Due to a lot of recent activity on car blogs, I thought it would be interesting to show how I used to create technical illusrations traditionally, over 20 years ago - without a computer! 
This car was the original factory demonstrator Griffith, which was masqueraded as a 4.3ltr V8 but was actually enlarged to 4.5ltr, to be quicker for the reporters. 
Once upon a time, in a pre-computer world illustrators actually illustrated things by hand. Yes that’s right… no ‘control-Z’ in those days. We used prehistoric tools called pencils, pens and brushes. In the profession of a technical illustrator, we also used  things called rulers, ellipse guides, scalpel blades and a sticky sided film called frisk – used for masking.
Here’s how I used to work 20 years ago, using skills not actually forgotten, just no longer needed in the modern digital age...
The first process was to work out how everything fitted together. I taped a sheet of tracing paper over the photograph, and created a perspective grid, for use as a guide. Then, using a technical pencil, a ruler and ellipse guides I started the slow process of looking through the reference pics, figuring out what was what and how it all fitted together. This is the photograph the illustration was actually based on (note the Tasmin ‘Wedge’ shells in the background).
Here I have overlaid the pencil drawing on top of the photograph to show how it registers.
Completed pencil drawing & detail
The next stage in the process was to ‘push through’ the drawing onto CS10 illustration board. That meant coating the back of the tracing paper with powdered pencil lead, and tracing over the drawing with a metal pointed pen, thus making an impression of the line drawing on the board. Then began the next stage of masking off different areas with frisk, spraying appropriate acrylic colours on the exposed area with an airbrush, repeating the process again and again… and again until completion. All the details, lo-light, hi-lights and colored line work were then applied with an extremely fine pointed brush using acrylic paint and gouache. Phew!
My beloved ellipse guides and ships curves… still with evidence of airbrush spray on them.
Kit – Sedco air compressor and my two all-time favorite airbrushes.
My ‘workhorse’ airbrush, the Japanese Iwata CM-B.
My very cherished American Paasche Turbo. The finest airbrush in the world – you could spray details as fine as a pencil point with this.  It looks more like a museum piece now!
Due to recent interest, the TVR Griffith signed print (59cm wide  x 42cm height, signed and numbered) is now available to purchase at the original price of £16 plus postage. If you are interested in buying one please email
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