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Velocolour Bicycle Painting
I don’t believe in randomness or fate. So what else is there? Circumstance I guess. Some of us are lucky enough to start with something, anything. Knowing when or how to use it is the key. I am lucky. I was born a white male, in Canada to middle class parents. I am Jewish but if you’re going to choose a minority to be, that’s not bad. All I am saying is that I have been given opportunities for these reasons alone. I am not in Haiti or Pakistan or Afghanistan and I know how lucky I am.
Part 1
My parents moved from the U.S. to Toronto in the early 70’s. Jobs were good, Canadian politics seemed a lot more civilized, more left leaning perhaps. My Dad was a bike racer so when my parents arrived in Toronto, the old man, who would have been a few years younger than I am today, went around to the various bike shops, trying to identify the bike scene here. Mike Barry and Mike Brown’s Bicycle Sport shop had been open a few years and my Dad quickly established this as the place to be. The Mikes were already building Mariposa Bicycles at this point and were developing a good reputation and a strong following. My Dad Mike, number three or four, started riding with them and ultimately joined the club, Britannia C.C. The Barry’s were to be my parent’s oldest friends in Canada. A few years later us kids came along. My brother was born in 1974. The next year Mike Barry looked at my Mom and said, “were going to have one of those” pointing to my brother in the carriage and soon came Michael Jr. In late May of 1978 my brother was dropped off at the Barry’s house while my parents went to the hospital, I arrived a few hours later. Circumstances you see.
Part 2
I have always been a maker. As a kid I made things of all sorts, shoebox mazes for my gerbils, clay objects, and drawings. In my high school years, among other things, pipes made of found objects for my friends. It didn’t matter. I was lucky enough to have parents who sent me to art classes as a kid fostering my interests. When it was time to go to college the art realm was never questioned. It was not what would I do, but what would I make. I spent six years in school studying mostly ceramics, some sculpture, design, art history etc. Most people think art school is easy, maybe it is. But I think it is as hard as you want to make it. Like anything, you can settle in or push yourself. Every day I questioned how, what, why and why and why? I thought I was going to go on to do my Master’s, get a teaching gig in Ceramics and keep making things, ceramic things. I was well lined up for this but something changed along the way. Three or four years went by with a bit of travel and this and that but most of the time was spent working and trying to keep my studio open.
Part 3
This is when things came together a bit. As well as being a maker, I have always been a cyclist. Yeah I tried some races in my younger years (at 10 or so) but they inevitably turned into nice rides in the country. In 2005 Mike Barry, knowing my interest in bikes and also being aware I was a keen maker of things, asked me to work for him. He was short a painter and thought it would suit me well. Indeed. My focus was still my own work but I knew this was a rare opportunity. I spent three years with him, and builder Tom Hinton. These were the last three years of Mariposa and Bicycle Specialties. I learned a lot from them and I learned how to paint. I also got to see and work on things many don’t, the classics, maybe the beginnings: Bianchis, Rene Herses, Claude Butlers, CCMs, etc. Many examples of these still hang from our rafters. In 2007 Mike decided it was time to pack it in. Fourty years on and he had had enough of running the business and wanted to spend more time working on those old classics at his leisure. He has a massive collection, enough to keep us all busy for some time. The business was offered to me to take over. We would keep Tom on building and I would paint and keep track of customers and accounting. My interest was still in my own work though. I loved painting and bicycles but with this there would have been nowhere for me to go. I sadly turned it down, perhaps sadly for both of us. Some thought I had horseshoes in uncomfortable places and was being foolish but it was not right. Through this, new circumstances were born. I either had to find a new job or start my own business. Mike had recently bought the space we had been working out of to store and work on his bikes. So…
Part 4
January 1st, 2008 I started Velocolour Bicycle Painting. It’s funny how things go. Even then I liked it but this was still a job. My studio work and shows remained the focus. It is only in the past year and half, maybe two years that painting has really become my primary interest and now I can think of nothing better. It was a bit of a slow start, some lean times with bikes trickling in. I, and others, weren’t sure there were enough bikes around to paint full time. I figured more people had to know what I was up to add it would all work out. This is the nice thing about painting. It is affordable enough for people who just like nice objects. Word grew quickly and a little NAHBS award can do wonders. For most the progression from painting is into frame building. I have little interest in this though. I am building, slowly, a bike for myself now. It will be a grass track racer to challenge friends in the park. I could build fine bikes but others are doing amazing things already, and the painting is too good. From my perspective, each frame is its own object to be independently layered in designs, colours and ideas. Painting offers a huge amount of freedom and creativity though it has taken time to get to the point of becoming remotely comfortable. Painting bikes is the hardest thing I have ever done. There are infinitely more ways to screw it up than to get it right. As I become more comfortable I am also learning to blend my art background with painting and I think this opens doors. There are more options, concepts and collaborations and it just gets better. I have no idea where Velocolour or I am headed though I am where I expect to be. I am still just a kid and this has all been pretty easy for me. I am lucky in that I have had more support than many and more mentors too. Instead of working for Mike Barry, we now share a space. As kids young Michael and I used to have sleepovers. In the morning we would run into Clare and Mike’s room for tea and cookies. Now, Mike and I take turns making tea in the shop. I still learn from him everyday and hopefully once in a while he learns from me too. It is a great time to be a maker in the custom or boutique bike field. Frames, paint, accessories, you name it. They are all doing well and showing people how great bicycles can be. The big shows have changed the scene and the Internet has connected all of us to each other and our customers. Of course I have not be in this long enough to know any different. What I do know is socially, economically, environmentally and therefore politically, bikes are it and the circumstances seem to be right.
