Hot Rod and Custom Car Design

Some years ago, I was introduced to the work of a journalist named Hunter S. Thompson. Bear in mind that this "introduction" came at a pivotal point in my creative career, and I was completely drawn to his style of not only writing, but his almost renegade technique of forming a story. Here was a journalist who not only covered the news at hand, but worked in a personal angle, often thrusting himself so deeply into the event he was covering so as to alter its outcome! "Absolute brilliance", I thought! Not mere "coverage" or "reporting", but LIVING it! This was just too much... This guy GOT it! To a student of Fine art, this was the epitome of "creating" anything: the EXPERIENCE... being a PART of what you're creating!

Thompson's style of news came to be known as "Gonzo Journalism", and the name packs the energy rightfully reserved for this all-out, sensory attack, in which the writer himself becomes an integral part of the story. Somewhere between the facts, self-interjection and commentary, the truth lay in wait. This was the sort of writing I had done since I could first form sentences... I had found someone who had paved the way before me, and man, I was digging this. Taking something that has always been deemed as objective, and beating it into something much cooler and entertainingly subjective... showing that a subject or event could have an effect on the writer, and then, at times becoming a part of that story was just simple logic to me... After all, how interesting is just blowing some facts all over a sheet of paper or computer monitor?! Stirring in (or up!) some emotion is key to creating compelling content. Anyone can say "gee, Stan... there was this one guy, and he said this, and the other guy said that. Then they shook hands." Wow. Not sure about you, but I'M drained from that story. What a cathartic experience... or NOT. Thompson would become the center of his work, very often blurring the line between "reporting" facts and "influencing" a story. He interjected opinion, an energy, and most of all, an experience.

That said, I began to look at this field of automotive art that I work in, and feel a bit depressed. It's gone from the fun, energetic industry to a machine full of photo-real, computer-generated imagery lately. The landscape is littered with 3-D models and tracings of the same-old, same-old.

Does anyone just DRAW anymore?!

The creative projects... the REALLY wild customs and out-of-the-box hot rods are the ones that inspire and push the hobby to that next level... they've become fewer and further between. It's become... well, "safe". We're flooded with near stock-looking blah-mobiles drawn with a lack of personality, often with the actual car being just the same bland cookie-cutter crap over and over again. Is it because we've run into the wall of "Well I can't draw that..." ???! ...and so the builders out there settle for what their chosen artists can draw... Wow... a photo-real 3D model of a '69 Camaro on aftermarket wheels... just like those other ones! What the hell happened?! It was as though Henry L. Mencken's "bathtub hoax" had brought new life in the car community. As though someone started the rumor that renderings needed to be sterile, lackluster depictions of some uniform style, and by golly, the whole group jumped the bandwagon, eating up the words and carrying it right into the common belief system they'd developed. Worse yet, I saw it start to occur in my own work as well from time to time, and it made me take a step back, and in doing that, I had a moment of absolute clarity.

I took the past couple of months and began heading back to what made this whole automotive illustration gig so appealing to me at the start: The ENERGY!! I pondered just what makes a rendering so valuable to a project, and beyond the financial (sponsor opportunities, press, etc) and communication (illustrating the modifications) value, it all boils down to CREATING EXCITEMENT! Simply looking at a photograph of a car can be cool, sure, but you're seeing something COMPLETE, FINISHED.. and it removes the emotional response, the natural impulse to IMAGINE... To look at the idea SUBJECTIVELY!! By leaving just enough to the imagination, just enough room to interpret something, some part as YOUR OWN, you don't just LOOK at the work, you EXPERIENCE it!!

