THE MAGAZINE OF THE THE MAGAZINE OF THE MANCHESTER AVIATION MANCHESTER AVIATION ART SOCIETY SOCIETY ART
Issue 72 March 20112
Cover Image Canadarm II Charles Kadin
Rear Cover Image Lockheed P38 Lightning Peter G. Nield
Well we have made it to 2012 according to some the end of the world is nigh. We will resist the urge to make up a bumper issue filled with a full years worth items, go off somewhere exotic and run up an overdraft they might just have got it wrong. Sadly Joe DeMarco, featured in the December issue, has lost his final battle. Those who came into contact with Joe will miss him. As promised we feature Charles Kadin with his different view of the aviation scene. Seen from space or Canada, Charles has produced some evocative paintings. Looking at Mapping the Yukon I am struck by how often the Lockheed P38 Lightning has been featured in paintings recently. This is a colourful world and as artists we usually make full use of colour. It is marvellous to be able to take advantage of this .pdf version and enable our readership to enjoy the impact of the posters in Peter Groves article and the paintings of Charles Kadin, and Charles Thompsons paintings tucked away in News Round. Those who are restricted to the print version have to make do with greyscale.
If any member has an objection to the Society holding Membership records on a computer and using the informa tion for society purposes deemed suitable by the Commit tee, eg; the production and distribution of a membership list, please notify the Editor
Contents Introducing Charles Kadin
December Meeting Christmas Cheer
January Meeting New Years Honours
Peter Groves Brief History of Poster Art
February Meeting MAvAS Trophy
Display Panel February 2012
Eric Yuill One Mans Meat
The Perils of Aviation put into Perspective
The February Workshop Catalina at Menai
Introducing Charles Kadin
I was first attracted to aircraft at the a seven. We lived very close to wha Little Norway. The war was on an busy time for family and friends, som had sons in the RCAF. To a youngst very exciting. I took a commercial art course at Central Technical School. It was here that I first saw the war art of my instructors Peter Haworth and per haps more pointedly the onsite drawings created by Charles Gold hammer who was an official RCAF artist. He showed me his sketches of wounded aircrew being removed from aircraft. There were also draw ings of the reconstructive facial sur gery that was being explored at the time. These drawings are now in the collection of the Canada War Muse um. They had a profound effect on me.. Early on I discovered Art Directors were not well versed in the art and mechanics of typography, print technology, budgets and schedules. I gravitated to typography, the archi tecture of the word. I made a point
of learning colour separation, photo engraving and printing processes. By the age of 28 I was able to take my typographic knowledge to Ea tons Catalogue. For the next twelve years I grew at this venerable Com pany and became catalogue Crea tive Director. A beautiful product with a terminal illness. Taking every thing I knew, I went to Harlequin Books who hired me as their Art Director. Having worked for many years with photographers, I now found myself working with illustra tors. As Harlequin developed, the need for commissioning top drawer illustrators became imperative. This brought me in contact with the best of the best. Normally I would meet the artist at the Society of Illustrators in New York. On one occasion I went to the studio of Richard Ko
age of six or at was then nd it was a me of whom ter it was all hfield where I was greeted by a wall covered with his aviation paintings. Eureka! Richard introduced me to Keith Fer ris the Dean of US aviation art, and one of the founders of the American Society of Aviation Artists. [ASAA]. I had been painting aviation art from material borrowed from RCMI in Toronto. I showed this to Keith and before I knew it, he assigned me to a USAF artist trip. From that time in 1987 until now I have not looked back. I became a member of the ASAA and attended many annual conferences where I was fortunate to receive professional critiques from outstanding aviation artists like John Young, Charles Thompson and Keith Ferris Along this route of discovery I joined the Canadian Aviation Historical So
RNAF Cornells over Toronto Island Airport 1942
Chimo Air Service
Tucks Hurricane ciety and the American Aviation His torical Society. This brought me into close contact with living history and people who well remembered their past experiences. It set the stage for my great interest in the Golden Age of flying and commercial aviation. Living in Toronto, the Island Airport became a focus of interest in many of my paintings. I was urged to enter into Artflight in 1996. This wonderful and challeng ing effort put forth by the jewel of Ottawa, The Canada Aviation Muse um. This experience added to my interest and provided a wonderful place from which to glean Canadian aviation history. Here I met people who shared my interest in avart and it was at one of these early Artflight meetings that the idea to reestablish the CAAA was discussed . A number of key original members were present, and it all came together at a subsequent Conference in Trenton.