Thanks for reading.
noah
WELCOME TO VELOCOLOUR
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Re: Velocolour Bicycle Painting
can i go first?
noah, i love your paint and hope that someday you can paint one of our frames. actually, i have a frame in mind for Nahbs - would you be interested?
but my real question is: bicycles aside, who are some of your favorite artists and influences on what you do today?
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Re: Velocolour Bicycle Painting
Hey Noah,
How do you go about getting on the "same page" as your customers when it comes to understanding what they want?
Is there something you've learned, or a process you follow so you can avoid that scary surprise that can accompany any custom project?
Grant
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Re: Velocolour Bicycle Painting
Quote:
Originally Posted by
hampco
can i go first?
noah, i love your paint and hope that someday you can paint one of our frames. actually, i have a frame in mind for Nahbs - would you be interested?
but my real question is: bicycles aside, who are some of your favorite artists and influences on what you do today?
Thanks Steve,
I think my influences are fairly generalized. It used to be something that I was really specific about. Like one or two people that I would really focus on and read about. Now we are hit with so many images and ideas that I find it is hard to pinpoint too many specific people. It is a lot about the people around me though. Suzanne, my girl friend, has a big impact on what I do. We talk a lot about designs patterns, colours. Micah Adams who works for me is a very skilled maker as well. We are often talking about our own projects and how they should work or what they should be.
On a non-aesthetic level the conceptual artists of the 60's and 70's I think have really impacted the way I look at things and how I may approach a project. I guess now that I think about it. Ideas have often had a bigger impact than visual stuff. Most of the art or artists I have been interested in over the years have focused more on concept. It seems like a funny thing than to do what I do now, a glorified aesthetition (sp.) perhaps.
Ceramic history is something I something I draw on a lot. The use of images and pattern created from daily life is important. Using the stuff around you and putting it back in to the work.
And cars, everyone likes cars eh? My Dad raced vintage cars from the time I was 8 or so years, and myself, go carts. I spent my youth traveling to races around North-America and I think the forms and colours of those machines I saw is always there.
Convoluted perhaps but I try to avoid nailing it down with a list specific people.
It would be great to talk with you a about a NAHBS project if you are interested. I don't do a lot of painting for builders but singular projects are what excite me the most.
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Re: Velocolour Bicycle Painting
Quote:
Originally Posted by
GrantM
Hey Noah,
How do you go about getting on the "same page" as your customers when it comes to understanding what they want?
Is there something you've learned, or a process you follow so you can avoid that scary surprise that can accompany any custom project?
Grant
Hey Grant,
Good question.
More and more people want me to tell them what they want or what they should do. That is the fun and difficult part about painting. Mostly people get in touch or come in to the shop without too many concrete ideas. Which means they respect me enough to put ideas together for them but it also means it is a lot of extra work for me interms of planning out colour schemes etc. If they are in the shop I try to nail it down right there so we don't have to drag the process out too much. I will often pull out some tape and start laying it down in front of them so they can see what we can do. Also pointing out colours and details on other bikes around the shop is really helpful. We have a lot to look at here as you know.
Really it is different with each customer and you have to feel out how comfortable they are and if they are into something more classic or modern, bold colours or something more muted. Money unfortunately is the boundary. I try to identify what they want to spend first so I know how far we can go and know not to spend too much time putting together a grand scheme for a conservative budget.
