Today I painted a car! Part 2.

Ford Mustang water-colour by Jon Tremlett ©2014

Well, here it is, the finished Mustang picture I’ve been working on over the last week. A slightly more intense painting session took hold yesterday and before I knew it I was sat staring at a completed picture. It would be fair to say I’m more than happy with it given that it’s not a subject I visit very often. I’ve never been a car fan, so they don’t appear on the radar as great subjects unless they are extraordinary, and even then I pretty much have to force myself to draw them. Just one of those things I suppose. Anyway, the main stimulus for doing this one was that it’s going to be a gift for a friend so that helps to keep the focus and the enthusiasm up at a level where you need it to make a decent job of it.

There is very much a kind of groove that one gets into when doing something like this. At the beginning of the session things are all rather laboured, small decisions about colour tone, wash density, which bit to do next and even which brush to use seem to take forever. but slowly things speed up and it’s all relatively easy to jump from one thing to the other. It must be a confidence thing too. After painting for an hour or so it all starts to feel more natural and intuitive, and this is really evident in ones ability to push concerns about mucking something up to one side and just get on with it. One gets into a flow which certainly doesn’t happen when trying to complete a picture by picking up the brushes for a few minutes here and there. Best to reserve some quality time and get stuck in.

There were some bits that I found quite difficult. For example the bush or hedge that sits behind the car and the way it’s reflected in the bodywork and windshield. In my reference photo the hedge is much larger but I wanted to reduce it’s presence and use it to help frame the car and give more prominence to the big bulbous hood. I’ve never been good at vegetation so this was a bit of a challenge but great practice for future projects. The other bits that presented a challenge were the headlamps. the lenses are a mass of prismatic forms and they are filled with so many reflections I found it quite hard to see what I was doing and replicate them in a believable way. Thankfully they aren’t too prominent in the overall scheme of things so my rather bitty interpretation of them isn’t to jarring. Again, all good practice for the future. I hope you like the final result as much as I do, and thanks for stopping by and reading todays post.

Today I painted a car! Part 1.

A painting in progress by Jon Tremlett ©2014

It would be fantastic to say that after only a day of painting that the picture was complete, but I know I don’t work that fast and besides, any faster would be a rush and that’s when mistakes happen. Anyway, as you can see from the shot above it has come a long way from the blue sketch shown in the last post. I suppose at this point the car is about half done.

Barring a couple of small detail changes it was very straightforward to trace off on to the watercolour paper using the lightbox. I use a good old HB pencil for tracing off, and I’ve found that once you’ve captured the image you can then stretch the paper as you would normally and not loose any of the pencil work. This is a really handy discovery and means I can avoid endless hours mucking about with grids and such transferring the drawing on to paper stuck to a big wooden board.

All of us who have been lucky enough to have been on the receiving end of any artistic tuition will have been told at some point or other that there is no such thing as black when making a drawing or a painting. So the first challenge when rendering a black car is working out what colour it is. An old tutor I had at design school always recommended starting with Payne’s Grey and working from there. He’s been proved right so many times. So the picture is built up using various dilutions of Winsor and Newton Payne’s Grey, wash upon wash. This means you can work slowly toward the shade you’re after without putting down a whole load, and subsequently realising it should have been lighter. It’s time consuming, but a lovely technique. To get the slight blueness in the highlights I put a very thin wash of Indigo Blue down first. The bits that look black, but are in fact an intense dark blue, were put down quite thick as those areas had very defined lines to follow. For the area of shadow under the car I’m going to use a half and half mix of W&N Payne’s Grey and Schmincke Payne’s Grey which will give me a slightly warmer shade. I’ll mention here that although I have three tubes of paint here all called Payne’s Grey, from different manufacturers, they are all quite different. It helps to buy a few and find the one that suits your technique the best.

The background contains the concrete telegraph pole shown, and a whole swathe of a large green leafed hedge that sits behind the car in my reference shot. There’s a big tree in there as well so they will go in towards the end of the painting process so that I can build them up gradually and frame the car just enough without swamping it. It’ll be done soon.

Today I drew a car!

Mustang sketch by Jon Tremlett for soulcraftcandy.

