#Arthur Schening

[crownedstoat]

The Talbot-Lago T26 GS driven by Pierre Levegh and Rene Marchand at the 1952 24 Hours of Le Mans.

[cutawaycars]

Artist Arthur Schening

[frenchcurious]

Herbert Müller / Mike Parkes (Ferrari 512S long tail) Scuderia Filipinetti - 24 Heures du Mans 1970  © Arthur Schening. - source Carros e Pilotos.

[leanstooneside]

The American Legion

105. grant merci2 sir quod gawayn in god fayth hit is yowre3 al a¾e honour

aže gome vpon gryngolet glyde3 hem vnder [d] ažur3 mony misy & myre mon al hym one carande for his costes lest he ne keuer schulde to se a¾e seruy[1] of a¾at syre a¾at on a¾at self ny3t 752 of a burde wat3 borne oure baret to quelle [e] & a¾erfore sykyng he sayde i be seche a¾e lorde & mary a¾at is myldest moder

a] aženne wat3 gawan ful glad & gomenly he la3ed1080 now i a¾onk yow a¾ryuandely a¾ur3 alle oa¾er a¾ynge [b] now acheued is my chaunce i

pass] [sidenote d but the hinds and does are driven back

he steps thereon.] [sidenote d he is dubbed

e] ažerfore on his schene schelde schapen wat3 a¾e knot ažus alle wyth red golde vpon rede gowle3 664 ažat is a¾e pure pentaungel wyth a¾e peple

this marvel serves to keep up a brisk conversation in court. sidenote b the year passes full quickly and never returns. sidenote c after christmas comes the crabbed lenten. sidenote d spring sets in and warm showers descend; sidenote e the groves become green sidenote f birds build and sing sidenote g for joy of the summer that follows; sidenote h blossoms begin to bloom sidenote i and noble notes are heard in the woods

c] to fynde hys fere vpon folde in fayth is not ea¾e warloker

bi preue poynte3 of a¾at prynce put to hym seluen ažat he be knew cortaysly of a¾e court a¾at he were 904 [b] ažat aa¾el arthure a¾e hende halde3 hym one ažat is a¾e ryche ryal kyng

back.] [sidenote c the harts and bucks are allowed

d and the gate is opened wide

my maidens.] [sidenote k the door is safely closed.] [sidenote l since i

e] vch segge ful softly sayde to his fere 916 [f] now schal we semlych se sle3te3 of a¾ewe3 & a¾e teccheles termes of talkyng noble wich spede is in speche vnspurd may we

shades. sidenote e as they fly they are shot by the bowmen

sir gawayne before the fireplace. sidenote b a mantle of fine linen richly embroidered is thrown over him

whatsoever says the host i win in the wood shall be yours sidenote b and what check you achieve shall be mine. sidenote c a bargain is made between them

f with fish baked and broiled sidenote g or boiled and seasoned with spices. sidenote h he calls it a full noble feast sidenote i and much mirth he makes for the wine is in his head

h] aženne a¾e lorde of a¾e lede loute3 fro his chambre for to mete wyth menske a¾e mon on a¾e flor he sayde 3e ar welcum to welde as yow lyke3 836 ažat here is al

roused by the clamour the deer rush to the heights] [sidenote b but are soon

a] after a¾e sesoun of somer wyth a¾e soft wynde3 quen 3eferus syfle3 hym self on sede3 & erbe3 [b] wela wynne is a¾e wort a¾at woxes

d and the knight having washed proceeded to meat. sidenote e he is served with numerous dishes

then the soft winds of summer] [sidenote b beautiful are the flowers wet

good sir says gawayne ask the high lord of this house to grant me a lodging.] [sidenote b you are welcome

then was gawayne glad sidenote b and consents to tarry awhile at the castle. sidenote c the ladies are brought in to solace him

f the hounds and the hunters with a loud cry follow in pursuit. sidenote g those that escaped the arrows are killed by the hounds

