? His main focus is the F1 engine.

http://www.sportscar...-engine-prints/

#134 Andrew Kitson

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Posted 16 March 2010 - 09:58

Archie Scott-Brown in the Lister 'knobbly' in '58.
Hope you like it!

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40 x 30ins on canvas. Details:
http://www.andrewkit.../pages/vpp9.htm




#135 mikemUK

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Posted 18 March 2010 - 11:55

Hi people - after visiting RaceRetro I have been experimenting using the photos I took for reference - here is the first
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#136 smarjoram

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Posted 18 March 2010 - 12:34

I like the Lister Andrew - it seems a bit different from your usual work - perhaps it's the high angle and the tight crop - was that because you wanted to show the driver more?

Mike have you redrawn this or is it a photoshop filter?

#137 mikemUK

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Posted 18 March 2010 - 12:50

I like the Lister Andrew - it seems a bit different from your usual work - perhaps it's the high angle and the tight crop - was that because you wanted to show the driver more?

Mike have you redrawn this or is it a photoshop filter?


Its a mixture of freehand, photoshop and a paint package

#138 Giraffe

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Posted 18 March 2010 - 12:53

Hi people - after visiting RaceRetro I have been experimenting using the photos I took for reference - here is the first
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I like it, Mike! :up:

#139 mikemUK

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Posted 18 March 2010 - 12:55

I like it, Mike! :up:


Thanks very much - I am one of these people who can't draw totally freehand and therefore admire people that can - I also struggle with colour - but find it much easier to use my trusty new imac to help

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#140 Andrew Kitson

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Posted 18 March 2010 - 12:57

I like the Lister Andrew - it seems a bit different from your usual work - perhaps it's the high angle and the tight crop - was that because you wanted to show the driver more?


Thanks very much. Yes I did want to show Archie a bit more, but I also think this view shows off the 'knobbly' lines quite well.
He is depicted in that fateful Spa race in May 1958, very early in the race before the front rad intake was dented.
In acrylics on canvas.


#141 mikemUK

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Posted 18 March 2010 - 13:03

Thanks very much. Yes I did want to show Archie a bit more, but I also think this view shows off the 'knobbly' lines quite well.
He is depicted in that fateful Spa race in May 1958, very early in the race before the front rad intake was dented.
In acrylics on canvas.


Hi Andrew - had a look at your website - very impressed with your work - just the sort of art I would have on my wall - Mike

#142 Kein1275

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Posted 29 March 2010 - 06:05

Hi everyone out there.
Here I post some of my illustrations.
I hope you like it.
Nicest regards to all.

KeinPosted Image
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#143 gm914

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Posted 29 March 2010 - 06:46

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This is the kind of artwork I'd like to see on my walls. Beautiful!

How big is the piece, and what medium are you using there?



Keep it up. Very talented group of individuals on TNF. :up:

#144 jj2728

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Posted 29 March 2010 - 21:11

Just something I've been working on.

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#145 Duc-Man

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Posted 30 March 2010 - 07:31

Hi everyone out there.
Here I post some of my illustrations.
I hope you like it.
Nicest regards to all.

Kein
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What the heck is that thing?

#146 smarjoram

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Posted 30 March 2010 - 10:22

Kein - I like those - I think the Porsche works best as it's the most graphic/stylised. I like the way you've reduced the number of colours and treated the road in that one - I think a similar treatment would help the F1 cars (I find the kerb in the first one and the trees in the second a tiny bit distracting - perhaps if they were simplified more the images would be better still)

jj - are they fans cooling the inboard brakes on the lotus? I didn't realise they did that back in those days. Nice to see a Bolex 16mm camera in the corner - I've got one of those.

gm914 - my drawing is just a quick, small digital painting. It started as a loose pen sketch which I scanned in and used as a guide for a colour version - a bit like the others I've posted. It probably look all right printed up to A4 - the look quite nice if you use the textured, watercolour type paper. One day I'll have a crack at a bigger piece using real paints or charcoal or something.

Edited by smarjoram, 30 March 2010 - 10:26.


#147 jj2728

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Posted 30 March 2010 - 13:56

One more. Soon my site will be up and running with prints available for purchase. Many pics from the 60s and 70s. The 80s and 90s to follow afterwards.

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#148 smarjoram

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Posted 30 March 2010 - 14:14

I'm not so keen on the photoshop filters - I think the photos would be more interesting left as is. Where did you take these?

#149 jj2728

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Posted 30 March 2010 - 14:27

I'm not so keen on the photoshop filters - I think the photos would be more interesting left as is. Where did you take these?


USGP 1967. I like the latitude it gives me with some of the photos. Even after cleanup, some just didn't lend themselves to further enlargement. Oh and btw yes those are cooling fans on the Lotus.

Edited by jj2728, 30 March 2010 - 14:36.


#150 Keir

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Posted 30 March 2010 - 14:31

Photoshop away, post more.