I’m currently working my through a small book I bought recently about creativity. Needless to say I find it extremely interesting. The book is called “12 Rules of Creativity” by Michael Atavar, you’ll find it here. In the opening chapter is some stuff about training your eyes to really look at things, to really see what’s in front of you. What’s this got to do with drawing this car? Well, I’ve tried a number of times over the last few months to get this picture underway, and each time I have utterly failed to capture it in any way that was remotely close to what I was looking for. Realising the other day that it would be a good idea to have another go, I thought I’d read that chapter in the book again before picking up the pen. By reading the pages and looking up at some photographs I’d taken of the car on the computer screen, it was suddenly much easier to see what I was looking at and, see in my minds eye the composition of the image I wanted to create. Funny that. I’m not exactly sure how it worked but some connection in the brain suddenly got made, and forms that I’d struggled with previously seemed to be more easily understood. Once I’d established an eye line and got my head around the extreme perspective the sketch progressed fairly quickly, though I did have to have a couple of goes at getting the wheel angle where I wanted it.

Consequently I’m pretty happy with this first drawing, which I’ve done in my favourite blue Bic biro on a very cheap sketch pad. It will go onto the light box next so that it can be traced onto some watercolour paper ready for painting and inking.

Ultimately the picture is going to be a gift for my friend Christophe in France. We will be visiting him next month for a house warming party, so I’m hoping he’ll like it and put it up in the new place. He’s a confirmed petrolhead, and this is him in his beloved Mustang, a car I can only describe as a ballistic tank.

It feels good getting back in the saddle.

SC_Sketch_1©JonTremlett2014

Wow, it’s been two months since the last post!  I don’t for a moment think that that is a good thing but, the time has now passed so there’s little point worrying about it. Summer is always a busy time and this year is no exception, though I would have preferred it if one of the things that’s been happening in the meantime wasn’t the premature termination of my working contract. Hey ho. At least I wasn’t fired, I just became the resultant collateral damage of a major falling out between other parties who couldn’t resolve their differences. Such is the unpredictability of freelance working I suppose, and something that we all have to get used to by necessity rather than choice. As you can imagine, finding the next thing to do is a challenge which drags me away from keeping my blog up to date.

But enough about that. Today the creative itch has finally got the better of me and sketches have been scanned, paper has been stretched and the need to draw is whispering in my ear. So, what am I going to work on next?

SC_Sketch_2©JonTremlett2014

Some time ago, far too long to be considered as recently, I was contacted by a guy in California, a certain Mr Steve Carpenter, who has made a very successful business out of building cafe racers for select customers. He wanted to know if we could do something together. I said yes, of course, the guy’s a very respected builder and a very creative chap. I feel rather honoured to be asked, frankly. So my next project is to create some specific artworks for Steve in my black biro style, based around some ideas we’ve talked about.

So here are a couple of initial sketches, done in blue pen on newsheet, which are my first attempts at capturing what Steve and I have chatted about. I think you can get the gist of what we’re thinking from the images. These two are first thoughts and are not yet exactly what I’m after. There are a stack of post-it notes here covered in notes about what I want to change about them, I find this the best way to document my thoughts and satisfy my inner editor, so the final image will be different. But these are a solid start in trying to capture the feeling I’m after and get a feel for the overall “shape” of the picture I want to create. Mr. C knows I do this as a hobby, so he’s not applying any pressure, I’m very capable at doing that myself (!), but looking at these sketches today and reading through the notes makes me want to get on with it and rev up the creative engine again.

It’s good to be back.

Shotgun drag bike – the finished picture.

107_Shotgun©JonTremlett2014

Now that the finished picture is finally with its new owner, it’s the right time to post it here on the blog. It would have been unfair on Nik to put the finished picture up before he’d had a chance to see it in the flesh. Needless to say he had a very big smile on his face when he unwrapped the parcel, a moment that gave me great satisfaction and a fitting end to a project that has been utterly enjoyable to do, and has left me feeling that this could very well be the best picture I’ve done to date. So brilliant to get something just right. I think he’s going to hang it in his living room which makes me very proud and is rather flattering to be honest.

The front fairing was, in time honoured tradition, pretty much the trickiest part to complete in colour. As I hinted in the previous post, these intense liquid colours come with their own set of particular limitations, namely their ability to “blend” across larger areas and around complex details. Getting the red to “flow” around all of the lettering involved lots of quick brush work, letting things dry and using very diluted tints laid over each other. It took quite some time, but the result looks great in the context of the overall picture. We’d agreed that the bike would sit alone on the background and so the finishing touch was just to put the thick black line under the wheels and sign it. Job done.

108_Shotgun_B&W©JonTremlett2014

Nik had also asked me to do him a smaller black and white drawing that he could use for t-shirts and cards. I chose a simple elevational view for this one, and the dot shading technique I’ve used on a couple of previous pictures seemed the best way to go. As I’ve said before, this is a rather time consuming way to apply shade to a drawing but it does give the finished thing a look which is very distinct and crisp.