Unless I know they are leaving it completely open to me I want the customer to know what to expect, have colours chosen and the design more or less laid out. I don't know of any dis-appointments yet.
Does that answer #2 also?
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Re: Velocolour Bicycle Painting
Noah, was your decision to not become partners in a shop purely based on that you just didn't want a partner or at that moment did you just not realize that you wanted to paint bikes? -Chris
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Re: Velocolour Bicycle Painting
Hi Chris,
You are referring to taking over Mariposa?
This was not a matter of us becoming partners. I was to buy the business and run it myself of course with some of Mikes guidance. I was flattered and a bit surprised that he would have wanted me to carry on the Mariposa brand but I didn't think I could do it. First of all at that time the other stuff I was doing was more exciting to me. I hadn't wrapped my head around being a full time painter without another focus yet. Second, Mike knows what he likes, he is an old school Brit and has his ways. I am constantly trying to identify my interests and what I would like to see and do and wouldn't have been able to or wanted to experiment with his style of bikes in that way. He rolls his eyes a bit when I come up with some of the designs we do here. For instance, I created a flower decal set for a show bike a year ago and have since been selling these as a part of paint schemes I've done. There has been a fair amount of interest in them and I am excited too but Mike hates them. He doesn't really get. That's fine but I wouldn't want to do that with the brand he created.
Mariposas were also extremely labour intensive bikes. Mostly they were tourers with full fenders, racks some internal lighting systems. It was more than I wanted to do. They weren't made for flare, though some had a lot of it, but they had to be right with fender clearances rack mounts etc. The wiring alone could take a half day to get set up. It all depends on how you want to spend your time. All of the small details might have driven me mad. I like making myself mad in other ways I guess.
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Re: Velocolour Bicycle Painting
hi noah atmo -
how do you paint such that the vision you have for the particular project doesn't overshadow the very canvas it's on?
from a layman's perspective, i could see where any, and i mean any frame at all could allow you a creative outlet. but
on brands whose work stands on their own, how do you juxtapose (i heart that word) keeping your skills and imagination
from overshadowing what's beneath it atmo.
i'll hang up and take the answer off the air.
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Re: Velocolour Bicycle Painting
Hi Noah;
No questions from me, simply well wishes to you and your great business. I've admired your work for years and it gets better all the time. I also think it's fantastic that you're in the same space as Mike Barry Sr. I couldn't imagine better synergy & interaction.
Here is to your continued success. Best regards, Marco
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Re: Velocolour Bicycle Painting
Quote:
Originally Posted by
e-RICHIE
hi noah atmo -
how do you paint such that the vision you have for the particular project doesn't overshadow the very canvas it's on?
from a layman's perspective, i could see where any, and i mean any frame at all could allow you a creative outlet. but
on brands whose work stands on their own, how do you juxtapose (i heart that word) keeping your skills and imagination
from overshadowing what's beneath it atmo.
i'll hang up and take the answer off the air.
That is the question atmo, and a valid one from the man with one paint scheme.
I think all frames need to be treated differently based on their inherent qualities. A lugged steel frame has natural edges to follow based on the lug detailing, cut-outs etc. where as a tig-welded frame has different rules because it doesn't have those same hard boundaries. I would naturally paint those two differently even with the same colours. I am always aware of the frame I am painting and try to design schemes that do the justice to the frame. Also I'm a bit of tradionalist though some may not see it that way. I am a sucker for panels. I find they can be a nice way to add something to frame without taking away from what is there. They create smaller boundaries to work within. Polka-dots, stripes, what have you. It gives you a little place to have fun without going over the top all over.
.
I just painted one of yours by the way. The lugs are nice and crisp so I wanted to keep it simple and give respect to the maker. Light metallic blue overall with dark blue lug lining. I have rarely if ever seen one of your frames lug lined but I think with more simple lugs this can highlight and draw attention to the frame work. Sometimes it's too much on really heavily carved lugs. It is finished off with red box lining to keep it real.
A carbon frame is mostly an open surface to play with. I paint piles of Cervelos these days. I don't get how a lot of manufactures have these really smooth molded frames and then throw lines all over it ignoring the forms of the frame. That is often my starting point with carbon. I have trouble designing a paint scheme for a carbon bike that I don't in front of me. You have to see the thing and the actual shapes and how colours will work over the contours of the frame.
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Re: Velocolour Bicycle Painting
Quote:
Originally Posted by
fixednwinter
Hi Noah;
No questions from me, simply well wishes to you and your great business. I've admired your work for years and it gets better all the time. I also think it's fantastic that you're in the same space as Mike Barry Sr. I couldn't imagine better synergy & interaction.
