Classic Ford - - CONTENTS -

Where do you start?

Pretty sim­ple, you send me the photo of your car or the sub­ject and I’ll turn it into the piece of art that you want. I usu­ally get sent a phys­i­cal pho­to­graph or a dig­i­tal ren­der­ing on a disc or mem­ory stick, which I can down­load and print off. It’s im­por­tant you send me the views you want — gen­er­ally, that’s a front three­quar­ter shot, but I can col­late a mon­tage of sev­eral views dot­ted around the com­po­si­tion de­pend­ing on how de­tailed you want it to be.

Are there op­tions on how many views you want?

Of course. The most cost-ef­fec­tive is the one-view com­po­si­tion, which gen­er­ally takes a week and will cost around £400-450, but it’s pretty com­mon that most will want more than that — maybe a rear three-quar­ter too or a de­tail like the badge on the front. Or in­deed, the ul­ti­mate, a fully de­tailed draw­ing of the en­gine bay, too. Th­ese ob­vi­ously take more time.

Does the client get a say in how the fin­ished piece will work?

Def­i­nitely, that’s why I love this work be­cause you get to in­ter­act with the owner of the car, or the per­son com­mis­sion­ing the work.You find out how they tick and there­fore, ex­actly what they want. I’ll then do a lay­out sketch, which is free, so that there are no sur­prises when the fin­ished work is re­vealed! You then ba­si­cally know ex­actly what it is you’re get­ting and that the lay­out is right. That and the size, the de­tails — ev­ery­thing re­ally. But once we’ve ar­rived at a con­clu­sion, there’s no go­ing back — I take a de­posit, then I’m draw­ing and colouring it!

Where did you do your train­ing?

Like most car-nut kids, I was al­ways draw­ing cars and I re­alised that that was what I wanted to do, even­tu­ally gain­ing the equiv­a­lent of an A-level in Art. From there, I at­tended Portsmouth Col­lege of Art grad­u­at­ing with a tech il­lus­tra­tion diploma and did my first ac­tual il­lus­tra­tions for Mar­coni Space and De­fence. Most of that was black and white and just il­lus­tra­tions, which was a bit te­dious, so I used to do graph­ics and car art for peo­ple as a side­line. Even­tu­ally it got to the point where you have to make a de­ci­sion — I wanted to sim­ply do car art and I gave up the job and went on my own and haven’t looked back.

We no­ticed there are sev­eral copies of each piece of work.What hap­pens there?

The ac­tual com­mis­sion is for an orig­i­nal hand-coloured draw­ing, but I usu­ally ask the client if I can have the piece scanned and then printed as a lim­ited run. That’s usu­ally around 650 and each one is num­bered and signed by me. I have also run copies of well-known cars, say a Shelby Co­bra, which I’ve been lucky enough to get, in this in­stance, Car­roll Shelby to sign. Those are ob­vi­ously very lim­ited and I’ll gen­er­ally get a run of 20 signed by a celebrity car owner. I also have a mas­sive col­lec­tion to choose from of il­lus­tra­tions I’ve done in the past — plenty

of which are on the web­site (www.christo­pher­dugan.co.uk, or www.mo­tor­ing-man.co.uk/art­work). And it’s not just full-size prints ei­ther, as I can do cards from one to a box of 20.

Do you have to have a full-size com­mis­sion?

That does make up the bulk of my work but there’s ob­vi­ously dif­fer­ent sizes, I can also do you a line draw­ing of your car, too — th­ese can be very ef­fec­tive and are pretty low cost. A small print can be as lit­tle as £35 rang­ing up to £120 for a full-size line draw­ing.

Who are your au­to­mo­tive he­roes and your in­spi­ra­tion?

I have to say my favourite era is the ‘50s and ‘60s and I love Bri­tish sports cars — Jags, Healeys and As­tons. Equally, I have a pas­sion for Lo­tus Corti­nas and any ‘60s Ford re­ally, al­though I’ve never drawn enough Anglias, but that’s be­ing in­creas­ingly put right! As for my hero, it has to be Jim Clark while Sir Stir­ling Moss is right up there, too. I have worked with him sev­eral times, he’s great to talk to, es­pe­cially on the sub­ject of cars.

What’s your favourite clas­sic Ford?

With my hero be­ing Jim Clark it’s got to be a Lo­tus Cortina, but I’m not likely to be able to af­ford one so I’m very fond of the whole Mk1 Cortina range — es­pe­cially the GT. Chris Du­gan, 02392 252610, chris.du­[email protected]­world.com

Al­though Chris works on com­mis­sion, he of­ten pro­duces lim­ited runs of prints, like this Roth­mans RS1800.

Tools of the trade: Chris mainly works with gouache along with pen and ink.

As a big Jim Clark fan, it’s only right that Chris should do a ren­di­tion of one of his Corti­nas.

As a huge clas­sic mo­tor­sport fan, Chris has plenty of in­spi­ra­tion to draw from.

Broad­speed Anglia treat­ment is one of Chris’ lat­est works.

Art­work can take a week up­wards to com­plete, and it’s all done in Chris’ home stu­dio.

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