In 2020 History was made in France at the 24 Heures du Mans by the introduction of not one, but two, all female teams of women racing drivers. They were jointly known as the IRON DAMES. In this painting, an original, signed artwork, size 80cm x 50cm. I have featured one of the drivers from the IRON LYNX team, Manuela Gostner at the wheel of one of their Ferraries. The two teams came in joint 9th in the final placings.
The second team was run by Richard Mille. Hopefully both teams will again, participate in not only the 24 Heures du Mans but a whole group of motor racing events in 2021 and I wish them all the very best.
This is an ink (Staedler fine-line pen) sketch on Canson 300gsm paper – a commissioned Greeting Card, featuring one of THE marques of the French motor racing industry – Talbot Lago. This particular 1950’s car is a T 25 GS model and was raced successfully at Le Mans – winning in fact, in the early 50’s, by the Rosier Father and Son team. With it’s large engine capacity, lack of powered steering and treaded tyres, it must have been quite some handful to drive on the demanding Le Mans circuit. Thanks to Bill Kinchella for the background material on this wonderful, alas now gone, marque.Commissions accepted. Please e-mail me at:- email@example.com for further info.
There is nothing quite like driving a Subaru Impreza WRC to make you come alive.
Luckily for me, as a motoring artist, I enjoy driving these beautiful cars – prepared by Rally School ireland, just as much as I enjoy drawing and painting them. This illustration has been executed in Artists’ Water-colours on Canson 300gsm paper, size A 3 format. It has also been treated with a special glaze to prevent fading. These Japanese cars have a very impressive history of wins in the rally world and have a shed-load of championship titles to add to their name.
I’d like to introduce you to the next generation of the famous and ever popular Renault Alpine A110 – the all new Renault Alpine GT4. This car is part of the French Mirage Racing Team and is raced with great success by Benoit Lison and Vincent Beltoise.
The car somewhat looks like the original, but that is where the resemblance ends. It is chunkier and has a totally different body and engineering composition and it is very, very fast.
I admit to enjoying using both pens and pencils for my drawing work. Both of these mediums are highly controlable though ink work is not easily corrected if you make a mistake…… Therefore, I always “rough” out my subject in a soft pencil before applying the ink.
Another thing I do is leave the work alone after the pencil work, for a while. Its amazing how you can spot any error(s) when you return to a work. Staring at the board for end-less hours, definitely makes you incapable to seeing mistakes……..
It is essential to use a very soft rubber to eradicate unwanted pencil lines and to highlight facial features. Also, brush off all rubber dust with a wide and soft, fan, water-colour brush and then use a hair-drier to blow away all the rubber debrix.
This is probably NOT what you expect an artist to look like, but…..
I love motorbikes, karting and driving very fast cars and am very lucky that I can combine my passion for these pursuits with my passion for drawing and painting these types of machinery.
For me, being able to access (and drive) racing and rally, etc., cars has built up a real understanding of these machines, which I can bring to my paintings and illustration. It is true that I literally cut my teeth on cars and motorbikes thanks to my late father. This early experience actually furthered my interest in all things mechanical – making my life, to-day, a really interesting and exciting one.
Soon, I shall post up details of my forthcoming motoring artwork exhibition in Rennes.
I hope you enjoy my motoring artwork and welcome any enquiries. Thank you.
Every Artist knows that particular feeling that sometimes, you HAVE to PAINT an item you have just seen! It could be something that is in keeping with your style as an Artist or it may not, but paint it….you must. And this is exactly what happened to me when I first encountered this beautiful machine. You might ask why the rear view? I’ll tell you -the front of this Porsche, although beautifully styled as are most Porsches, didn’t have (to me) the “kerb” appeal of the rear! The drama of those huge wheel arches, housing these amazingly wide tyres and the spoiler under the elegant rear window, make this truly an iconic machine – bred for racing!
This work has been executed on primed, box-framed canvas, size 40cm x 50cm. It is an original, signed artwork and will be for sale shortly in a venue in Rennes: more anon. The profits from the sale of this and other motoring artworks at this exhibition are for Medecins Sans Frontieres. I hope you enjoy this work.
As an Artist – I tend to work quite slowly, irrespective of whether it is an ink and pencil motoring artwork – as above, or a watercolour, or an acrylic or (of real necessity) an oil painting.
To me, rushed artwork , always looks rushed and I can usually spot where an Artist has omitted to take care over their work. This is a particularly difficult aspect of being and Artist, as all too often they allow themselves to be pressured into producing (yesterday……) a promised artwork/s – something I have learned NEVER to do.
This A3 size motoring artwork features the great French Rally Driver, Sébastian Loeb, doyen of French (and other nationalities’) rally fans. The Citroen has been illustrated in ink (light fast and waterproof ) on 240 gsm Canson paper with pencil effects added in to create the inevitable dust – that is part and parcel of any rallycross event……
This artwork, along with others, in a similar genre, will be exhibited in Rennes, in 2019 – details to follow. And all the profits will to go to Médecins Sans Frontieres.
If you have a query about this artwork or indeed any of the motoring artworks shown on this web-site, or about my FREE Open Days for Artists, please do not hesitate to contact me at:- firstname.lastname@example.org. Thank you for reading this and I look forward to hearing from you.
It is a sad fact that many artists spend years, floundering around in a sea of unrelated things to draw and paint – desperately trying out this and that, leaving their studio awash and cluttered with uninteresting and possibly unfinished work.
Some people, never get to grips with this quandry and equally never get around to deciding on a Theme for their art: the end result is predictable.
Whilst receiving a first class training in Ireland as an Artist, any mention of this business-like approach was carefully avoided, so many of us left College, yes, undeniably competent artists, but totally lacking in how to funnel our artistic abilities to our (and our Clients’) benefit. I was fortunate that, with a back-ground and involvement in motor-sport, motoring artwork would become my Theme choice. I am privileged too, that from time to time, I have the opportunity to drive some of these wonderful machines – such as the racing Porsche Cayman above – which certainly helps enhance my knowledge (and enjoyment) of my chosen subject!
Thank you for reading this and if you have any queries, please feel free to contact me.
N.B. Please remember to keep a look-out for information on my popular and F R E E Open Days for Artists – of all abilities – where I hold demonstrations in drawing and painting, in my Art Studio, close to Rennes, Brittany. Early booking is advised as places are strictly limited. Wishing you a very Happy, Prosperous, Healthy and Safe, 2019.
If you would like to know more about my motoring artwork, open days, etc., etc., please e-mail me at:- email@example.com. Many thanks.
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.