Here is to your continued success. Best regards, Marco
Thanks for the kind words Marco,
I have been very lucky to share a space with Mike. He has helped me so much and continues to everyday. Brazing questions, a headset or part I have never seen before. He seems to know it all as long as it was made before 2000. He likes to play these guessing games where he'll pull a part out of a drawer and I have to figure out what it is. It's amazing how much shit I don't understand or know about and Mike is a walking bicycle enCyclopedia.
I agree, my work is getting better all the time, it is only natural, but there is a long way to go with no end in sight.
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Re: Velocolour Bicycle Painting
thanks, noah -
but i actually wasn't asking from my perspective (and i do, in fact, offer an infinite paint and scheme selection atmo).
let me rephrase the question: how do you keep a frame that's not made by you from becoming a finished piece that
screams velocolour as opposed to <insert f'maker's name here ________ > representing the cat who made it atmo.
is it your canvas or his frame?
Quote:
Originally Posted by
velocolour
That is the question atmo, and a valid one from the man with one paint scheme.
<cut>
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Re: Velocolour Bicycle Painting
Hey Noah, thanks for getting Smoked Out. Do you have a favorite style of frame to or a favorite builder to paint?
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Re: Velocolour Bicycle Painting
Quote:
Originally Posted by
e-RICHIE
thanks, noah -
but i actually wasn't asking from my perspective (and i do, in fact, offer an infinite paint and scheme selection atmo).
let me rephrase the question: how do you keep a frame that's not made by you from becoming a finished piece that
screams velocolour as opposed to <insert f'maker's name here ________ > representing the cat who made it atmo.
is it your canvas or his frame?
Yeah I was just making a joke about the one paint scheme and wasn't trying to give an answer specif to you.
The thing is I don't paint many frames for builders, really only a handful aside from the Mariposa days. The builder is rarely a concern as when the frame is sent to me it is most likely in for a repaint.
The few I have done though I try to take both the end customer and the builder's concerns into account. It is important for everyone to be happy and I definitely don't want a visual screaming match beween the material and the coating.
Like I was alluding to in the first post I try to see each frame within it's own context. Who built it, who's it going to, where do they live, what kind of riding is happening, etc,etc. I think it all plays in.
That being said I know some of my paint work has brought attention to certain builders which is good for everyone me thinks.
If the builder is not happy with my work than I guess were not working together.
So far it seems to be working Atmo.
The few I have worked with were very happy with what I put together and want to send more work my way.
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Re: Velocolour Bicycle Painting
Quote:
Originally Posted by
velocolour
Yeah I was just making a joke about the one paint scheme and wasn't trying to give an answer specif to you.
The thing is I don't paint many frames for builders, really only a handful aside from the Mariposa days. The builder is rarely a concern as when the frame is sent to me it is most likely in for a repaint.
The few I have done though I try to take both the end customer and the builder's concerns into account. It is important for everyone to be happy and I definitely don't want a visual screaming match beween the material and the coating.
Like I was alluding to in the first post I try to see each frame within it's own context. Who built it, who's it going to, where do they live, what kind of riding is happening, etc,etc. I think it all plays in.
That being said I know some of my paint work has brought attention to certain builders which is good for everyone me thinks.
If the builder is not happy with my work than I guess were not working together.
So far it seems to be working Atmo.
good answer atmo.
okay - we can still hang.
let's find some bros and get a corned beef sandwich on pumpernickel.
i like sauerkraut on the side.
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Re: Velocolour Bicycle Painting
Hey Noah, thanks so much for sharing with us.
I especially enjoy hearing the full story of why you did not take over Mariposa. While not for the same reasons, I think I would find myself equally frustrated as you would if I tried to continue a legacy like that. I am glad you respect Mr. Barry's vision for that line enough that you knew this would be the case and let that opportunity go.
Now my question, for now anyway: you've said you enjoy the individual projects the most, and do on occasion work for/with builders on such projects in addition to all of your repaint work. If approached by a builder to do a number of frames - perhaps a series if you will, not identical but certainly of the same theme - would you be interested in this? Does the idea of painting a number of similar frames with some shared attributes appeal to you, or do you really feel you work best with single frames?
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Re: Velocolour Bicycle Painting
Quote:
Originally Posted by
edoz
Hey Noah, thanks for getting Smoked Out. Do you have a favorite style of frame to or a favorite builder to paint?
Hi Eric,
Everything has its bonuses.
