LEGENDS in the world of Rally Driving. Michele Mouton & Fabrizia Pons and …..that – Audi Quattro Group B car……

Action painting, embed, France, image, motoring artwork, Oil painting, Original artwork, portraiture, Signed by Artist

Original, signed tribute oil painting, 70cm x 50cm, featuring Michele Mouton and her co-driver, Fabrizia Pons – and the awe-inspiring Audi Quattro.   This artwork is painted in Artists’ oils on primed, box canvas.   It is on view in my Art Studio and available for sale.   Motoring artwork commissions undertaken: please enquire for details.main mouton

A joy to drive. Subaru W.R.C. Illustrated in watercolour on paper.

Action painting, image, motoring artwork, Original artwork, Signed by Artist, watercolour

Subaru  Impreza WRC.   Not exactly for road use – but fantastic on the circuit and on gravel…  Watercolour on paper size A4.   In a Private Collection.

WRCLineandWash (2)

Blue Subaru WRC. Watercolour on paper.

image, motoring artwork, Original artwork, post, Signed by Artist, watercolour

If you have never  driven one of these Subaru Imprezas- you don’t know what you have missed…… Watercolour on paper size A4.     In a Private Collection.Ver 0.30N

Impactful Art. Stage No. 1.


Making an artwork work i.e artwork that creates an impact does NOT have to be in full colour.    In this particular motoring artwork, the subjects are the well-known French Rally Driver – Sébastien Loeb , seen below- executed in soft pencil and one of the cars he drives – a Citroen – which I have illustrated (see the forthcoming Stage 11) in ink.

What is very important though, is the positioning of the subject or subjects, as in this instance.   People (and animals) naturally dominate an artwork, mainly because we become engaged with their eyes.   It is important, therefore, that this feature does not  end up as the dominant force, because then other parts of the painting, a car in this case, will end up by being “swallowed” by the power of the portrait part of the artwork.

This particular motoring artwork has been illustrated, using only pencil and fine liner black pen, on #Canson paper.    Stage 111 ( the final artwork ) will show a modicum of colour – coloured pencil as a defining point to this artwork.    Please enjoy and I welcome you to my Art Class (free) on the 6th November, where you learn how to draw and paint your own personal Christmas cards and where enjoyment is absolutely guaranteed………..S L head.jpg

Speed is possible in watercolours….


One of the problems, if you like of painting int watercolours, is the realization of the action of a subject.    This is not too difficult to achieve in oils nor in acrylics, but it has to be handled with deliberate attention when using watercolours.    This is really the case where less is best.   You will note that under and at the rear of the right hand rear wheel and under and at the right hand side of the left hand front wheel – I have not painted any colour at all.   This is to represent the dust thrown up by the momentum of the fast moving car.      The shadow surrounding the car,  is broken up too, in order to accent the feeling of movement.  Keeping the background blurred is another way to improve the sense of movement.  Please enjoy these two motoring artworks.painting porsche.jpg

DA Porsche..JPG

Sometimes colour doesn’t do the job…..


As someone who really enjoys drawing, there are times when a drawing on its’ own makes the statement you intend.    In this instance, when I looked at the pencil sketch of this glorious Auto Union, I felt that to execute it in colour would somehow diminish the effect I wanted.   Instead, I completed the work using a Staedler Pigment liner, 0.05 fine line drawing pen on Canson 300gsm paper.   This ink is, importantly, water resistant.

I hope you agree that I made the correct decision in this case.Auto Union B.jpg


embed, post

As an Art Tutor and also as a working artist, I realize that one of the problems faced by most artists is their propensity to keep on working at a drawing or a painting, often for hours on end, without a break.    This can and often leads to disaster as the artist has failed to take a break and stand back from their work to assess how the artwork is coming along and, to see if they have failed to spot an error.

This latter point particularly applies to technical aspects of the work, when a line (or two…..) when viewed consistently at close proximity, appears to be o.k., but when seen from a distance of a couple of metres away, shows up immediately as something that needs to be rectified, before the artists proceeds any further.  Remember, the viewing public will see your work in a Gallery, or Exhibition, etc., from a standing viewpoint and they will be some distance away from the work too.  And, some of them can be very (vocally) unforgiving if they spot a mistake you have made.

My advice is to take a viewing break every 15 to 20 minutes.    Not only will this give you a fresh viewpoint of your work, but it will also help you from becoming overtired.    It actually takes practice and discipline to develop the habit of taking these breaks, but it is a really useful way of ensuring that mistakes do not get drawn or painted into a finished artwork.   It is far easier and far less stressful, to rectify an error in its’ early stages than to attempt to correct it on an  finished artwork.

Recording an event through art.

Action painting, embed, France, image, motoring artwork, Original artwork, Signed by Artist, watercolour

I like to use my camera(s) to record events that I am involved in.   At my leisure, later on, I can download the photographs and make a drawing or painting of the particular project.   Here, I am enjoying a drive in a Peugeot WRX – courtesy of the popular Conduire @ Loheac.fr   in Brittany.  Luckily for me, the weather was good  – which added to my enjoyment.

 I mentioned cameras as I use a combination of a Fuji Finepix, a mobile phone camera and a Go Pro  to record whatever I want.   And |I take lots of photographs too, as even minute differences in positioning, light and so forth, can make huge changes to what I actually require as an artwork.

Because I work directly onto paper/canvas, I need a good quality reproduction, i.e. photo so that my artwork can be reasonably accurate.   And although I can make a lot of adjustments via the computor to any photograph, if it is not clear, or too dark, or too bright, the artwork will suffer!       My cameras are not new, nor particularly expensive and I know their foibles…..as well as my own limitations as a photographer………Anne Peugeot 2018)

One man, one car. Erik Comas and the inimitable Renault Alpine A110 – a truly formidable rally and racing french combination.


This original, signed artwork measures 50cm x 50cm and features Erik Comas and the car so closely associated with him – the wonderful and iconic Renault Alpine A110.   This artwork has been painted in Artist’s Oils on primed, box canvas and is available for sale.

Motoring artwork commissions accepted.  Please enquire for full details, price list, etc.E.Comas 1..jpg

And on three wheels….. Ink drawing of a 3 wheeled Morgan.

Action motoring artwork, embed, France, image, Ink illustration, motoring artwork, Original artwork, Signed by Artist

Taken from my sketchpad…..    I actually owned ( to the dismay of my more sophisticated friends…) a Reliant Robin 3 wheeler.  Extremely light, extremely fast ( I tended to corner on 2 wheels – which didn’t worry me overmuch as I was a biker….) and GREAT FUN to drive!   Now in a Private collection.Morgan views0002.jpg

Building on the bones of a Rally Escort

embed, image, Ireland, motoring artwork, Original artwork, Signed by Artist, Uncategorized, watercolour

Artwork generally proceeds with a pencil sketch and then the “bones” of the work have to be filled in, bit by bit.   This is a view of one such artwork.   Now in a Private Collection.Escort Mk 11