Why not... or a gearbox.

I've just been looking on leboncoin for a suitable unit to paint in and fill the gap. I found these so far, but I'll keep looking as you never know what you find on there.

Go the full hog and have an engine & gearbox

hmmm... i wonder how the exhaust mates upto them manifolds then

short elbow - sticks straight through the bonnet a la mad max

Like so, the exhaust comes forwards and under the engine. all they have is the cross box which blows out under the car

I've been looking on the net for a suitable engine to paint into this scene but as yet I've found nothing that sits right. Even though I'm not strictly adhering to the rules of perspective here an engine that looks simply 'cut and pasted' into the scene won't do, so I'll leave that bit for now until I find a suitable 'model' sitting at the right angle.

I'll speak a little on the technical difficulty's of producing a painting like this and how they are overcome. As previously mentioned the tools used to create a seemingly 3d image on a flat plane are perspective, light and shade, sharp and soft edges, and warm and cool colours that are arranged in bright or subdued tones. That's all we have.

When I began painting many years ago I made lots of mistakes, figured out what they were, and then learned from them. I eventually reached a point where I could make mistakes 'on purpose' for want of a better phrase, in order to arrive at the image that I had in mind. To illustrate something of what I mean, if you take the lighting that I have used for this painting, a single source small window off to one side, then imagine how the scene would look in reality.



That's how!

So if a painting was simply a factual recording of a given scene then for this scene it would be a pretty grim thing that ended up hung on your wall at home. That's why I often 'cheat' by bending perspective, by adding colour that couldn't possibly be seen there in real life, and by playing around with various light effects that would not perhaps exist in reality, but for the purpose of a painting they can be used and do appear believable in the finished work.

One of the things that I had to try and overcome in this work is the effect of light on the human eye when in a darkened room. When you enter somewhere dark, and especially when the light comes at you from in front, then for a while you will see nothing. Your eyes will then slowly adapt and get used to the light, at which point you can make out a little more. The problem is, how do you represent that in paint!



This is the work so far, it appears slightly darker in the photograph above than it actually is but that's pretty much how it looks just now. The very dull background that I had to put in in order to show the lightest lights in stark contrast against it now gives the impression of dark musty gloom - and yet is still colourful, and has the texture of old plaster. Compare that to how such a scene really would look in the top photo.

Next I have deliberately exaggerated the colours used in the car, I mentioned in an earlier post that I wanted the car to be blue, and that finding a blue that would 'work' in this context was quite difficult as a single light source like this would provide illumination of the scene but not colour, as the greater the illumination the less colour is present. So it has been these things that I have been juggling around in order to make an image that could never really exist, but that will still look acceptably real when finished.

Again working from the top down, and from the background to the foreground I have refined and added to scene, small incremental adjustments now to some of the more finished component parts until they approach how they will appear in the final painting. I added a little more moss to the windscreen on the side where the light hits it first, and textured the rusty vent flap - that'll need replacing!

It's at this stage in the painting where things start occurring to me and I paint them in, I paint in some 'clues', things that refer to the life of the car like the old 'witches' broom in the background that the French still insist on using, it is broken, and has been discarded in the barn - so just like the 2cv then! I also painted in an old key hanging from the windowsill by a string, it hangs at an odd angle, seemingly defying gravity, what is it for? Without such intrigue I'd get bored painting, so I always add stuff of interest that the viewer can decipher later.

Obviously if this was an exhibition work such things as the incorrect perspective, the high colour, and the wonky key would all have to be corrected, but as this is a quick one done for pleasure I leave it all in anyway. The next step will be to paint in the copper churn, develop the car further (you can already see the beginnings of a dent on the front wing) and fill up the barn with more clutter. As of tomorrow night however, I am away for a little over a week to take care of some business, so I'll be unable to do any work on this until I get back.

Been out and about again today, this time posing as the sole A series exhibit in a show. Come to think of it, make that the only Citroen of any description on the field. It still feels funny lining up in an '80's 2cv amongst the more recognised 'classics', but judging by the reactions of the punters our cars are now very fondly remembered, and 'classics' they are.



The show was very well attended, and when I've exhibited paintings in the past the form was to mingle with the general public while standing nearby the exhibit so as to hear what they really think about a painting, and using the same subterfuge by standing close to the car yet not admitting ownership I was able to overhear those unguarded comments.

I'm happy to say that it's all good, and not only are 2cv's looked upon fondly at such events, but while attempting to get my flask and sandwiches out of the car before melting back into anonymity I was approached by one chap who was positively itching to ask questions about the car. After a fifteen minute conversation during which he asked to see the engine, and asked many pertinent questions (i.e. he wasn't just lonely!) he then proclaimed that his mind was now made up and he wanted to buy a 2cv after 'fancying one for ages.'