Like I said above differing materials or building styles demand a different approach when it comes to finishing. After my time spent with Mike I definitely lean towards the classics and favour the look of a traditional lugged frame. If it is nicely built you don't have to do much to make it look good. I appreciate the simplicity in that. One of my favourite paint jobs was Mike's Celeste Bianchi with matching Italian fenders. His Spain bike. It is so simple and elegant I am not sure if I could ever top that.
On the other side Carbon bikes with seemless joining really give me a chance to have some fun. This sort of thing opens me up to more options and expands the way I think about designing a scheme. I like it all really. A one colour job for a commuter that I know will ride the bike everywhere and be excited to be on the thing is fun to be a part of.
As for builders I don't have a wish list or anything in terms of painting, owning is another story. If I had a list the only person on it would be Dave Wages of Ellis Cycles. I really like what he does and feel a bit of a connection to him. When we were both starting out more or less with our new businesses we both got suckered by the same guy with a sob type story. A good talker who would "shout our names from the hilltops". The frame from Dave was immaculate though I didn't know who he was at the time. I introduced myself at the first NAHBS I attended and we commiserated about our common frustrations with this individual. I think I could have a lot of fun painting one of his stainless frame sets too. We have spoken about it before but not gotten down to it yet.
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Re: Velocolour Bicycle Painting
Forgot to quote you. Richard says:
"good answer atmo.
okay - we can still hang.
let's find some bros and get a corned beef sandwich on pumpernickel.
i like sauerkraut on the side".
Then I say "Smoked meat on rye, maybe roast beef for me but glad we can hang"
Another thought about a paint job to satisfy the builder. I was also thinking about the graphics, whether decals or stencils, that stuff has to fit in to. You can tell a lot form a builder based on the graphics they choose. I think from this alone you can decide how far to push a design and possible colours to use. Maybe the difference between Dave Kirks old and new graphics. The first one was lighter and more playful maybe it would give you a chance to throw more colour around. The new design is more modernist, serious, quite a bit heavier. You can break up the tubes in different ways than the first and it also suggests different colour pallets.
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Re: Velocolour Bicycle Painting
Noah,
it's awesome you've joined smoked out. Based on your above post I have a question. Have you considered or do you do graphic design work to help newer builders pull the graphic and color details together. I would think you could help someone 3-4 steps down the path with your background of art and knowledge of tradition.
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Re: Velocolour Bicycle Painting
Quote:
Originally Posted by
jmoote
Now my question, for now anyway: you've said you enjoy the individual projects the most, and do on occasion work for/with builders on such projects in addition to all of your repaint work. If approached by a builder to do a number of frames - perhaps a series if you will, not identical but certainly of the same theme - would you be interested in this? Does the idea of painting a number of similar frames with some shared attributes appeal to you, or do you really feel you work best with single frames?
Hey Jeff, good to hear from you.
I have never been one for numbers. When I was making pots it was the same way. I was good at the production stuff, fast and proficient, but I got bored easily. I wanted to keep moving and knew then as I know now that high production isn't my thing. Sometimes you just have to make cash and for ceramics that's sometimes what you have to do. I have plenty of work and can do it as I like it. But the one of stuff comes with its own problems. Constantly coming up with new designs is time consuming and can sometimes take the focus away from just getting work done. It also means you're never comfortable. You're always trying to keep up and figure out how things are going to work. Of course this comes with experience as well.
Working on a series is something I have thought about previously, something using a common thread to tie it all together. Every idea can go in ten different directions so something like that would let you work each one out just a bit without re-inventing yourself every time. If a builder approached me with this in mind sure I would be excited to take it on and work with them to make it happen. A small run 3,4,5 frames with variation would be the best of both worlds.
Thanks for the question Jeff.
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Re: Velocolour Bicycle Painting
Quote:
Originally Posted by
velocolour
Working on a series is something I have thought about previously, something using a common thread to tie it all together. Every idea can go in ten different directions so something like that would let you work each one out just a bit without re-inventing yourself every time. If a builder approached me with this in mind sure I would be excited to take it on and work with them to make it happen. A small run 3,4,5 frames with variation would be the best of both worlds.
Right, this is what I meant, and I'm glad to hear you'd take something like that on. I think you would do a really fantastic job if and when you did.
Cheers!
-Jeff
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Re: Velocolour Bicycle Painting
Quote:
Originally Posted by
Jonathan
Noah,
it's awesome you've joined smoked out. Based on your above post I have a question. Have you considered or do you do graphic design work to help newer builders pull the graphic and color details together. I would think you could help someone 3-4 steps down the path with your background of art and knowledge of tradition.