i my lord and his men are far off

he desires to know what had driven sir gawayne from arthur's court before the end of the christmas holidays.] [sidenote b the knight replies that a high errand and a hasty one had forced him to leave the court.] [sidenote c he asks his host whether he has ever heard of the green chapel] [sidenote d for he has to be there on new year's day.] [sidenote e he wonld as lief die as fail in his errand.] [sidenote f the prince tells sir gawayne that he will teach him the way.] [sidenote g the green chapel is not more than two miles

c] when a¾e lorde hade lerned a¾at he a¾e leude hade loude la3ed he a¾erat so lef hit hym a¾o3t [d] & alle a¾e men in a¾at mote maden much joye to apere in his presense prestly a¾at tyme 912 ažat alle prys & prowes & pured a¾ewes apendes to hys persoun & praysed is euer by fore alle men vpon molde his mensk

on the morn he asks for his arms. sidenote b a carpet is spread on the floor

good morrow says the lady ye are a careless sleeper

coat armour.] [sidenote j his spurs are then fixed] [sidenote k and his sword

sum quyle in bytoknyng of trawa¾e bi tytle a¾at hit habbe3 for hit is a figure a¾at halde3 fyue poynte3 fol

your honour your hendelayk is hendely praysed [h] with lorde3 wyth ladyes

table is soon raised

g then the hounds are called out and coupled

my body.] [sidenote n i shall be your servant.] [footnote 1 this word is illegible

a] he sperred a¾e sted with a¾e spure3 & sprong on his way so stif a¾at a¾e ston fyr stroke out a¾erafter 672 [b] al a¾at se3 a¾at semly syked in hert & sayde soa¾ly al same segges til oa¾er carande for a¾at comly bi kryst hit is scaa¾e ažat a¾ou leude schal

him in house that every one likes i shall use my time well while it lasts.] [sidenote m ye are welcome

[nwfmp2021]

Arthur Schening Inspired Work-Process & Outcomes

Shown below are the processes in which I did in order to achieve my outcomes purely inspired by the work of Arthur Schening in which I did using my bike drawings that I did on Illustrator but with backgrounds I did using Photoshop.

For my first set of outcomes I opened an A3 portrait canvas and then used the rectangle shape tool with a thin grey stroke and no fill and then drew a rectangle and placed it so then there was a border around the exterior, then I used the same tool but with no stroke and a grey fill and then did the same thing but made it overlap the one below so it is slightly larger in terms of length like shown above.

Next I added my vector drawing so then it is in the centre of the canvas and then I duplicated it (cmd j) and used the free transform tool (cmd t) to reflect it underneath the bike so then it has a shadow like appearance, after that I went onto the layer styles (fx) and added a black colour overlay.

Then finally I used the type tool with a white fill to type out the bike model which is “Honda Fireblade” and I decided to do this in capital letters because in non-capital letters it didn’t stand out as much.

This is the outcome for the Ducati Panigale V4R vector drawing which has been showcased in the style of one of Arthur Schening because when I was researching him and his work I really liked how he presented his outcomes in terms of how the main subject itself is really detailed and then the background is simplistic to juxtapose their appearances. As a collective I love these two outcomes because I find that the shadows underneath the bikes add a bit more dimension to the bikes themselves and make them appear more realistic, in addition to that I also like how the backgrounds work well with the bikes because you can still see them despite them being picked from the bikes using the eyedropper tool.

For my second set of outcomes I opened an A3 landscape canvas and then used the rectangle shape tool with no stroke and a grey fill to make a rectangle and then place it so then the bottom lines up with the centre and then I did the same with a rectangle with no fill and a grey stroke underneath and then made sure that there was a border around the exterior.

Then I inserted my vector drawing in the centre and resized it to make it a bit bigger by using the free transform tool (cmd t) and then used the type tool to type out the model of the bike in black and then I moved it so it in the exterior border underneath.

Then I duplicated the bike (cmd j) and then used the free transform tool (cmd t) to reflect it underneath the bike.

Finally I added a black colour overlay to the duplicate so then it has more of a shadow appearance by going to fx-colour overlay.

This is my second outcome for my Ducati vector drawing inspired by the style of Arthur Schening and as a collective I really like both of these because of how the bike is presented in a way so that it’s the first thing your eyes are drawn too due to their being nothing else in the foreground to draw your attention away.