I overheard a comment that the show had attracted some unusual vehicles this year, but I don't think that this was aimed at the 2cv, well not when I saw this Morris Minor nearby complete with inflatable aliens as passengers. I'd been in the nearby pub during the show but I only had the one pint, I wonder how many it took before this seemed like a good idea?





Above: The engine room... "Warp factor 1 Scotty....She canna' take it captain"

The weather didn't look too promising at 7 a.m. this morning, (but to continue the Star trek terminology) I decided to boldly go, seemingly where no other 2cv owners go, and I'm glad I did because it stayed dry and then brightened up nicely. I had my very first mishap with the car when I slammed the door in anger while at a '24 hour petrol' station, that had no petrol, and drove off after dribbling what appeared to be their last £1.20's worth of fuel into my tank.

Stopping at the next fuel station to put some more in I noticed a big hole in the door where the drivers door handle used to be. I retraced my steps the entire three miles right back to Tesco's useless forecourt, and there beside the empty pump I had used was the door handle!

Finally, at the show I met a couple of 2cvGB club members, Liz and Jim from the Lancaster bombers, who were themselves attending in a modern due to Jim's arm being in a sling. Jim also has a '53 AZ that currently has it's worn out engine residing with Mr. Hanna I believe.

I'm off to deepest Wales tomorrow, let's see if anything else drops off?

I'm back from my weeks exile in Welsh Wales, isn't it.

While there I managed to mix a little business with pleasure, spotted a white 2cv special towing a trailer in Newtown Powys, Crossed the Cambrian mountains to take in the coastline, and saw lots of sheep.



Above: 2cv's my arse! I really do need a suicide door version.

As you can see the 2cv's door catch claimed another pair of kex on Tesco's forecourt after filling up, which meant that I couldn't keep my pants up for the rest of the journey. This time it took out the whole waistband which meant I looked such a tw@t arriving at the place we were staying, then unloading the suitcases with one hand while holding my pants up with the other.



Wales. Lots of nice scenery down there, the weather wasn't too bad either compared to where I live so when I had the time I did a bit of exploring. As the roads are all A and B classifications they suit the 2cv perfectly - well apart from being hilly that is, so I settled into 'wafting' mode. If anyone hasn't tried wafting along through the quaint little villages on roads like this then it's a must. All you need to do is attain a certain speed in top gear then back off the throttle 'till the car is just coasting, then as you detect it begins to lose momentum touch the accelerator very gently, adding just enough to give the heavy flywheel a top up, riding the torque but keeping the engine revs seemingly at tickover... that's wafting!



Above: Wafting country.

Burbling through villages like that the engine hardly makes a sound, the fuel consumption hits 50mpg plus, and a kind of 'alls right with the world' serenity comes over the driver. At times I had to stop myself giving the odd regal wave, like Mr. Bridger in the original version of the Italian job.



It's funny what you come across while out and about. This was taken in a village in mid Wales with a typically unpronounceable name which I now forget, but what struck me was the contrast between old and new. Those old signs on the wall are things I haven't seen since I was a kid, and yet there they were, 20th century signs attached to a 19th century stone building, itself topped off with 21st century solar power.



I'm pleased to say that once again the 2cv performed faultlessly over it's 800 or so mile week, and despite being left overnight outside in the rain all week it started instantly each morning without the need for choke. I'm also very chuffed that even during the heaviest rain fall it doesn't leak - not a drop. I'll re-grease the kingpins and driveshafts later this week as part of it's post trip maintenance, and take a look at ways of making me sit lower in the driving seat, as being tall I've had to remove the sun visor in order to increase my field of vision.

Excellent stuff



Sun-visors on 2cvs are useless anyway, just bin 'em.

PS:-Glad you're back Old-Nail, looking forward to more up-dates on the painting.

PPS:- You're not a genuine 2cv'er, unless you've had your jeans ripped by the door-lock striker plate

Theres a knack to getting into a 2CV without ripping your pants.
The first advice I can offer is to buy a good thick substantial leather belt.
It's easy though really ... ....if a 16stone fat b@st@rd like me manage it .....



Regarding ways of "increasing your field of vision" .....again,theres a knack to it ...
Just hang back another car length at traffic lights ....that way you can see if the lights are changing ...
How do think I manage at 6ft tall and with BX perches in my car [which make me sit at least another inch higher] ....
..... and the sunvisor is handy too .....it makes a great wind deflector for when youre rolling along at over 50 with the roof fully open ....

best regards
T.