Julian and the big Green Meanie.

JW_photo

Firstly, a very happy New Year to all of my readers and followers, may 2015 be a great year for all of you. Here at Soulcraftcandy I’m hoping for a year full of interesting drawing projects to grapple with, some new adventures featuring some new materials and obviously, a whole host of new fans and followers. Not too much to ask for then! So let’s kick off the new year with a story featuring a very old friend, a big green machine and a triumph of physics over human ambition.

The friend in question is Julian, a lovely former wild boy I have had the pleasure of knowing for over forty years. Once a hard core bike rider, his various exploits deserve a blog all of their own, now a responsible dad. Having said that, he has never really lost the bug and as we speak is preparing himself for an off road rally trip over on the Baja peninsula. Watch out Mexico. Back in the day, Julian was the first person I knew who fully embraced the modern sports bike and the newly (at the time) burgeoning cult of the public track day, a barely veiled excuse for Joe Public to go ballistic on his road bike within the controlled confines of a proper race track. Needless to say at one such event our man came a cropper.

Julian has always been interested in my pictures and finally got around to asking me to do a commission for him. It goes without saying that his choice of subject is poignant, being a depiction of him aboard that sports bike on the fateful day he badly broke his ankle and hung up his leathers for a while.

Here’s the photograph, above, he supplied as reference and as you can see it’s not in the best condition or particularly in focus, but that’s not too much of a problem, there is more than enough information here to get going. I wanted to base the picture on this view rather than create a new one, but just tweak it here and there as it’s a great image to start with.

JW_First_trace©JonTremlett2015

The first step is to get the photo into my painter program where I can trace over it in digital pencil to establish some outlines to work with. This initial process also helps to embed some knowledge of the subject into my head so I can start to think about which bits I want to change moving forward. I’m still too much in love with hand techniques to go fully digital with a painting yet but, I’m sure one day soon it will happen. Though when you do that all you get is a print of your artwork, not the actual artwork itself, which is a very different outcome.

JW_Blue©JonTremlett2015

Using the printed trace as an underlay, it’s then onto the light box for another tracing exercise where I can start to move parts of the drawing around, like changing the position of the rider, and playing with the proportions of some details very slightly to gain extra emphasis here and there. Working with the blue biro helps me to see one drawing clearly over the top of the other. You’ll see I’ve shifted him off the seat a bit and given him a more heroic “knee down” stance to get some added dynamism into the picture.

JW_Pencil©JonTremlett2015

This third stage is the final pencil outline drawing on to the water colour paper I’ll use for the painting itself. Again, working on the light box, I trace off the blue biro drawing, tightening details as I go but only putting in the lines that I really will need to rely on. An H or 2H pencil is best for this bit, and light pressure so that it doesn’t leave grooves in the paper surface. All this redrawing might seem rather time consuming but it means I don’t have to worry too much about moving a line or erasing things, both of which will only damage the surface of the water colour paper. Once this is complete I soak the paper and stretch it onto a wooden board in readiness for taking the paint washes. Through experimenting I’ve found that it doesn’t distort the drawing in any way if you stretch the paper after putting the image on it, the secret is just to be patient and resist scrubbing and dabbing the paper too much during the process.

JW_Paint1©JonTremlett2015

When the paper is fully dry it’s time for the first layers of wash. Here I’m using a combination of cake based watercolours, some from tubes and intense liquid watercolours. For colours such as the characteristic Kawasaki green the liquid colours are brilliant. They both lift the image off the page and give it real punchiness. In combination with something like Payne’s Grey one can achieve some lovely transitions from light to dark and some really intense shadow areas. I love them though it pays to exercise caution as a little colour goes a long way and it stains the paper unlike the more “floating” colours.

The next post should see it completed and I’ll take that opportunity to cover more details of the process. So watch this space, it will be here very soon.

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That’s more like it.

Pencil layout by Jon Tremlett 2014 for Soulcraftcandy

As I mentioned in the previous post, the composition of the first picture for Mr. C needed further work resulting in a bit of a redraw. It’s funny how it works sometimes. In your mind you’ve got this image that you think is what you want. Then you draw it out and it’s a million miles away from what you are actually after. So after staring at it for a good while you redraw, thinking that this is going to be a bit of a marathon, and “pop” out comes what you were looking for in the first place. This is not the first time this has happened, so I don’t waste any energy thinking every first rendition will be the right one.

So what you see above is the tightened version made from the blue pen sketch. I use my small home built light box for doing this. It’s essentially a tracing exercise where all of the details are positioned where I want them and I sort out the final angle projections for the wheels and stuff. The hardest bit is getting the position of the figure right, and this will often involve several bits of paper as I try and find the right one. For example, the lower leg and foot in this picture was particularly problematic, for some reason I just couldn’t “see” it. I have a Japanese made posable figure here which I use in situations like this, he’s a very useful piece of kit.

Police car by Jon Tremlett 2014

I also had to do a fair amount of work on the chasing police car down in the lower right hand corner. The one in the main picture here is a kind of modern version based on something they might use right now but, it doesn’t sit well with the overall feel I’m looking for. Something more retro was called for as I want to create a notional connection with the original age of the bad boy Cafe Racer. Searching the web, as you do, turned up some fabulous old pics of what we would call here in the UK, Jam Sandwiches and Panda cars. Just like all modern societies we seem to relish the opportunity to give anything to do with law enforcement a nickname. So the force, “Plod” would drive “jam sandwiches”, essentially white cars with a dirty great red stripe down the side. These superseded the “Panda” cars which were oddly light blue with white doors and very slow. I digress. The other picture here today is my final choice for the police car. An early “Jam Sandwich” of the Triumph 2000 variety, suitably festooned with period accessories including the big illuminated box on the roof (a massive air brake), crappy roof mounted spots and a great big siren mounted in the middle of the bonnet to aid engine cooling. It takes me back to my youth tearing about the neighbourhood on my old Yamaha avoiding these characters.

From here there follows another light box session to transfer this onto Bristol Board ready for the final step which is the biro inking stage, which oddly I’m looking forward to a great deal as I haven’t done one of these for some time. I’ll keep you posted on how it goes, and thanks for dropping by today.