[somar78]

(via A Garage On Your Wall - The Automotive Art Of Arthur Schening)

[ferrariwolf]

Alfa Romeo GTAm

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[selectamecanica]

Arthur Schening: pasión por las carreras históricas y el diseño

Arthur Schening: pasión por las carreras históricas y el diseño

Arthur Schening lleva más de 20 años de experiencia dedicado al diseño y la ilustración, pero sólo recientemente ha encontrado tiempo para combinar la profesión con su pasión desmedida por los coches de carreras clásicos.

Desde su sede en Virginia, Arthur Schening siempre ha tenido un  interés especial por los coches de competición históricos. Ahora ha decidido representar a aquellos que él…

[nwfmp2021]

Ducati Panigale V4R Vector Illustration-Process & Outcome

Shown below is the process in which I did in order to achieve the outcome of my Ducati Panigale V4R vector illustrator inspired by the work of Arthur Schening.

Firstly I found an image of the Ducati Panigale V4R in which I wanted to draw and then placed it on a landscape A3 canvas on Illustrator making sure it is set to RGB.

Then using a mixture of the eyedropper tool to select the colours of the bike and the pen tool and ellipse shape tool to draw the bike in as much detail as possible. Here I started drawing the areas in which didn’t have much detail in and had no logos on and made sure that each shape drawn was on its own layer so then they are easier to control and then to make sure that the layers don’t build up too much I grouped everything every now and then by going object-group.

Then once I completed the body of the bike I went onto focusing on drawing the logos and type on the bike.

To draw the logos I went and found images of them and then placed them above the canvas on Illustrator and then using the eyedropper tool and the pen tool I went over the letters and filled any closed counters with the colour of the bike underneath so then when placed over the top as to where it’s supposed to be, the background colour then matches.

Once I completed all of the logos I then grouped them together by going object-group so then they are easier to move and resize with the free transform tool (cmd t).  

I then placed all of the logos in their designated area making sure they are all on their individual layers. Here I focused on doing the detail on the front of the bike so then I could start of completing the bike from front to back.

Then I started drawing in the front wheel and tyre area  as well as switching towards the centre of the bike to give myself a bit of a break from doing the same section.

This is what the front bottom of the bike looked like once the tyre was added which I did using the ellipse shape tool and then scaling it to the same size as the tyre and looking closer like the above makes me realise how much detail I actually did.

I then went onto the back wheel and tyre after completing every other element on the bike which was left to do.

This is what the bike looked like before adding the rear tyre and chain.

This is the final outcome of my Ducati Panigale V4R drawing and I’m really proud how this came out especially because it took me substantially less time to draw in comparison to my Honda Fireblade but that’s because there isn’t as many colours present. Overall I’m really happy with how it turned out and I plan to use this for my advertising for the final round of the BSB championship at Brands Hatch because Ducati’s are notorious for doing well there and there is always a Ducati win there as well.

[nwfmp2021]

Honda Fireblade Illustration/ Vector Drawing-Process & Outcome

Shown below is the process in which I did in order to achieve my final outcome of a Honda Fireblade on Illustrator using the pen tool. This piece of work was inspired by the illustrative drawings in which have been produced by Arthur Schening who does detailed drawings of cars and I was reflecting back on some of my posts from the beginning of this project and his work stood out to me the most amongst the work of the other artists in which I looked at. 

Firstly I opened an A3 landscape canvas and made sure it was set to RGB and then I found an image of a Honda Fireblade in which I liked and then I opened it and placed it onto the canvas.

Then using a mixture of the eyedropper tool and the pen tool I began to outline colour segments in order to start to generate a realistic drawing, I also made a new layer for every shape I made so then I could move them above and under each other easily as well as making it easier to adjust them.

This was what the tail of the bike and the seat looked like after going over it.

Then I started to draw the bike section by section leaving out any areas with a Honda logo on or any text such as the “fireblade” type.

Every now and then I would also select all of the layers and group them together to make it easier to control instead of having hundreds of layers by going object-group.

