ROKR racing car

I have been aware of ROKR wooden models for a long time. I've seen them on display in shops and online stores and always marvelled at their original olde-worlde style. Steam engines, Marble alleys, working clocks, Carousels, Musical instruments .... the list is endless. But it was Christmas 2024 that I finally got to find out for myself just how superb these 3D wooden models really are.

Lucky me received from Santa my very first ROKR model. I say "very first" because I'm determined that there will be many more in the future. My first ever ROKR model is of a Formula One Racing Car - and to my amazement, it actually works.

Car under construction

The first thing to know about these model kits is that they are laser-cut from thin sheets of wood. To assemble the model it is only a case of pressing out each pre-cut piece and adding it to the developing model. The skill level required isn't huge and most people will be able to assemble these models without too much difficulty.

What IS outstanding is the degree of accuracy in these kits. The wooden elements fit together with such precision that glue isn't necessary yet the wheels rotate and steer and the clockwork motor drives the car forward. The pieces are well labelled and press out of the wooden sheet easily, and clear instructions show exactly where each piece is to be positioned. In addition, some more complex pieces are duplicated in case of breakage during construction. These kits just ooze quality.

Though the skill level for building these models is fairly basic, the level of self-satisfaction from watching a 3D model develop step-by-step is immense. I certainly know what will be at the top of my future birthday and Christmas present lists.

Rowing Boat

Pen & Wash of an old broken Rowing boat

When walking around a local area of small lakes, I saw this broken and rotting old rowing boat on the opposite bank. I never go on such walks without my trusty Nikon so I cranked out the telephoto lens to it's maximum magnification and snapped a shot. I've cheated a lot with this one because the background is a heavily overgrown woodland with a good mix of shrubs and trees and I just didn't fancy painting all that shrubbery. I think I've put in enough to give the idea of the setting. 

Hexagonal box

Recently I saw a small, very cheap (£3), hexagonal wooden box in an art store and it just screamed at me to buy it. I had no idea as to how I would decorate it but eventually decided on marquetry to create a multi-coloured star-burst effect. The lid would be made up of several pointed pieces all meeting up in the centre. The sides would be matching veneers but running vertical from top to bottom (as most 'vertical' things do).

Obviously, work on the box began with the removal of the hinges and catch. To help with the positioning of the pieces I marked out the lid of the box and the next job was to cut 18 triangles, each with a 20 degree angle.

I laid out all my veneers so I could choose colours that are varied but that also work well with each other. It took a lot of swapping and moving sheets around until I found a combination that I was pleased with. Learning from previous mistakes, I numbered the veneers.

These veneers are extremely thin and it's very easy to break them while cutting due to the blade catching in the grain. One way I've discovered to reduce the instance of splitting is to stick masking tape on one side of the veneer. It also helps in that I can make pencil marks, etc, on the masking tape rather than on the veneer itself.

So my present process is to stick some tape onto a piece of veneer and then carefully mark out a 20 degree triangle. This was then cut out with a sharp scalpel. The triangle was then positioned on the lid of the box and I put a piece of masking tape, sticky side up, to hold the pointed ends in place.

I decided to cut opposite triangles from the same veneer and the work I put into selecting and arranging the veneers at the outset is now paying off. Obviously, at this stage, I could easily swap veneers around again but I don't see the need as I'm quite happy with the scheme as it is.

In addition to the lid I also glued the veneers to the sides of the lid and to the main box, paying close attention to making sure I get them in the right order. 

Each piece was numbered to make it easier, and I also marked an arrow on each piece to show me which way the grain runs. It was a slow process because I could only work on one side at a time, and I  needed each side to set before moving on to the next.

The box was sanded using varying grades of sandpaper and the surface was cleaned with a tack cloth to remove the fine particles of dust trapped in the grain. I applied a couple of coats of Shellac Sanding Sealer which fills the pores and grain of the wood. This process was repeated a couple of times, sanding between each coat with extremely fine sandpaper, until I felt it was ready for varnishing.

So here is the finished box. The Sanding Sealer was followed by 3 coats of water-based polyurethane varnish (Clear) with a light sanding after the second coat. The process was finished off with 2 coats of Finishing Wax polish, with a good buffing between each.

Every time I've done some marquetry I've finished off with a different varnish, polish or process because I've never been completely satisfied with the result. I've been aiming for a high gloss finish that doesn't yellow the wood. I think with the above process and products I've finally found a result I'm happy with.

Lion in Ink

 A while ago it occurred to me that I've never attempted a serious drawing of an animal using pen and ink. I searched Pixabay (my favourite site for royalty free images) and found a stunning photo of a lion with a sunset background. It made a perfect reference picture. 

The drawing was produced entirely with a very fine (0.05) UniPin Fineliner. I wanted to use the thinnest nib so that I had more control over the tonal values. It made for an awful lot of mark making in the darkest areas but working the darks in slowly was always the plan. When working with ink we can't add texture marks without adding dark marks, and getting that balance right was paramount. I thoroughly enjoyed this one.

Vintage Petrol Pump

Following my pen and ink drawing of the Lakeside Cottage in which I used some Vermillion drawing ink to highlight the red roof, I felt inspired to find another subject that would provide the same opportunity for a red highlight.

Looking back through my old photographs, I was delighted to come across one of an old vintage petrol pump standing in a cottage garden in the very quaint village of Chipping Campden. The petrol pump not only caught my eye because of it being such a unique feature in a garden setting, but also because it carried very poignant memories for me. As a young boy (9 or 10-years old) my mother worked as an attendant at a local filling station. The fuel she sold was called "National Benzole", and that was exactly the name displayed on this pump. 

