David Kimble's automotive illustration work has become synonymous with the term "Cutaway." He is one of the last remaining masters in the art of traditional airbrush automotive illustration. From an engineering standpoint, the level of detail, accuracy, and precision David is able to achieve in his illustration work is breathtaking.

Biography

David Kimble grew up in Southern California, where his father worked as an aerospace executive. David has had a passion for cars and motorcycles since childhood. He has been doing cutaways since grade school, using shelf paper and crayons to create his first artworks.

David studied physics at Pasadena College. After graduating, he began doing drafting work on an Indy 500 car in 1966. He also worked as a design engineer for an RV company before he started doing illustrations for "Road & Track" magazine.

David Kimble describes himself as a "Eclectic maniac." He claims that his technical skills as an illustrator are a result of his passion for the art form rather than his formal training. A compulsive workaholic, Kimble manages to work 14 to 16 house a day with a 2 hour nap at four o'clock in the afternoon. A typical engine cutaway takes approximately six weeks to complete; a car cutaway can take up to eight weeks. The most time consuming part of any illustration is the line drawing phase, which can take up to three weeks.

After 15 years of operating his studio in Burbank, California, David moved to his wife's hometown of Marfa, Texas. He bought the old Palace Theater and converted it into his studio and residence, where he works to this day.

Methodology

David has chosen the "path of most resistance" by remaining defiantly stedfast in his resistance to go digital. He continues to use his tried-and-true method of airbrushing acrylic paint onto transparent film to create his masterpieces. The end result speak for itself; his work is in as much demand today as it has ever been.

To start an illustration, David Kimble takes a master photograph and enlarges it to the scale of the final illustration. After tracing the exterior photograph, he starts the chassis assembly drawings by plotting the components into the tracing one layer at a time. When the preliminary drawing is completed and approved by the client, an assistant inks the line art and it is transfered to a transparent mylar film positive.

The image is painted on both sides of the film; chassis on the rear side and body exterior on the front side. By painting on both sides of the transparent film, David Kimble is able to achieve the effect of ghosting the exterior body of the car "over" the chassis without actually spraying the body color onto the chassis side of the film. This process allows for modifications to be made to the amount of ghosting without disturbing the underlying chassis "layer."

David Kimble's tools of choice are "old school" all the way. His use of Pencil, Rapidograph, Iwata Airbrushes, Winsor & Newton Acrylic paint, Frisket, and transparent film set him apart from the digital world. These techniques are difficult to master and require a level of patience that would not appeal to the amateur or digital technical illustrator.

Kimble's plans for the future are to "Work like a demon until I go belly up."

Intro

David Kimble's automotive illustration work has become synonymous with the term "Cutaway." He is one of the last remaining masters in the art of traditional airbrush automotive illustration. From an engineering standpoint, the level of detail, accuracy, and precision David is able to achieve in his illustration work is breathtaking.

Biography

David Kimble grew up in Southern California, where his father worked as an aerospace executive. David has had a passion for cars and motorcycles since childhood. He has been doing cutaways since grade school, using shelf paper and crayons to create his first artworks.

David studied physics at Pasadena College. After graduating, he began doing drafting work on an Indy 500 car in 1966. He also worked as a design engineer for an RV company before he started doing illustrations for "Road & Track" magazine.

David Kimble describes himself as a "Eclectic maniac." He claims that his technical skills as an illustrator are a result of his passion for the art form rather than his formal training. A compulsive workaholic, Kimble manages to work 14 to 16 house a day with a 2 hour nap at four o'clock in the afternoon. A typical engine cutaway takes approximately six weeks to complete; a car cutaway can take up to eight weeks. The most time consuming part of any illustration is the line drawing phase, which can take up to three weeks.

After 15 years of operating his studio in Burbank, California, David moved to his wife's hometown of Marfa, Texas. He bought the old Palace Theater and converted it into his studio and residence, where he works to this day.

Methodology

David has chosen the "path of most resistance" by remaining defiantly stedfast in his resistance to go digital. He continues to use his tried-and-true method of airbrushing acrylic paint onto transparent film to create his masterpieces. The end result speak for itself; his work is in as much demand today as it has ever been.

To start an illustration, David Kimble takes a master photograph and enlarges it to the scale of the final illustration. After tracing the exterior photograph, he starts the chassis assembly drawings by plotting the components into the tracing one layer at a time. When the preliminary drawing is completed and approved by the client, an assistant inks the line art and it is transfered to a transparent mylar film positive.

The image is painted on both sides of the film; chassis on the rear side and body exterior on the front side. By painting on both sides of the transparent film, David Kimble is able to achieve the effect of ghosting the exterior body of the car "over" the chassis without actually spraying the body color onto the chassis side of the film. This process allows for modifications to be made to the amount of ghosting without disturbing the underlying chassis "layer."

David Kimble's tools of choice are "old school" all the way. His use of Pencil, Rapidograph, Iwata Airbrushes, Winsor & Newton Acrylic paint, Frisket, and transparent film set him apart from the digital world. These techniques are difficult to master and require a level of patience that would not appeal to the amateur or digital technical illustrator.

Kimble's plans for the future are to "Work like a demon until I go belly up."