lunes, 10 de abril de 2017

SOPWITH F.1 CAMEL

Acrylic on paper
62 x 36.5 cm



Somehow, transfers featuring letters and numbers could be adapted to both the size and the characteristics of the illustrations so I used them to depict small banners, billboards and numbering, all of these accurately retouched to really integrate them in the drawing. This illustration is dated November 1992, it was an order from a Seville customer; once we agreed on the price I was absolutely free for choosing the kind of aircraft and the painting scheme. That’s why I do remember very fondly this work.   


SOPWITH F.1 CAMEL

Acrílico sobre papel

62 x 36,5 cm



Cuando la disponibilidad de letras y números transferibles se adaptaba al tamaño y características de la ilustración, utilizaba éstos para resolver los pequeños letreros y numeraciones, convenientemente retocados para que resultasen mejor integrados en el dibujo. El original está fechado en noviembre de 1992 y fue un encargo de un coleccionista sevillano, el cual, una vez pactado el precio, me ofreció una completa libertad para elegir el tipo de avión y su esquema de pintura. Por ello siempre he recordado este trabajo con especial cariño.


domingo, 12 de marzo de 2017

Mc DONNELL XF-85 GOBLIN (private collection)

Acrylic on paper

36.3 x 26 cm

This tiny aircraft was designed as a “private” escorting fighter for the enormous Convair B-36 Peacemaker, and was fixed through a hook to the belly of the bomber; in case of attack it could get detached easily. Though a few tests were carried out, it was never in service.
In order to achieve a colourful painting, the hook is shown once opened; the airplane is assembled onto a transport platform used by ground crew as the Goblin had no landing gear.
This very simple work is dated in September 1994 and belongs to my friend Juan Manuel Villalba. Juan Manuel is undoubtedly, one of the best modellers I’ve ever met.



McDONNELL XF-85 GOBLIN (colección particular)

Acrílico sobre papel

36,3 x 26 cm

Este minúsculo avión fue diseñado como caza de escolta “privado”  para los gigantescos Convair B-36 Peacemaker, e iba fijado mediante un gancho a la panza del propio bombardero, desprendiéndose de éste en caso de ataque.
Se realizaron diversos ensayos pero nunca llegó a entrar en servicio operativo. Para que el dibujo resultara más vistoso, el gancho aparece desplegado y el avión montado sobre una plataforma de transporte utilizada por el personal de tierra, ya que el Goblin carecía de tren de aterrizaje.
Este sencillo trabajo está fechado en septiembre de 1994 y pertenece a la colección de mi amigo Juan Manuel Villalba, uno de los mejores maquetistas que he conocido.



lunes, 27 de febrero de 2017

RENFE-MTM-242 F 2001/10

Acrylic on paper
58 x 22.7 cm




During my incursion in the advertising, I was able to specialize in photograph retouching techniques, mainly based on the use of grey, white and black colours. The main challenge was achieving absolutely flawless original works since manipulation and retouching have to be sophisticated enough to remain unnoticeable. 

On the other hand, I need to point out that the photographic paper, covered by a thin film, wasn’t really the right support for this. In fact, most of the time we decided not to use the usual adhesive material for airbrush as this used to rub off or to spoil the film. We much preferred to employ transparent acetate to make masking pieces fixed by some tiny magnets while the original was put onto an aluminium plate.

I really enjoyed the experience and this resulted on me making some drawings like this “Confederacion”, one of the biggest and most outstanding steam locomotives that were in service in Spain.

The primary drawing was achieved with a thin-ended ball pen; since only a very simple scale drawing containing the basic lines and contours was available, I had to base my work in some historical photographs.

The “colour” was a highly watered grey shade, slightly dyed with violet. Different colour gradations will be achieved by applying more or less coats of paint using the airbrush tool. Apart from a few details, the shining let us see the white colour of the paper sheet so these seem much more natural and bright.

This drawing is dated on January 1993 and belongs to a private owner.


RENFE-MTM-242 F 2001/10

Acrílico sobre papel
58 x 22,7 cm





Durante el tiempo que trabajé en el mundo de la publicidad, tuve la oportunidad de alcanzar un cierto grado de especialización en la técnica del retoque fotográfico, basada en el empleo de grises, blancos y negros. Una de las mayores dificultades consistía en que los originales debían acabarse con una absoluta pulcritud, pues la manipulación de la imagen no debe advertirse, o advertirse lo menos posible.

Otro problema añadido era el soporte, ya que el papel fotográfico no tolera bien una excesiva manipulación debido a la fina película que lo recubre. De hecho, la mayoría de las veces lo mejor era abstenerse de utilizar el clásico film autoadhesivo empleado en aerografía, pues tendía a desprender dicha película o a mancharla. Por ello, casi siempre empleaba acetato transparente para enmascarar, que sujetaba con unos imanes diminutos, trabajando con el original colocado sobre una plancha de aluminio.

La experiencia me gustó y me animó a realizar algunos dibujos como el de esta “Confederación”, una de las locomotoras a vapor más grandes y bonitas que ha prestado servicio en España.

Para hacer el dibujo previo, realizado con un bolígrafo de punta fina, sólo disponía de un sencillo plano con las cotas principales, basándome para los detalles en fotos históricas.

El “color” consistió en un solo tono de gris muy aguado, ligeramente tintado de violeta, obteniendo las diferentes gradaciones e intensidades según el número de capas dadas con el aerógrafo. Por su parte, y salvo en algún pequeño detalle, los brillos dejan ver el blanco del papel, porque quedan mucho más naturales y luminosos.

El dibujo está fechado en enero de 1993 y pertenece a una colección privada.


lunes, 13 de febrero de 2017

IRON BUTTERFLY (for sale)

Oil on canvas
42 x 30 cm


Frazer Nash is one of the most mythic names in the motor racing world. The British firm had always given to its models names related to well-known car races. The best known being the Le Mans Replica, 34 units were built during the 1948-1953 period, usually equipped with a six-cylinder Bristol engine.
Among Frazer Nash’s successes in motor racing we need to mention the much deserved third position in 24 Hours of Le Mans race in 1949 and both the victories in Targa Florio in 1951 and in 12 Hours of Sebring in 1952.
Frazer Nash also entered different competitions that took place in the United Kingdom such as: Daily Express Grand Prix, British Empire Trophy or, as we can see in the painting, the 9 Hours of Goodwood in 1953. There, the team of both Melvin and Kenneth would end up thirteenth. 
I chose this car in particular thanks to my friend Luis Amarillas, an outstanding car modeller. He gave me three photographs of this very model, one of these in full colour.  It is a LM Replica with its usual embodiment but including an extra beacon assembled close to the grille. According to the pilot’s tastes, the cars could be added some modifications that in some cases could so really change the lines of the original design. The body work is painted dark green (British racing green) with black rims. The glasses of the beacons are protected by some canvas cover and the rings of the numbers are depicted light yellow (the bonnet ring is not centred but lightly on the right).
Some buildings are visible by the line of the trees in the background, this helps to depict the real perspective of Goodwood, particularly in a section called St. Mary's. The billboards match with the ones in this period and give further detail and colour to the painting. The whole has been achieved by making a soft sweeping effect using a paintbrush.
The pilot is supposed to show a particular approach and at the same time is due to look anatomically in proportion. The one in the painting is wearing the usual white coveralls and a helmet with a Plexiglas protection assembled to the visor.  
I really think that cars are far more difficult to paint than aircraft (considering both drawing and colouring). It is necessary to take into consideration the general perspective and more particularly the wheels, the background, the many details of diverse textures and all the sponsors’ labels for successfully depicting a modern racing car.