I know this is only my second "drawing with red" but I've looked at photographs of our red Post boxes and Telephone kiosks and feel a series coming on. Watch this space!!

 

A faithful servant

 

From time to time I like to pick up my pencils and do a simple graphite drawing. I admit to always struggling with the use of paints. I enjoy the process, but am seldom satisfied with the end result. Pencil drawing is something that I am better able to control and, as well as enjoying the process, I usually enjoy the end result too. It's much more rewarding and satisfying for me.

This old kettle was submitted to my forum's monthly challenge by one of the members. The wonky handle isn't bad drawing on my part but a consequence of the age of the kettle and demonstrative of the hard life it's lead. The member explained that it's deformed handle gives it character and that is why she could never part with it, It is now in retirement and serving out the rest of its years as a watering can in her garden.

Lakeside Cottage

Currently my favourite medium is Pen & Ink. I call it Pen and Ink even though I use Micron Fineliner pens. I suspect Pen & Ink usually means a dip pen and a bottle of ink and I'm happy to be put right on that if any of my followers know the answer. 

Though I am usually very comfortable shading and defining textures with a pen, on this occasion I struggled. As can be seen from the reference photo, the ground immediately around the cottage had contours, but little by way of texture. I contemplated drawing every blade of grass but not for long .... that just wouldn't have worked. LOL.

As can be seen, I opted to define the contours with fine hatching lines with the occasional blade of grass here and there. It worked to an extent but I can't say I'm especially happy with the effect.

One thing I AM happy with is my decision to use Vermillion drawing ink to brush in the red roof. My initial drawing is shown on the right.

I wrestled with the decision for quite a while. I've seen black & white pictures with just a single object picked out in red, and I've always like the effect and artistry involved. So with caution thrown to  the wind, I bit the bullet (mixing my metaphors well now), and dipped brush into ink. Initially, that red roof captures the eye and takes over the scene, but gradually the eye begins to wander. I'd love to know what you think.

Puffin

Another quick watercolour for my forum's monthly painting challenge. Unlike the challenges set by most forums, this challenge involves everyone painting the same subject from the same reference photo. The end result isn't so that we can decide who is best (because art is so personal and subjective anyway) but so that we can see how others tackled the same subject. I can't count the number of times I've seen my work alongside the others and thought "Why didn't I think of that?". 

We also have a critique section and I encourage beginners to offer critiques. They usually reply that they don't feel 'qualified' enough to criticise the work of others, but I try and get them to understand that by studying closely the efforts of another artist they will learn a lot about their own efforts.

Sheesh!!! I've been painting/drawing for 25 years but I still feel like a beginner. LOL.

 

Steps at Robin Hoods Bay - 2

A couple of years ago I did an ink drawing of some cobbled steps in the beautiful village of Robin Hoods Bay. So much did I enjoy doing that drawing that I decided to do another.

My idea for that first drawing was to try and create a vignette effect and though it wasn't a complete failure, it didn't quite live up to the image I held in my minds eye. This time I was hoping to do better.

Robin Hoods Bay is the most delightful and picturesque coastal village I've ever been to. The reference photo is one of the many photo's I have of this beautiful place. The scene isn't as pleasing to the eye as the first one but I find the cobbled steps receding into that alley quite captivating. I can't help but imagine smugglers of olde disappearing through that opening with their illicit contraband.

Just as I did the last time, I was hoping to achieve a sort of vignette effect. It wasn't as successful as I'd hoped last time and I'm not overly pleased with the effect again this time, but for different reasons. On the positive side I find this method of drawing extremely relaxing, absorbing and contemplative as I quietly work over the paper making tiny ink marks, allowing my mind to drift wherever it pleases. 

For anyone interested, I have a full Work In Progress page on my main web site that shows the stages I went through and my changing thoughts as the drawing progressed. I hope you have a look at it.

More views from Robin Hoods Bay

Cobbled steps
(Pen and ink)

Haberdashery
(Pen and Wash)

New Road
(Pen and Wash)

King Street
(Pencil)

Steps to Front Door
(Pen and Ink)

Coastal View
(Pen and Ink)

D-Day Diorama - Part 3

Finally I have finished cleaning and painting 70 tiny soldiers (40 British and 30 German). It has to be the least pleasurable part of the whole project.  As I mentioned in posts of my first diorama, painting and weathering the tiny figures was a challenge in itself. As previously, I elected to remove each figure from its small rectangular base, though I didn't do that until the painting was finished. Each man was glued at the soles of his feet, and that proved challenging given the sand they were standing on. 

A couple of poor chaps had their legs amputated below the knee and were glued to the water to give the impression of them being shin deep in waves.

The Willys Jeep part of the kit contained an optional Supply Trailer as well as the Howitzer gun. Since I elected to use the Howitzer, the Supply trailer was redundant. 

I'd already constructed and painted it so I partially disassembled it and positioned it near the shell crater to make it look as if it had been 'hit'. It nicely disguises the 'perfect circle' of the crater which had always bothered me and also serves as a shield for the advancing troops.

Looking over the finished model I can see plenty of opportunities for tweaking, refining and enhancing, so I may well find myself doing more to this in the future, but for now I'm calling it done. 

It was around the 80th anniversary of D-Day that I decided I wanted to make this diorama, both as a tribute to the men and women that took part and in remembrance of my own fathers involvement. To be completing it at this time, around the 80th anniversary of VE-Day, seems very fitting and appropriate. We shall never forget.

Please read my previous posts about this diorama...

D-Day Diorama - Part 1

D-Day Diorama - Part 2