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.
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.
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.
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.
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.
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.