This is why I leave some loose lines among the tightened concepts, some free-form areas to chance... I'm not nailing down parts, bit by bit from some "rule book" ("18's and 19's? Check. Suspension lowered exactly like every other car on that forum? Check. Billet parts here, here and here? Check. Correct valve covers so as to avoid the wrath of the "Traditional Police"? Check, check!"), I'm inventing a concept to be shared, interpreted... EXPERIENCED by not only the owner or builder of the car, but anyone who happens upon it. Anyone (and I repeat ANYONE... you, your kids, your neighbor's Grandmother) with access to a 3D model, or some tracing paper and a few pencils and markers, or worse yet, Photoshop, Google and some time can bash out a lifeless, non-creative turd, and have it celebrated by the easily duped masses... but the ones who can hammer down a concept, and show some life in the lines, some ENERGY... man... those are the pieces that stand up to time, and drop their pants at the lesser crap. Compare a Charlie Smith rendering to some Photohack from a guy in a forum. Name your three favorite Harry Bradley renderings, or Steve Stanford concepts, or Larry Wood designs. Easy, right? Now try to do the same for three photochops or 3D models. That's a pretty tough one, huh? And do you like those pieces you named because the artist kissed your ass on some online forum, or because the work stood out, elicited a RESPONSE in you? Pretty creepy realization, huh?

I'm not about to fall victim to this absolute "dumbing-down" of the hot rod and custom car industry... Rather, I'm adopting the "Gonzo" style, and going at it with the passion that brought me here to begin with. What's great is that I've never really fit in to begin with, so if anyone takes offense or has their feelings hurt by my shift in priorities, I certainly don't have to hear the whining, or fear some drop in the number of cards sent my way over the Holidays. It's just me, my art, and the drive to push it until the son of a bitch breaks from the altitude. I'm not about to fall victim to trends... to having the need to be accepted because I'm doing the same thing fifteen other guys are currently latching onto. Never had a trendy hairstyle or shoes or pants, either. I think I'll manage without being "in".

Our pal Hunter (from the start of this whole mess) stated that "he that is taught only by himself has a fool for a master". Grand advice... and a central theme here in the Studio. Draw inspiration from as many sources as possible! I'm often looking to objects or art forms so removed from cars that even I begin to wonder how they'll apply... and it's a blast! I'll look at a painting and consider the brush strokes, and experiment, seeing how they might work in a current or future piece. Perhaps there's a rhythm in a song that just makes sense when laying down the lines on some graphics... It can come from almost anywhere. The key here, though, is KNOWING YOUR SUBJECT.

INTIMATELY.

Simply hacking a few photos together, or painting some digital model or tracing a picture doesn't grant you any more knowledge of designing a hot rod or custom car than does accidentally bumping a car in the parking lot with your shopping cart. When you take time to know the car, to understand the parts and pieces that make the whole... to look into the designer's mind and grasp where he was going and WHY, well, you're starting to grasp the idea. You're in no position to modify that car until you understand it. Going back to Dr. Thompson for a second (after all, he's the reason we got rolling on this anyway), he once wrote that "Fiction is based on reality unless you're a fairy-tale artist, you have to get your knowledge of life from somewhere. You have to know the material you're writing about before you alter it. " Incredibly wise indeed, and the big "why" that so many of these sterile, cold "renderings" lack that "punch"... the thrill, the excitement of a GREAT piece... the ones that make you take a step backward and yell "BITCHIN', MAN"!!

I want MY work to be like that!

With all of that strewn on the table, I'm going to go back into the Studio and tear the next project a new one. I challenge you to go and do the same in the shop, and wow the snot out of everyone who experiences your Gonzo build.

Thought I'd throw a hefty congrats to our build team on Resilience, as the mighty Buick grabbed a cover spot on the May 2010 World of Rods Magazine!

How cool is THIS?! Way back when World of Rods was just a glimmer in the eye of its publisher, we were one of the first to advertise in the book, and it's certainly been through some changes, growing into a very serious book, covering all aspects of the hobby, and even beginning to fill the Custom Rodder gap in some ways, thanks to the efforts of Courtney Hallowell.

This issue, Resilience grabs the cover (with a pair of Circle City hot rods and local boy Craig Smith's Liberace Roadster!), and we're just stoked about the article and David Featherston's killer photography! Huge congrats to our build team of Tim and Carrie Strange, Shawn Ray, David Neal, and, of course, our great friends and prolific car owners, Erik and Paul Hansen!

Viva la Resilience...