Thanks Jonathan,
Graphic design isn't really my thing as I don't have a background in it. I help customers sort out fonts for decals and stencils but that is mostly as far as it goes. Generally I just look for connections between things as I am sure most people do. I hadn't really thought about Dave K's logos until I looked at them last night, actually I forgot he had a new one. Sometimes it is just an immediate gut reaction when you see something.
I don't know if I could help someone else sort this stuff out as I thought I was still 3-4 steps down the path. Happy to help where I can though.
Does that make me a consultant? What's the going rate these day?
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Re: Velocolour Bicycle Painting
Thanks for answering. I think you are firmly rooted in design and production, that knowledge is an advantage.
Another question.... Decals or Masks? Which do you prefer and why?
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Re: Velocolour Bicycle Painting
Quote:
Originally Posted by
Jonathan
Thanks for answering. I think you are firmly rooted in design and production, that knowledge is an advantage.
Another question.... Decals or Masks? Which do you prefer and why?
That's a good one Jonathan.
Here are some jumbled thoughts on the matter.
Some would say that decals are cheap and do not do justice to a nice frame or paint job.
I have no problem with them, decals and stencils both have their advantages.
The richness and depth you can get with stencils or masks is nicer and you can choose from any colour that you can paint so it really opens up the options. They are however much more labour intensive to apply, spray, clean-up. So stencils are often cheaper to produce but more costly in application.
If cheaper material is used for masking than it will leave a lot of residue which means double the clean-up. Stencils are also limiting as far as the line quality and the number of colours you want to use. Some things are too small or a line too thin to try and cut as a stencil. I am sure my local guy bangs his head off the wall whenever I send him a job. "George, can you cut me 100 1/2" snowflakes?" The cutting machines just don't work very well on such a small scale. And beyond two or three colours they can get to be a bit much.
Decals on the other hand are easy to apply and really easy to screw up. Usually you only get one shot and I have messed that up more times than I care to remember. Applying them cockeyed or accidentally letting them stick to themselves could mean along time waiting for more decals and a lot of work removing what you have put down. They are more expensive to produce usually as putting the graphics together can be time consuming and having them printed by an expert like Gary at SSSINK isn't cheap and we all know he takes a really long time. But the quality is amazing and the details are far finer than would be possible with masks.
So in general I would say for easier one-three colour stuff maskings are good. Really complex stuff may demand decals. This is why I am slowly designing decals sets to use with semi-custom paint offerings. It is a good way to offer lots off colour in a more or less simple way.
I don't have an affinity for Cervelos but attached are two examples. The flower decals used could not be replicated with stencils based on the number of colours and the fine line quality. The hands are better suited for stencils because of the amount of solid material they would have otherwise used to get the colours matched according to the customers wishes. As well stencils can be used around complex forms which adds to the potential variety of placement. The hands are pretty basic stencil work though but will hopefully give you an idea.
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Re: Velocolour Bicycle Painting
Quote:
Originally Posted by
velocolour
It's amazing how much shit I don't understand or know about and Mike is a walking bicycle enCyclopedia.
That's an amazing interaction with Mike. I'm very envious, Noah. I only had that privilege for one summer's worth of full-time work for Mike, almost 25 years ago. To this day, Mike's teachings, both functionally and aesthetically, influence my decisions on what & how to ride in cycling. It's almost a DNA or knowledge thread that Mike is transmitting to the next generations.
I remember three years ago, when I ordered my first custom Hampsten from Steve. After a few e-mails back and forth as Steve interviewed me to learn my preferences in bikes, I seem to recall him figuring out that I was taught by Mike Barry. Mike's influence is that strong & evident.
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Re: Velocolour Bicycle Painting
No Doubt Mike has had a big influence on me.
Believe it or not, I only had one bike for a long time. I know how can anybody get by with just one bike.
I was a mountain biker so had a Gary Fisher that I used for everything with extra wheel with slicks mounted for commuting. Every time I saw Mike he would shake his head and say "get a road bike". Eventually I did, a shitty one, only three or four months before starting with him which has changed it all. But what I didn't know then that I know know is that he doesn't really get mountain biking. Cross is good because it still has drop bars and looks more or less traditional. But suspension forks and fat tubes, or worst of all a duel-suspension bike, will be scoffed at. The only Mtn bike in the shop is Michael jr's. It's only moderately tolerable because it is Michael's. We occasionally ride the trails when he's in town so it continues to hang here between a wooden rimmed CCM and a woman's 1960's Olympia complete with rod brakes, fenders and skirt guard.
