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.

Starting the Shotgun commission.

Shotgun_sk_1©JonTremlett2014

A couple of posts ago I put up some colour photographs of a lovely red vintage drag bike called Shotgun. I’ve been asked by its owner, Nik Fisk, to create a picture of the bike for him. It’s taken a couple of weeks to get going but here is the first layout sketch done in preparation for the final picture. It’s done in black biro on heavy weight lining paper. When I was taking the photographs we discussed in some detail the view we wanted to achieve in the finished piece, something that hinted at the length of the bike, but also showed off the overall shape well and the fantastic old Triumph engine that sits at the heart of the beast. Having the right hand exhaust pipe nearly vertical we reckoned this would allow the curvature of the left pipe to be a feature and would also create a strong central element to the picture.

It would be far simpler, and probably much easier, to sketch directly over a printed photograph, or do it digitally using something like Corel Painter, but that would defeat the object of this exercise. In asking me to create a picture for him, Nik is looking for something created in a particular style, which we reckoned would be called something like “factual caricature”. This is not about creating a facsimile image, more about giving the image a degree of character which a photograph just can’t do. So with a picture up on the screen as reference I like to work freehand directly onto the paper, working out the relative positions and proportions of things as I go. It’s a rather organic process, one which not only makes you look carefully at the subject, but also embeds knowledge about that subject into your minds eye as you go. I find this part of the process invaluable and it enables me to make the slight scale and proportional changes which bring the caricature into the image. It allows me to do things like make the engine slightly bigger and bulk up the exhaust pipes to increase the sense of power of the unit for example. I always like to increase the fatness of tyres on bike pictures, in makes them look more planted in my view, but at the same time I need to make sure that the ellipses that outline the wheels are as correct as possible. This sketch shows a revised front wheel from the original sketch, done with some ellipse guides at a smaller size (my templates only go so big), rescanned and photoshopped into place. So when I’m freehanding the outline drawing for the final picture I’ve got some decent guidelines to work to.

The drawing is about 380mm from the back of the rear wheel to the tip of the front and sits very nicely on an A2 sheet, so a really good size which will allow lots of details to be shown. The next step is to check over this one, make some notes for adjustments and then use the light box to start the process of getting it onto the Bristol Board I’ll use for the final painting. This is going to be a lot of fun and I’ll be posting progress reports as things take shape.

Celebrate unexpected outcomes.

The finished thing, blobs and all.

The finished thing, blobs and all.

Those of you who’ve followed the blog for some time will know that I have a thing for a ball point pen. I have my favourites obviously, just like painters tend to have a favourite brush or colour, but generally speaking it doesn’t really matter what brand it is or how cheap. In fact some of the best for drawing are amongst the cheapest you can buy. Although I tend to use black mainly, there’s nothing wrong with other colours, they bring a certain something to an image. But I digress.

This drawing you see here must be one of the messiest I have done for quite some time. I have no problem with this, in fact it was a joy to make, really, and it was made using a ball point pen. Well, I’ll call it a pen for now, but in fact it’s more of a marker and actually I used two different types to make the picture. You may remember some time ago I posted that I’d had a sketch of one of the original Cafe Racer drawings printed out at life size. The resultant print, taken from a scan of a loose biro sketch, revealed all of the feathering and broken line work that were not really visible on the original. It looked great, one could really see where the pen had travelled and what marks it had left behind. On the back of this experiment I wanted to investigate whether I could create a giant ball point pen to try and replicate this character and do some massive drawings at life size. Scaling things up I needed to find a pen with a ball of roughly 3.0mm in diameter. My searches unfortunately proved that no such thing existed but something very similar did. What I found were ball point paint markers which are used in the construction and engineering fields for marking parts and assemblies. Finding a convenient supplier in Royston, Hertfordshire I duly bought a couple to try. In black.

Detail showing paint build up.

Detail showing paint build up.

Both of the markers are shown in the bottom picture. The first, a thing called a Texpen made by Dykem, is a fairly conventional looking marker and quite easy to hold and manipulate. The other is a more heavy duty one from a company called Suremark. As you can see it’s essentially a bottle of paint with a ball point cap screwed onto the top. Lasts longer but not so easy to handle, and is refillable.

Before venturing into huge scale and wrecking large pieces of paper I thought I’d try something smaller to start with, to see if my suspicions were correct or not. The picture you see here is on a piece of A2 cartridge paper. I roughed out a sketch in blue biro first and then hit it with the paint markers. After half an hour of struggling I had to get up and have a cup of tea whilst I coped with my disappointment. After sweet tea and swearing I sat down and tried again, and this time really enjoyed myself.

These things are not like ball point pens at all, no sir. Firstly the paint is thick, gooey and doesn’t really flow. Secondly, the balls in the nibs are spring loaded so you have to press down to release the paint, so describing a line in a sweep is virtually impossible. Once I’d got my head around mark making though, I found I could squidge and blob my way to creating an image without too much trouble, the key bit was realising that detail and line consistency were never going to come to this party. It was a great lesson in learning how to approach getting the best out of an unfamiliar tool. The paint takes a short while to dry so avoiding putting your drawing hand in it is quite difficult, hence various blobs scattered about. The bottle option proved best for filling in solid areas while the pen option was easier to “draw” with. You can see from the detail shot, I hope, that paint tends to build up quite a bit on the blackest areas.

Paint_sketch3©JonTremlett2013

I stopped at a point beyond which I thought I might spoil it, and let it dry. When I returned I wanted to give it something extra so grabbed some cheap coloured biros I have here and put some colour on the riders helmets to lift the whole thing a little.

 

I hope you like it. This isn’t the end of my experiments with these markers, there are different papers to try in the search for different results and different types of drawings to try too. All very exciting, I’ll let you know how I get on.