With these two done it’s time to delve into the unfinished projects drawer and pull out a couple of sketches that have been on the back burner for some time now. There’s also the possibility that I’ll do another picture of the Shotgun, perhaps a partial drawing from another angle. I’m undecided at present but will post up how I get on with both of these options soon.

Shotgun drag bike – slowly the bike emerges from the paper.

Shotgun_greys©JonTremlett2014

In a continuation from the previous post, here are some further images charting the progress of the Shotgun drag bike picture. In this first one I’m still very much in the process of laying down the grey tones, and as you can see this pretty much covers most of the parts of this bike, including the tyres, which are not painted red. As I mentioned previously this is very much a process of laying on tone and building up to the desired intensity in small steps. Most people who’ve ever rendered anything will tell you that true black doesn’t really exist, and they’d be right. But with this style of drawing or painting I like to create areas of absolute black as they help give the image punch and underline the more cartoonish nature of the final picture. So where possible it’s good to get those bits done at this stage too.

Shotgun_frame1©JonTremlett2014

In this second image you’ll see that I’ve completed the exhaust pipes having finished with the greys, before starting on the frame colour. Exhaust pipes, especially chromed ones are a lot of fun to do, but they do rely on you having some decent reference material to work from. In this case there was plenty going on in the photograph, so the reflections are quite colourful and intricate. The engine, and therefore the near vertical exhaust pipe too, provide a real central anchor point for the picture and the reflections really help to draw the eye to the focal point of the image.

Shotgun_frame2©JonTremlett2014

This final image shows the picture with the frame pretty much done. Again, this was a process of laying down slightly diluted tones of the red colour in steps, slowly building the colour up giving the frame tubes their form and highlight areas as you go. I took some time to get the base red right, mixing scarlet and orange inks to obtain something with the right amount of vibrancy. Diluted this gave a lovely pink for the lighter areas and with a bit of dark rich brown mixed in created a great tone for the shadows. It can be a bit nerve wracking when working with such strong colour as the last thing you need is to smear it across an area where it’s not wanted, or worse, get a small droplet landing on your pristine white surround. Once this stuff is down, there is no way to get rid of it or cover it up. But taking your time and working slowly and methodically pays dividends, and allowing things to dry every few minutes is a good habit to get into.

By this stage the picture is really starting to jump off the page, the red frame bringing a whole new three dimensional feeling to the piece. Nearly there.

Shotgun dragbike – Finalising the layout.

Shotgun layout by Jon Tremlett 2014

It’s been a very busy month since my last post, one that has seen this picture progress to being finished along with some other stuff too. rather than jump straight to the final image, here is a slightly retrospective look at the process I have been through in completing this commission.

So this first image is of the final layout sketch which will now dictate how the picture will be in its final form. This one is traced through, using my little lightbox, on to an A3 sheet of good quality drawing paper using the previous sketch as an underlay. This stage is when I do most of the adjusting, moving things around slightly, changing some proportions here and there, and generally tightening things up. For the first time the drawing takes on a kind of crispness which really helps in being able to see properly what’s what and get the view finalised. Once I’m happy with this version, it’s pretty much ready to go and ready to be transferred onto the sheet of Bristol Board for the final rendering. This transfer stage is normally quite quick and easy, but this time was a rather fraught event. The size of the Bristol Board sheet was too large for the lightbox, the last thing you want is to crease or damage the paper whilst tracing through. Instead I had to rig up a makeshift lightbox using a small glass topped table and some desk lights and kneel on the floor to draw. It was hot day and the heat from the lights made the whole thing a rather nerve wracking affair, the board starting to warp after only twenty minutes. But it got done soon enough and I was really itching to get cracking with the colour phase.

Shotgun_engine©JonTremlett2014

So this image is of the the engine after a couple of painting sessions. I don’t know exactly why, but I always like to start at the centre of the picture and work outwards. With the bikes this invariably means doing the engine area first. It’s actually a really good way to get started. The main constituent colour here is Payne’s Grey, either on its own or mixed with other colours for different hues and shades. Keeping the paint quite thin, colour and tone are built slowly in layers, it gives more control, and allowed to dry every now and then to stop paper warp and the surface from degrading through sogginess. Once I’m happy with an area I’ll get the technical pen out and start the process of outlining and blacking to start to bring the whole thing out of the surface and give it some punch. This also helps to set the early tone for the drawing and acts as a guide for putting down subsequent colour areas. Looking good so far.