The sunlight really helped in this instance. The car shone out. Modern vehicles mostly don’t come in colours like this. So even from 800 metres I could tell this was very likely worth a closer inspection.
The Audi is parked so close to the wall that you can’t see the badges – or, you couldn’t if they were there. By the time I got back with my camera the light had changed so I could not snap the car from the best view with the best light. However, art is often about rules and what are rules but limitations. It makes things interesting when you have requirements to satisfy. Such binding of the hands actually really helps one to do something different than is suggested by the path of least resistance.
I can testify to the creative value of rules; after a long spell during which I did not draw much or methodically, I began to work with rules. Number one, all the work goes in one pad (a marker pad). Number two, I could not remove pages from the pad.
Which led to rule three, no second chances and no mistakes allowed. Fifty pages later I realised I needed a new set of rules, to do the things I avoided and to stop doing the things I did automatically.
The least interesting work is done on the clean sheet or the green field with money no object.
(What do you make of this car anyway? Age and rarity have dignified it but it is more or less as plain as a Granada or Rekord/Senator from the same period. It is close to them in execution than a Mercedes W-123 from the previous year. The Peugeot 604 is an altogether nicer car from the same class. Would anyone have guessed things would pan out in the intervening years?)