More, as always, on my site at www.problemchildkustoms.com

I get a call from James one afternoon, and he starts to tell me the story of his Camaro, and how he runs the One Lap of America event... and I immediately think "I know the car... and this guy's nuts to do it!"

Long story short (I know... since when does Brian do THAT??! ...it's VERY busy in the mighty Studio, and I gotta get back at it), we talked for a while, and he asked if I'd be so kind as to whip up a t-shirt to help them promote their effort, and hopefully buy a few tanks of gas, as well as some road food for he and David, his co-pilot. Suffice to say, I was sketching before we hung up.

Anyway, that's what I came up with, and we think it hammers home the whole idea quite neatly...

The front features the One Lap Camaro logo (as seen on the back in the artwork above) on the left chest...

They're VERY cool, and the reception so far has been nothing short of awesome. These are high-quality, 6-oz. tee's, and are printed by one of the best-known, highest quality shops on the West Coast... And you can grab a few by simply firing off an email to the guys at: shirts@onelapcamaro.com, and letting them know how many you'd like, and in what sizes... The cost will be $20 for the shirt and $5 for shipping and handling (within the Continental US). Pre-orders will start today and they hope to have shirts available at the Run To The Coast event the first weekend in April (Goodguys Del Mar the weekend after at the latest).

All of the proceeds will go to feeding David and James for the week; your purchase will guarantee that they can enjoy as many as 2 meals a day at some of the finest establishments ever to grace the side of an interstate.

Thanks for checking 'em out, and for supporting some true grass-roots racing gone good!

...and hey.... if I can be of use to design YOUR next killer shirt (or rendering, website, logo... whatever), hit me up on the site at www.problemchildkustoms.com!

Naturally, any success in a project requires a plan, and building or modifying a car requires very careful thought at this stage. I've often heard guys say "I just build as I go... no plan, just what feels right", and sadly, it certainly doesn't look like it must feel in many cases. Disjointed design, half-assed "fixes" to make parts fit, and often unsafe "engineering" ("engine-beering", most likely) have sent many a project to an early grave... and I don't think we need to dive too deep into this subject to discover why it's "wrong" from any angle.

The best advice would be to bring on an experienced designer to help guide you along. As a professional hot rod and custom car designer with over twenty years experience in the auto industry (from parts and service to body repair/customization and after-market accessories), as well as training in design and fine art, I'm here to offer some advice on taking those first steps. This isn't an advertisement for my services, but a primer for anyone going at this for the first time. I share my experience because I love this industry, and want to see anyone new to it have a blast, and keep coming back for more. Over the years, I've learned the importance of being an ambassador for my industry. That said, let's get at this.

The importance of having a vision on paper, especially when working with shops and others on a team, can't be overlooked. Often times, you'll run into an individual who perhaps lacks that key "visualization" ability, and can't form a mental picture... or worse, they can, but it's nothing like yours. Communicating these visions can prove difficult, and as they say, "a picture is worth a thousand dollars"... and in many cases, much more... often, they are invaluable.

The end goal of selecting your custom car designer is:
* A vision of the finished product for everyone to work from:
* Avoid gaps, mis-communications and errors in describing idea
* Get what you want for your custom car dream!

When it comes time to shop for a designer, keep these 5 must items in mind:

1. Pick a Designer Who's Style You Like

Not only are you hiring someone to assist in laying the groundwork for your project, but the designer must also be able to convey your ideas and tastes, as well as create a piece that will inspire your build team. Often times, these drawings will set the one for a build. A bad-ass street or race machine deserves some nasty, double-bad-ass, throw-down art and setting to make everyone involved "feel it". A surf wagon, naturally, deserves a ore sedate look to the art... Setting this tone early on will bring HUGE returns later on.

You'll want some "wow" factor, but also be sure that your designer draws with proper scale and proportion! Taking a cartoon-like image or shoddy "Photochop" to an experienced builder will get you laughed out of the shop. The kid you hire in a forum might make that '58 Edsel bumper look like it fits your Monza in the drawing, but in reality, would it? And, are you looking to blow your budget on wild changes before the car even hits primer?

Look around, and study the artist's styles and prior work.

