Drawing and Painting Cars E-Book

Keith Woodcock

• Herausgeber: Crowood
• Kategorie: Lebensstil
• Sprache: Englisch

Veröffentlichungsjahr: 2017

Beschreibung

This practical and stimulating book introduces and showcases a wide range of motoring art styles. Recognising the importance of drawing and research, it explains the key components of a successful painting, looking particularly at light, perspective, drawing ellipses and the vehicle itself. Including over 150 finished paintings with full descriptions of how they were conceived and carried out, this beautiful book is sure to inspire both artist and buyers alike, and gives a unique insight into the work of a leading motoring artist. Gives an introduction to a variety of methods, materials and techniques and instruction on understanding and drawing the structure, mechanics and movement of the car. Discusses the importance of light in determining the overall feel and atmosphere of the image, and offers ideas for composition with figures, backgrounds and weather conditions to set the scene. A wide range of examples illustrate atmosphere, emotion, composition and action. This book will inspire motoring artists and buyers alike, and is beautifully illustrated with 169 colour photographs.

Leseprobe

DRAWING AND PAINTING

CARS

KEITH WOODCOCK

THE CROWOOD PRESS

First published in 2017 by

The Crowood Press Ltd

Ramsbury, Marlborough

Wiltshire SN8 2HR m

www.crowood.com

This e-book first published in 2017

© Keith Woodcock 2017

All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system, without permission in writing from the publishers.

British Library Cataloguing-in-Publication Data

A catalogue record for this book is available from the British Library.

ISBN 978 1 78500 293 9

Contents

Introduction

Chapter 1Materials, Equipment and Techniques

Chapter 2The Basics of the Car

Chapter 3Perspective and Ellipses

Chapter 4Colour, Lighting, Reflections and Shadows

Chapter 5Research

Chapter 6Preliminary Work, Ideas and Sketches

Chapter 7Dynamics, Atmosphere and Emotion

Chapter 8Finished Artwork

Chapter 9Alternative Adventurous Styles

Chapter 10Business Practice, Reproductions and Publication

Chapter 11Glossary of Helpful Terms for the Motoring Artist

Index

Introduction

Historically, motoring art has been around for as long as the car and its use for full colour posters advertising cars, oils, petrol, tyres and motorsport events has created a buoyant market with early examples of this genre being highly collectable. From the early 1900s, weekly motoring magazines employed artists to produce black and white drawings from life at events and race meetings, which were then reproduced in their next issue. Many of today’s motoring artists have been inspired and influenced by such work.

Aston Martin DBR1, Nürburgring 1,000km race, 1957.Oils on stretched linen canvas, 38in × 28in

Artist’s notes: ‘Having been asked to produce a painting of the winning car at the Nürburgring driven by Noel Cunningham-Reid, I studied copious photographs of the circuit and contemporary race reports to select the best way to portray this notable event. I decided to try and show the very challenging nature of this track with its undulating features to enhance the significance of the car’s victory. The vertical format allows the track to flow through the painting, picking out the cars, and gives increased importance to the main subject. The Aston Martin’s suspension angles show the strain of taking the right-hand bend at speed, confirmed by the lean of the driver’s head. A slight blurring behind the rear wheel adds to the sense of movement. Tonal contrast is reduced in the distance and the hues moderated. The yellow patch on the nose of the car and the corresponding blue one on the following Porsche indicates the class in which each car is racing. In general, the rule of composition is to have more room at the front of the subject than at the rear to give the car space to move into, but there are occasions when a chasing car or the topography also require consideration. This is such a case.’

In my own case, I was always keen to pursue a career in art, but on leaving school I was persuaded by family members to get a ‘real’ job so followed my brother’s example and became a draughtsman and design engineer, which at least gave me the opportunity to partially satisfy my creative ambitions. However, those early desires never really left me and I finally took the plunge, becoming a full-time artist in 1982.