Mapping the Yukon After I retired from the Commercial Art field, aviation art became my abiding friend. I would never have believed that my work would be purchased and repro duced in leading aviation magazines in North America. That I would have over a dozen canvases in the USAF Art Collection, and I would one day actually see one of my paintings in the Air Force section of the Pentagon and on a wall in the main administra tion building at Andrews Air Force Base. In 2005, Artflight honoured me with First Place for my painting, Mapping The Yukon. I am humbled to have this work in the Canada Air and Space Museums collection.
Aviation Art has stopped me from growing old. Every new challenge or commission, renews my energy and ignites the brain cells. I am indeed fortunate to have Tanyas support. She makes it possible for me to go further and higher.
This meeting was devoted to our annual Xmas event when members bring along items to sell or swap and generally have a chat about the years`s activities and our ideas for the future. Nine members attended and the conversation developed to include the forthcoming Post er Competition in February plus a variety of aviation related subjects. Altogether a pleasant evening. Unfortunately, new member David Taylor made the effort to attend but was informed at the gate that the only meetings taking place were in the main building so, naturally, he went home. Later amicable discussion with Milburn`s confirmed that this situa tion is unlikely to happen again.
Roger dictated his wish list to Santa. Terry practiced dozing by the fire after Christmas dinner
New Years Honours Twelve hardy souls found their way to the January meeting (your Editor unfortunately not included) which isn`t too bad for a Winter meeting and we gained a new member, Bill Hague. Bill is a member at the Society of Marple Artists and came along after talking to fellow member of SMA, David Steeden. Peter`s presentation was well received and the work he put in preparing his power point presentation certainly paved the way and provided inspiration for Fe buarys poster competition. Despite the poster competition being over by publication date see page10 Peter passed on the material so we can all benefit from his research and it may well provide the inspiration for future work.
Peter Grove gives us a
A BRIEF HISTORY Unfortunately I was unable to attend Peters presentation, however he kindly emailed it to me. I can show the posters but not the explanation or discussion that accompanied it. So the text is mine
I love the freedom of the first example, in the second, the Art Nouveau overwhelmed the message but Opels message was simply and cleverly put.
The German artist drew better planes, the Americans gave a strong message but the British went for honour and glory with a cash incentive.(But who in their right mind would try to fly those aircraft?)
Meeting 10th January 2012
Y OF POSTER ART Here is where it gets really difficult. I an totally love the Art Deco trav el posters they promised freedom and luxury travel, but had a sort of belonging to an elite, who would have experienced and recognised the images, often partial or from an unusual angle.
Following the dream. Post ers looked at the romance of the destination. Aircraft took one to interesting and may be romantic places, at first depicted in stylised form then more realistic, with beautiful girls to enhance the appeal.
Jersey Airways placed them selves way above a low cost airline. Perhaps the Origin of the Species?
Though devoid of aircraft we must mention the influ ence of Norman Wilkinsons railway posters.
In wartime, aircraft were a popular ad dition to posters for a wide variety of subjects, on both the allied and axis sides.
Postwar the dreams returned for a lucky few. Gradually the cost of air travel dropped and more people were able to follow the dream.
Poster art became more abstract and followed the new tail art.
Though some followed a different dream. More modern posters became boring.
Well most of them.
Mavas Trophy 2012 The meeting in the Conference Room on 7th February was attended by 16 members. There were two distinct subjects on the agenda, namely the MAvAS Trophy Competition for best Poster plus the regular change over of paintings on the display panel. Approximately 16 posters were provided and voting produced a tie between three of them. A second vote decided the outcome and the MA vAS Trophy was awarded to the winner, Chairman John Williams, by mem ber Peter Grove. The other entries will not be wasted as they will satisfy the societys other requirements for publicity material. The latter part of the meeting was devoted to a crit of the 13 new Gener al Aviation paintings brought in by 8 artists for the panel change over. Roger Markman took on the task of Appraiser at zero notice and proceed ed to do an excellent job, mixing valid criticism with encouraging comment.