The most time consuming and difficult part of the bike was definitely the tyres and the wheels because of the amount of detail which went into it as well as the chain, despite the fact that I minimised the amount of detail by just focusing on the Honda logos and nothing else such as the logos on the tyres. 

Then once the body of the bike was complete I then decided to start to draw the logos and any type which went on the bike so to do that I found the images of the logos and then went over them. For example, for the logo above I found the image and then used the eyedropper tool to select the colours and then used a mixture of the ellipse tool and the pen tool to go over them and then once the logo was done I grouped them together to make them easier to move and place onto the bike by going object-group.

This is my final outcome of my Honda Fireblade drawing on Illustratoe and words can’t describe how proud I am of this because of how realistic it looks and despite not adding every single bit of detail it still looks so incredible, the only thing I would criticise about this is the fact that it took me much longer than I expected to do because this was the first time I have ever done something like this but I feel as though for my second bike it won’t take me as long as there won’t be as much colour as there is on this one. My plan with this drawing is to make advertising posters for the second to last round of the British Superbikes Championship in 2021 at Donington Park because last year the Honda really stood out the most there and was a very iconic bike of 2020 as a whole, in addition to that I would also like to make a keychain out of this as well as an animation of the bike being built up through each colour until the bike is complete.

[nwfmp2021]

Arthur Schening Analysis

Arthur Schening is a graphic designer who specialises in producing illustrations of classic racing cars from the 1950′s, 60s, and 70s. He doesn’t go into too much detail but enough for his illustrations to look realistic and that’s what I like about his work.

McLaren F1 GTR

I like this illustration because of how the colours of the background go with the actual colours of the McLaren due to the colour orange being used for the top half, I think the reason why orange has been used is because the blue would be a bit too much in terms of it blending in with the car. I also like how there are highlights and shadowing on and underneath the McLaren because it adds shape and makes it appear less flat in terms of appearance and therefore helps to showcase the shape of the body. 

Austin Mini Cooper S

The background for this illustration is a bit different in comparison to the one with the McLaren because of how the background isn’t a colour in which is showcased on the Austin Mini at all, however the grey really pairs with the red and gives it quite a subtle yet elegant look to it possibly because of the fact that red is such a bold colour and the soothing colour of the grey pairs perfectly with it. I like how the overall colours of the car go well with the background along with the attention to detail at the front of the car which makes it appear more realistic.

Aston Martin DBR1

I really like this illustration because of how Schening has added the addition of a person at the wheel of the Aston Martin and I think he has done this because of there being no roof on the car and would feel a bit empty, I also quite like how the background is the same colour as the car because of how it matches the overall colour theme, however I still feel as though it slightly clashes as well as working but I feel as though if he used yellow it would draw away from the green.

Lotus 49

Here Schening has really payed attention to detail in terms of tyres and the engine at the rear of the car along with the springs because of how there has been some texture added to them to give them more shape and yet again appear more realistic, I also like how he has also paired the illustration with yellow being the top half of the background colour and his use of split backgrounds have inspired me because of how he like to keep the bottom half as white and then pairs it with a colour from the cars in which he has done an illustration on.

Bugatti Type 35

This illustration is a bit different in comparison to the other illustrations in which I chose to talk about because this Bugatti is much older than the previous cars as you can tell by the design and I like how he has done an illustration on this specific Bugatti because it shows how they have developed their cars from then until now, I also like how he has yet again paired the colour of the background with the colour of the car but I’m still trying to decide whether I personally really like it or feel that it blends a bit with his illustration. 

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A Garage On Your Wall - The Automotive Art Of Arthur Schening

A Garage On Your Wall – The Automotive Art Of Arthur Schening

Arthur Schening is an artist and graphic designer who is perhaps known best for his automotive art, characterized by its close attention to detail, clean minimalism, and well-researched historical accuracy.

Arthur runs Schening Creative, his own design and illustration firm. He has well over 20 years of experience working for all manner of clients around the United States developing printed…

[ferrariwolf]

Jaguar D-Type

[ferrariwolf]

Jaguar C-Type

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