Obviously, such a decision was only made after a great deal of serious thought, but I concluded that if I were to make a living and support a family with my art, I had to specialize and limit my subject matter. This was not something new to the art scene. There have always been marine artists, portrait painters, equestrian artists and other specialist painters so I was merely following the ‘niche marketing’ path. One might be forgiven for thinking that restricting an artist’s subject matter might narrow his or her creative ability but the advantages for the specialist are such that the marketplace can be targeted more accurately, and credibility with potential clients, who will obviously be familiar with such a chosen speciality, is secure.

As I had always been an avid enthusiast of aviation and motoring, it seemed only logical that I should choose to specialize in the two subjects of which I had experience and knowledge, and where I could also find my engineering and technical background useful. To anyone intending to follow a career in art, I would certainly recommend pursuing your enthusiasm for a subject and making it your chosen specialization. It can be easier to break into a specialist market and eventually become an established ‘name’ than to compete for business by painting a huge variety of subjects.

This book is therefore unashamedly aimed at such a specialization, motoring art. It is intended to encourage artists, both newcomers and professional, to consider adding motoring subjects to his/her repertoire. However, such a specialist discipline should not be thought of as merely portraying cars. To fully encompass the subject, equal importance should be given to the car’s integration into a landscape, skyscape, architecture or race venue and will often require the inclusion of human elements. Weather conditions such as snow, rain, and fog will also affect the overall impression of a painting so I hope to demonstrate the versatility of motoring art and inspire artists, and even potential art buyers in this sector of the art market, to look beyond the car. All the examples illustrated are fully described to give the maximum information about each painting and how it was both conceived and carried out.

1920s Alvis duckback convertible.Pencil drawing on watercolour paper, 8in × 5in

Artist’s notes: ‘On a visit to a VSCC meeting at Oulton Park I sketched a number of interesting cars but the polished aluminium bodywork on this particular model allowed me to show the reflections with more contrast than a painted finish. I deliberately avoided a graduated tonal, photographic look, preferring to produce a more gestural and expressive use of pencil to provide what I consider a more interesting result. This small drawing was partially completed on site and then cleaned up and finished in the studio. It was later published in the club magazine.’

Ferrari 250 GT. Oils on stretched linen canvas, 14in × 10in

Artist’s notes: ‘I really enjoy painting sunrises and sunsets as it allows me to play with light. With this totally imaginative view I wanted to have the low sun partly obscured, its intensity dulled by the mist yet still providing a focal point and illuminating the sky above it. The added seaplane and boats with their reflections in the water all add to the overall sense of tranquillity but I wanted a foreground subject that was, in essence, a total opposite. The 250 GT was chosen deliberately as its beautiful, aesthetic shape allows it to blend with the overall spirit of the painting despite being such a high powered and dynamic machine. The ground around it is rendered and textural to add more contrast to its inherently beautiful bodywork.’

As with any specialist discipline, the artist’s absolute priority is to not only know that subject intimately but to show an enthusiasm for it that will guarantee a commitment to his or her art. Enthusiasm breeds a hunger for knowledge and also promotes a growing self-confidence that will increase the ability to produce diverse and credible motoring art scenes. Observation is also a key element in creative development and is a skill that will become second nature as the years pass. These are all the fundamental ingredients needed before starting out on an artistic journey.

The book’s early chapters describe a wide variety of methods, materials and techniques and their importance cannot be understated, being vital for an artist’s development. Drawing is the foundation of all art and I would encourage any aspiring artist to draw as much as possible. The old adage of ‘practice makes perfect’ is not just aimed at musicians. Tonal value drawings are particularly important, as is the handling of the different materials and techniques. Perspective and the drawing of ellipses are problems that will appear frequently and these are also fully covered with examples and diagrams to illustrate the explanatory text.

Obviously, knowledge of the car is a given necessity but the motoring artist must also take into account the car’s actions and attitudes when cornering, braking, etc. Diagrams and finished paintings explain the structure, mechanics and movement of the car.