A very good night for Chairman John, his painting Rescue by Royal Appointment was much admired, as was Keith Standcombes Barton Open Day
Left Ron Sargeant puts most members to shame with his prolific output. The English Electric Lightening usually fig ures in his work, here he adds natural lightning and St. Elmos Fire.
Right top Air A Islander by Chri
Opposite New Bill Hague likes them big and w ished.
Ambulance is Taylor
member to paint well pol
Editor Dave Bates, knows the Spit is done so very often, but he had a CG 3D model, and anyway he likes them.
He also likes the BBMF.
The Spit has figured in many paintings but still looks good in this fine painting The Legend by Terry Jones.
The Blenheim V is captured beautifully in pencil by Peter Grove
One Mans Meat Loosen up your artistic corsets urges Eric Yuill
When we study the work of various artists, what is it that makes us admire one over the other? Do we look for realism, inter pretation, colour balance and application of such on medium? Do we prefer the rough twisted shapes of Van Gough`s landscapes or the more real softness of Constable? In the case of aviation art it is difficult to find much in the way of impressionism or expression because of the need for realism in the portrayal of aircraft. However, if we con sider what Keith Woodcock said in our maga zine then there is so much more that can be shown in aviation art. Granted that we have to learn our craft and, like many artists, we are academic in our approach. Indeed, many jazz musicians start ed out as classical instrumentalists, graduat ing into their own style of music. I am not advocating that we should ignore the finer things in aviation art, but rather that we should look for other avenues to explore. Ossie Jones has given us his idea of what Turner may have made of aviation in art, but what of Picasso or Dali? The mind boggles.
I am not much in fa menting with art, bu subject suits me be concentrating too m enough on art? Whe we used the brush at rienced the thrill of the medium? Perhaps it is artistic corsets and What have we got to happen is a piece o dustbin. Take a trip and instead of stan particular painting, g You may be pleasan little flick of the brus We must neve realistic approach t pursue other ways to ever course we tak ourselves after all th
Eric submitted this it was mislaid duri over apologies Er
avour of the word experi ut perhaps expression of etter. Are we in danger of much on aviation and not en was the last time that t arm`s length and expe just getting colour on to
time to loosen up our just let fly so to speak. o lose? The worst that can of work consigned to the to your local art gallery nding back to admire a get as close as permitted. ntly surprised how just a sh can convey so much. er of course abandon the to our work, but rather o portray aviation. Which ke, above all lets enjoy hat is what art is all about.
The Perils of Aviation put into Perspective It was then that the really exciting part of the journey began to those who know the perils of driving through Paris traffic the comparative safety of the air will be well understood. Actually we appear to have created something of a record in getting through the Imperial Airways headquarters in the Rue de lOpera hav ing had only a minor collision with one taxi. It is feared that an Australian pilot L.J, Trist, who last month went missing when operating a Junkers monoplane on the New Guinea goldfields service, has fall en a victim of cannibals. A report from New Guinea states that two natives have declared that Mr Trists aeroplane crashed in the bush and Mr Trist, who was sick, walked to the nearest village. He endeavoured to make friends with the natives, but they struck him down and ate him after a festival. The aeroplane was then looted and buried in grass.
article some time ago but ing the editorial change ric From the archives of Flight magazine July 17th 1931
This Workshop was d acrylics by Ossie Jones In addition to Ossie, m Nield, P. Flitcroft, R. S Ossie proceeded swiftl fascinating to see the p As always, there w life, adding drama meeting was the la conditions on the da work had been spe
Sadly, be ship in Ma has done doing the
devoted to a painting demonstration in s entitled Catalinas in the Menai Straits. members attending were P. Grove, P. Sargeant, C. Taylor and K. Stancombe. ly in his usual positive way and it was painting develop. was a point when the addition of highlights brought the painting to to the image of the aircraft taking off. A notable feature of this ack of heat in the Conference Room. This, and the very cold ay, led to an early finish so the painting, on which around six hours ent up to that point, was not entirely complete.
ecause of health issues, Ossie will not be renewing his member arch so this is an appropriate time to express our thanks for all he e for MAvAS in the past. It is pleasing to note that he will consider e odd workshop in the future so we may see him again in due course.
