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.
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.