I have used this as a bit of a lesson though. He knows a lot and has seen so much. Trends that have come and gone. Components or bikes that were supposed to be the next big thing that went know where. But he has a very specific aesthetic view. His Mariposa is all black, with honjo fenders. It is beautiful and simple and if it were up to him I think they would all look like that aside from the Beloved Bianchis of course. I look for the modern ground between the modern stuff and the Mike Barry view. It is important that I listen but with a grain of salt as to be able to find my own road and make my own choices. I have learned to take his head shaking now and we can laugh about it a bit. It is funny though, I still look for his approval even when I know I've gone too far for him. But sometimes he surprises me.
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Re: Velocolour Bicycle Painting
Absolutely important to find your own voice. I'm happy to be influenced by Mike, but as with all teachings, I've gradually transformed what he taught me, as well as others, to my own viewpoint.
For example, I don't believe that Mike likes sloping top tubes. Simultaneous to learning from Mike in the '80's, I was also exposed to Canadian Paul Brodie's fillet-brazed MTB frame work. Absolutely gorgeous, and definitely sloping. While I love a traditional horizontal top tube road frame, my current road frames from Steve @ Hampco all have a sloping top tube - which is an influence of Mr. Hampsten and Mr. Brodie, rather than Mr. Barry.
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Re: Velocolour Bicycle Painting
Hey Noah!
Just noticed your name up in S/O lights and wanted to give a shout.
(no time to read all just now. will return, may ask a question or two)
thanks for playing.
wp
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Re: Velocolour Bicycle Painting
Quote:
Originally Posted by
WadePatton
Hey Noah!
Just noticed your name up in S/O lights and wanted to give a shout.
(no time to read all just now. will return, may ask a question or two)
thanks for playing.
wp
Hey Wade,
Should I say thanks for possibly reading? I hope you do and enjoy it.
I am not talked out yet so if you have a question than let it fly. If you need a question I can give you that too.
noah
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Re: Velocolour Bicycle Painting
Noah,
Good to read about your background.
What color do you like to shoot most? Does it affect how you approach? Then, what color do you not like to work with?
Cheers,
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Re: Velocolour Bicycle Painting
Quote:
Originally Posted by
YiPsan
Noah,
Good to read about your background.
What color do you like to shoot most? Does it affect how you approach? Then, what color do you not like to work with?
Cheers,
Hi Renold,
My favourite colour to paint is probably something in the solid red range. Red is so rich, like candy, it is really satisfying to see it layed down.
It used to be that white was the worst colour to paint functionally. That was before I learned how to paint "clean". White shows all of the little black dust nibs and whatever happens to land in the paint while you're working. It is also easy to leave working marks on white. Slight staining from a stencil of another colour that you can't get off of the surface.
Now, I don't think twice about it.
Now I least like painting yellow and black. Yellow is probably the least opaque colour. It really shows everything underneath the surface. It likes to show of the hard edges of lugs or cable guides so good even coverage is super important. Black is hard because it shows surface imperfections. Uneven filling or prep work. It also can't be polished very well. Scratches are more noticeable in black than any other colour I think. Luckily I don't do much polishing. Black also takes the longest to clean out of the gun. I have realized recently how much time I spend cleaning my guns. Not something you normally account for but it could be like a half hour a day depending how much spraying I am doing.
I think you always have to be aware of what you are going to be spraying when getting a frame ready. Coverage and opacity is something to be aware of. Also stuff like metallic colours which are often less opaque but are quite thin as well. They show off lots off sanding and scuff marks in the undercoats.
Now you know when choosing a colour for your machine.
noah
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Re: Velocolour Bicycle Painting
Thanks for the notes. It is nice to hear from your perspective. I just got back a bike with gloss and matt black, and I was told it was a pretty darn challenging job, guess I need to thank him extra for this one, it came out great.
Cheers,
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Re: Velocolour Bicycle Painting
Thanks for your comments Reynold.
Varied clear finishes add extra work and detailing for sure.
Love your painter.
noah
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Re: Velocolour Bicycle Painting
Quote:
Originally Posted by
velocolour
Now I least like painting yellow and black. Yellow is probably the least opaque colour. It really shows everything underneath the surface. It likes to show of the hard edges of lugs or cable guides so good even coverage is super important. Black is hard because it shows surface imperfections. Uneven filling or prep work. It also can't be polished very well. Scratches are more noticeable in black than any other colour I think.
I believe we were neighbors across the aisle from each other in Richmond. You do really nice stuff man.