S. Joseph (Joe) DeMarco It is with great sadness that we report the death of our American member Joe DeMarco who passed away on th 27 January, 2012 following a 7 month illness. He became a member of MAvAS in August 2002 and, although not able to attend meetings, he participated through the columns of the magazine. Joe was a remarkable man whose achievements in his 93 years were outstanding. His initial childhood ambi tion to be an engine driver was soon overtaken by a passion for art and aviation, interests that he pursued vigorously throughout his life. As fellow members will know, his artwork is of the highest quality. In addition to holding responsible positions in Art Management at Glenn L. Martin and later at Aircraft Armaments Inc., Joe, amongst other things, found time to raise a family, build his own house, grind his own optical lenses and learn to fly. Also, to develop his pet project of many years, his 3dimensional geometric projection sys tem. In the early days, Joe, having taught himself the necessary maths and trigonometry, entered this system into one of the first hand held scientific calculators in order to speed things up and, in later years, created his Artists` Perspective Modeler program, APM, for computer operation. This program is Joe`s legacy to artists wishing to pursue accuracy in their work. A talented man by any standards, Joe will be missed by his friends and our condolences go out to his wife, Edie and her family.
Oops.. A last word with a gentle slap on the wrist from Joe . Maybe I didn't make it clear. I wanted to make the point that the Mauler rendering was not a drawing, it was an India Ink wash; watercolor without the color. I'd be surprised if the medium was unique to the GLM art department, but I am surprised that it didn't make its way into other art departments of the era.
Martin XB -51
Charles at large Back in November, just missing the December issue, Charles Thompson visited a small private airfield near Saffron Walden where the Guild's East Anglian Region were holding a painting day. He reports..There was a super little rac er parked in the doorway of the hangar and I initially though it would make a good subject to paint from the rear 3/4 view as in 'Racer 3' attached because the lighting was contre jour which gave those beautiful reflections, which I would have loved to have painted. But, I decid ed against it knowing that very soon my eyes would have become effected looking out at the bright sky from inside the hangar. So I decided to go outside and sit behind the Tiger Moth parked facing the open hangar with the sun glinting on the wings and fuselage and all set against the dark hangar. The light was very bright and I found myself struggling to see the canvas properly, but I perse vered and then after an hour I called it a day as my eyes were quite bad by then.
But he did I went up to Hendon for the annual 'Big Draw' and it was virtually packed with kids, drawing and sketch ing which made it a real struggle to find a suitable place to sit and paint. I finally went upstairs onto the narrow balcony and in desperation sat down next to the Mew Gull, which was hanging next to me. It was not a comfortable loca tion and so I intend to finish the paint ing at home, something I never do.
DIARY DATES Meetings run 700pm to 930pm in the Conference Room in the Air and Space Hall at MOSI in Manchester unless otherwise stated
Tuesday3rd April, 2012 Airships and Balloons An illustrated talk by Rob Knotts
Tuesday 1st May, 2012 An Approach to Sketching A demonstration by Peter Carter
Saturday 5th May, 2012
Workshop A Painting Demonstration by Ron Sargeant Subject Skies and Landscapes Medium Various Runs 1000am to 400pm
Sat/Sun/Mon 2nd/3rd/4th June, 2012 Exhibition at ELRS Bury Wartime Weekend Exhibitions Officer T.B.A Displays in the small cabin and the railway carriage. Bring suitable work along attachment by hooks and string. Stewarding will be required
Tuesday 5th June, 2012 Jim MacKendrick Trophy Competition Subject American Aircraft With the late Joe DeMarco in mind Winner to be decided by consensus Appraisal of work by T.B.A
page page 30 32
Editor: Dave Bates Tel: 01612843467 Email: firstname.lastname@example.org Society website: www.mavas.co.uk
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