Aston Martin DB2/4. Monte Carlo Rally 1955.Oils on stretched linen canvas, 38in × 28in

Artist’s notes: ‘I did a great deal of research prior to the preparation of preliminary sketches, studying as many contemporary accounts as possible gleaned from motoring magazines. I was also able to establish this works car’s correct colour and the signwork specifically added for this event. The driver, Maurice Gatsonides, very kindly provided me with a huge number of photographs that proved extremely helpful. I chose to paint the road diagonally, bringing a dynamic energy to the overall composition. I stressed this even more by applying opposite lock to the car as it accelerates up the snow-clad Alpine slope. Note that the angles of the tree edges and the angle of the sunlit mountainside point towards the subject. The low sunlight gave me the opportunity to show the reflections of the sunlit snow bank on the car’s bodywork. The whole background itself leaves the viewer in no doubt that this is a rally through the mountainous Alpine region and proves that motoring art encompasses more than just the car.

One of the defining factors of any painting is light. Its use, position, effect and colour are all important considerations, creating the overall feel and atmosphere of the whole composition. It should be the first thing to contemplate during initial thoughts and ideas. It creates shadows that, in turn, define form and shape.

I hope that the many full colour illustrations of paintings in the book will provide the reader with inspiration and motivation. The examples show a wide range of subjects portraying atmosphere, emotion, composition and action. A successful painting should speak to the viewer and create a reaction, and if any of the included paintings do that, then that is a satisfying achievement.

I feel very fortunate to have been a full-time professional artist for the past thirty-five years, yet, despite all that experience, an art career is a constant learning curve. Art materials and techniques are constantly being introduced and updated all the time, and our specialist subject is evolving into a completely different vehicle both technically and visually. Motoring art will, I suspect, also evolve as artists worldwide develop their skills and find new ways to convey the image of the car. Indeed, many of the images contained in this book are my very early experiments with different methods and materials, which perhaps explains the wide variation of styles incorporated in the pages of this book and demonstrates clearly that any artist will gradually develop into working in a recognizable manner or style with which he or she is comfortable.

Cooper–Climax T39 sports.Pen and wash drawing on white card, 4in × 6in

Artist’s notes: ‘Very similar to the Stirling Moss car referred to in the text! However, I find the shape of this car intriguing, its central seat being almost unique for a sports racing car. This small pen and wash car portrait is an exercise in interpreting the subject in a graphic way using a technical pen. Sometimes a non-realistic background can provide an interesting and alternative composition to the usual action scenario’.

The images and text seen here are intended to give artists guidance, encouragement and the motivation to pursue this exciting artform in all its guises.

Closing this introduction on a personal note, I am delighted to confirm that my deep-seated enthusiasm for all things motoring is still active today and my pencils and brushes are still in use, sixty years after attending my first motor race won by a certain Stirling Moss in a sports Cooper–Climax.

CHAPTER 1

Materials, Equipment and Techniques

Included here is a comprehensive overview of what is currently available for use on motoring art paintings. This will enable artists, both existing and aspiring, to select what they feel suits their own personality and comfort zone. Some may already have a favourite medium with which they are comfortable but this list is, like motoring art itself, quite wide-ranging so it may provide some surprises and even tempt the reader to experiment with new media.

Jaguar Mk.VII. Monte Carlo Rally winner 1956.Pencil drawing on white paper, 12in × 8in

Artist’s notes: ‘A very typical Christmas card scene, which was exactly the function of this pencil drawing. It was requested by a publishing company for distribution to its clients and therefore required a vertical format. I deliberately avoided a fully detailed drawing of a mountainous background, preferring to have minimal areas of detail and to give more emphasis to the speeding car. The Jaguar was therefore given more tonal contrast to pull it forward from the Alpine scene. Note the lack of any pencil work on the car’s lower bodywork allowing the white areas to suggest snow kicked up from the car’s wheels. Once again I did a great amount of research, sifting through old magazines to establish the correct rally number and the correct PWK700 registration. 2B and 4B pencil grades were used.’