Your response here intrigued me. I agree yellow is a horrible color to shoot, but I'm sure you use some of the same trade secrets I do to help. However, I am the complete opposite when it comes to black, I consider black to be the easiest to shoot. It shoots very well and from my perspective it covers up everything. Surface imperfections just seem to melt away. I just find it interesting we vary so much on that. You nailed it...like a car, black looks the best when its clean and polished and the worst when its dirty and scratched.
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Re: Velocolour Bicycle Painting
Quote:
Originally Posted by
anthonymaietta
I believe we were neighbors across the aisle from each other in Richmond. You do really nice stuff man.
Your response here intrigued me. I agree yellow is a horrible color to shoot, but I'm sure you use some of the same trade secrets I do to help. However, I am the complete opposite when it comes to black, I consider black to be the easiest to shoot. It shoots very well and from my perspective it covers up everything. Surface imperfections just seem to melt away. I just find it interesting we vary so much on that. You nailed it...like a car, black looks the best when its clean and polished and the worst when its dirty and scratched.
Hey Anthony,
Thank you for the compliment.
We were across from each other at Richmond and had a few short conversations between the waves of interested on lookers.
I am not necessarily sure of the trade secrets you speak of. I did learn here t the shop, for the most part from builder Tom Hinton but I have re-taught myself much of what I felt I needed to know. Though I could be out of the loop for some of the trade knowledge.
As you know, painting is all about light reflection. White is hard to physically paint I feel because it reflects so much light that it can be hard to see where you are painting. Because of this it is maybe easier to make look good. In the sunshine white is bright and therefore hides small surface variations. My thinking is that black is like a mirror and shows you everything that is wrong with it. It made me think of the work of Richard Wilson. He fills gallery spaces with oil, lots of it. It is so deep and thick that the material itself is hard to see itself but mirrors the rest of the gallery space.
noah
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Re: Velocolour Bicycle Painting
Oh, I should add that JB has offered a lot of good advice and has been a huge help.
noah
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Re: Velocolour Bicycle Painting
Hey Noah,
We were also neighbors at one of the NAHBS, I think last year.
My question for you is do you work with specific builders, like the way that Richard works with Joe B, and if not, why not? Also, any customs issues sending frames across the border?
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Re: Velocolour Bicycle Painting
Quote:
Originally Posted by
GSmith
Hey Noah,
We were also neighbors at one of the NAHBS, I think last year.
My question for you is do you work with specific builders, like the way that Richard works with Joe B, and if not, why not? Also, any customs issues sending frames across the border?
Hey Gary,
I think it was in Richmond. Yes, I was lucky enough to have the IFs across from me to stare at all weekend. You're a good bunch.
I don't really work with any builders. A few have sent the occassional project my way but I can't say why there isn't more. I definitely haven't been around as long as most of the others so that could be part of it. People trust what they know and working with a Joe Bell is a sure thing. Also the fact that I am across the border I feel is a significant deterent. A lot of people (Americans, no offence) don't actually know what is on the other side of the border and think of Canada as being as foreign as China. This was proven to me multiple times at the Philly bike show. Over and over peopel looked at me with shock because I drove all the way from Canada to Philly. "what, it's only eight hours?" I think Doug F. and Herbie drove twelve hours from the far side of Michigan. The best reason for doing shows and meeting people is to tell potential customers that we are infact neighbours and shipping or even driving ,which some like to do, is quite easy.
So I do think the border has played a big role in the customers I get.
I would like to do more work with builders, but not to the extent of JB. I like the way my business runs. Working one on one with customers is good and it gives me lots of variety and free reign. That being said people around here (the salon) and elsewhere are doing greaqt things and painitng a few bikes for them really would be and is a privelage.
Shipping is pretty easy. I try to keep it to the Postal Service as they don't charge the duties and taxes that the others do. I get around the tax thing with them by having the customer state on the customs form that it is in for repair under warranty. This just means I am not buying the thing and that's that. The only thing is there is a size restriction though most well fitting bike boxes are fine. UPS has become my official broker but I only use them for over sized packages.
It has taken a while to sort some of this stuff out, so much for free trade huh?
Now I think almost a quarter of my work comes from the States so it has become a lot easier.
noah
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Re: Velocolour Bicycle Painting
Alright guys, I was the first neighbor of Noah back in Indy and I knew and had been to Toronto too!
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One Serious Bike
For those that are interested the Curnoe tribute is all together now.
I think it looks amazing. Now we just need some better pictures.
Two Serious Bikes
noah