QN SUMMER 22

Phantoms Phascination Chris Draper GAvA British Phantom Aviation Group
Underlying Geometry
Often the most complex forms have
a simple underlying geometry that
controls the layout of components.
An underlaying grid not only helps
rationalise the construction process, but
combines a complex set of shapes into a
coherent composition with balance and
harmony. It is common to see diagrams
of classical temples or paintings with
squares and rectangles overlayed that
show how key features fall on pleasing
proportional lines. Sometimes they have
become so complex with golden ratio
or other seemingly magical proportion
systems, it’s hard to see any logic. An
impossible mathematical puzzle.
As humans we are conditioned to look
for simple patterns in nature. Be it in the
spiral of a sunflower head or in human
proportions. The length of outstretched
arms is usually the same as our height,
fitting us into a neat square. Leonardo’s
Vitruvian Man is the best example of
this. General guidelines that govern the
proportions of the face are all simple
geometric divisions and subdivisions.
To an extent you can find geometric
relationships anywhere whether it
was intended by the designer or not.
Pareidolia is the tendency to see
pattern even when it doesn’t exist.
Most common is seeing faces in innate
objects.
However, looking for simple squares,
repeated angles and shapes are useful
to unlocking the designers logic. I
recently wrote an article for the Lutyens
Trust, looking at the underlying geometry
of the Thiepval Memorial (designed
by architect Edwin Lutyens in 1931 to
commemorate the missing soldiers from
the battle of the Somme). Despite its
extremely complex massing, there is a
recurring 13’6’’ square that crops up
everywhere. Pretty much every element
is a multiple or divisible ratio of that figure
sometimes called the module. Whether
consciously for practical reasons (for
example based on the dimensions
of a single brick) or on a more subtle
aesthetic level, repeating patterns give
order to design.
So with that in mind, I printed out a set
of technical drawings I found on the
internet and began looking for simple
shapes with a set square. I started off
with the top-down plan view and drew
a box round the entire aircraft and
immediately noticed it sits exactly into
a one and a half square rectangle.
The wingtip of the leading edge of the
main wing is exactly two thirds along
the length of the aircraft. Likewise, the
line of the trailing edge if continued
to the centreline falls exactly on that
2 / 3rd line. The width of the fuselage
from air intake to air intake is 1 quarter
of the overall width. Looking side on at
the profile, the height of the fuselage
is exactly one ninth of the length and
therefore a simple subdivision of the
overall rectangle. The height including
the tail is two of those squares. A
horizontal datum line drawn from the
tip of the nose passes through the exact
centre of the jet nozzle. And so on.
I have drawn out some of the simple
geometry as it’s much easier to visualise
rather than describing it in written form.
The more you look the more you can
find. Although I wouldn’t imagine that
every line and angle is part of some
grand proportional system, there is a
clear logic to the decisions that set out
the overall composition. I would hazard
a guess that working at a mechanical
drawing board with pencil and paper
plays a large part. For ease of construction,
it appears logical to refer to that datum line
and the simple grid structure. Ultimately
a great design comes down to the vision
of an artist. In the case of the Phantom,
McDonell Douglas senior designer Herman
D. Barkley certainly created a timeless
masterpiece comparable to any great
work of art.
Conclusion
If I could only nominate one aircraft to
paint for the rest of my days, it would
obviously be the Phantom. Its unique
shape with jagged angles and muscular
simplicity make it instantly recognisable
from every angle. Sometimes it can look
brutish and menacing, other times sleek
and almost elegant with the curving
contours of the fuselage.
Subject matters are almost endless.
Orchestrated high drama of carrier
operations on the Ark Royal or combat
over Vietnam. Exotic colour schemes like
the bicentennial Phantom, Blue Angels,
Thunderbirds, Ferris, not to mention those
adopted by the Japanese defence
force are fascinating to research and
paint. There are hundreds of books and
thousands of photos available to study
every detail. Model aircraft in every
scale. It looks as great on the ground
as it does flying, and there are plenty
of examples in museums to paint and
draw plein air. I get an overwhelming
sense of sadness in the presence of their
discarded remain. A mighty symbol
of aviation reduced to scrap metal. A
thrill when painting them in full burner
soaring through the sky with power
unleashed. Beautiful with the sun glinting
off the canopies in early morning sun or
duelling with MiGs over the jungle. The
Phantom has everything.
Ultimately there isn’t a formula that can
define why one aircraft can be labelled
iconic and others can’t. The Phantom
would certainly tick these boxes- simple
design, recognisable, memorable and
like all great design, has withstood the
test of time. Our preference is largely
subjective and influenced from many
factors. Some will love the Spitfire for
its elegant lines or the Vulcan for its
scale. There is something intangible, just
beyond the horizon of consciousness
that determines why we love this and
not that. There are no right and wrong
answers and that is why it is such an
interesting subject.
Chris Draper GAvA
The BPAG is a group of ex-service
personnel and aviation enthusiasts
dedicated to the preservation of UK
specific variants of the Phantom and
its time in service with the RAF and the
Royal Navy’s Fleet Air Arm.
Previously they restored Black Mike (now
in the South Wales Aviation Museum)
and the cockpit of XV470 at Newark
Aviation Museum.
I had followed them for a couple of
years and was excited to see they were
moving to a new home at the Cotswold
The two Phantoms as they lie ready for “assembly” at Cotswold
Airport (RAF Kemble) as portrayed in Chris’s superbly observed
paintings. His trademark wet ground and reflections add to the
overall effect giving a realistic sense of time and space.
Airport (RAF Kemble) with plans for
a dedicated Phantom heritage
centre. The first two airframes were
moved there in July 2021 and a crowd
funder campaign started to pay for
construction of a permanent building.
I contacted them and suggested doing
a painting and selling prints as part of the
crowd funder. In late August, I met them
and spent a great day in the presence
of the two incredible machines. The
eventual plans are to get them both
fully rebuilt in factory fresh condition.
In their current state they are like a giant
construction toy waiting in anticipation.
XT905 currently in grey will be reborn to
represent its earliest colours as part of
228 OCU. Sporting the green, grey camo
with high vis roundels. XT597 still wears its
stunning “raspberry ripple” colours from
its time with A&AE at Boscombe down.
Even on a rainy day and despite the
fading paint, it radiates class and draws
our attention.
Spread along the taxiway are wings,
drop tanks and all kinds of bits which
will eventually re-join the fuselage. Now
they look like an incredible collection of
oddly shaped, coloured and textured
sculptures that beg to be painted.
For the crowd funder painting I wanted
to show the two aircraft as they were in
their hey day soaring over Kemble.
I built models of both and set up a
photobooth in the garden to get
reference shots. In photoshop I added
them to a screen grab from Google
Earth which became the base for the
final painting.
After the addition of some text and
signatures from the last pilot and nav
to fly in XT597, Hansen Fine Art’s Lee
Lacey AGAvA printed them out for the
pledgers.
I’m proud to have contributed a few
extra £s towards the preservation of
these two magnificent aircraft for
generations to come.
Chris Draper GAvA
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