Much like you choose a car that excites you, be it for nostalgia reasons, a certain feeling it gives you, or just the fact that you liked it overall, you'll be miles ahead by selecting a designer in the same way. When the car is torn apart and looking bleak, the artwork will serve as an excitement generator.

2. Find A Designer You Get Along With

Spend some phone and email time talking with designers. Do you, "get along"? Can communicate freely? An open exchange with your designer will pay off in a HUGE way during the project.

Look for a custom car designer who can help guide you if asked, but also take an idea you have and run with it. Simply hiring a "wrist" to make some lines based only on what you say is boring, and will leave your design "flat". Look for someone with great communication skills (i.e. listens as well as they talk). Nothing can be more disappointing than a guy who doesn't listen, or worse, who mis-interprets what you're looking for. Is the designer looking to create a portfolio piece on your dime? You're looking for a piece that conveys the project vision, not some stand-out eye candy for this guy's website.

You're looking for someone who is more than just a talented artist. Look for design sense... balance, ability to make things "work", to ensure "flow". You're also looking for integrity. You want a guy who is creating YOUR art, not re-tracing an old piece, re-coloring in Photoshop or simply re-hashing the same model their last 40 customers got (but with different paint and wheels) because, you'll get, well, the same car as those other 40 guys!

Beware of the guy who simply cannot follow your budget. This should be made known and understood on the first or second consultation. Make this a clear as possible. At the same time, make sure that you make your shop of choice or build skill known. Make it an open exchange where ideas can flow freely, and you'll be pleasantly surprised how an idea can grow or be refined to mind-blowingly cool in the right hands. If you're an experienced fabricator and painter, and aren't afraid to tread new ground, run with it! If your skill level is pushed opening a love box door, be honest, and spare yourself the inevitable let-down of never being able to realize this dream that your designer penned.

3. Understand The Designer's Terms

Get the terms and details of the design ironed out immediately. How many revisions will you receive? What's the cost for additional revisions? How will the work be delivered? Hard copies? (one for you, the shop, and maybe for promotional purposes?) Digital copies for magazine ink? (how about sponsorship proposals?) Can you use the artwork to promote the car? Who owns the Copyright?

A professional designer will provide a contract explaining these important terms allowing for worry-free design time. Pay attention from step one, and you'll avoid starting over when your forum buddy disappears with your PayPal payment. Understand, too, that "you get what you pay for" applies with car designers (even more so for lunch). If you want your designs quickly (or just on time) and at a high quality, be prepared to pay a bit more, and respect the time required to perfect a design. Much as you wouldn't rush a surgeon reconstructing your body, give your car-body the same consideration for equally functional results!

4. Don't Be The "I'll know what I want when I see it" Guy

That guy is the enemy of designers and builders alike, and it translates to "headache" to any pro. Have an idea at the first consultation, even if it's vague, and ask for direction/advice if needed (see step 2). Know what you'd like to do with the car. Will it be restored? Modified? A combination of the two? Something wilder? A professional designer will offer examples, and throw ideas around with you, hitting on your likes and dislikes before pencil hits paper. Many great cars develop during these "bench racing" sessions, and you'll save a ton on revisions. A few bucks and some time consulting will pay off, literally, hundreds of times over.

Communication is your best friend here. Simply jumping from style to style will burn you and your designer out, and close doors on really creative ideas.

Research the hell out of your project and ideas. Go to shows, cruise nights, rod runs... Pick up magazines, books, videos... Look around at what's been done, and find a style that you like. Ask your designer what he or she is into. Who knows? Perhaps they dig a certain style that isn't well-known to you... or maybe they have a whole new spin on an old idea? (Scott Sullivan is the master of this approach, and I use that inspiration daily. Trick is to keep a VERY open mind, and use your imagination like a blender, and mix and match until your head spins)

Make a list of things that you enjoy about cars and save pictures that remind you of those features. Perhaps you enjoy good handling, or maybe straightline performance is more your thing. Maybe it's all about the look of the car, and you're after a show car that'll make people stop and drool. It's during this hugely important stage that you and your designer will determine a "direction" for the project. You should have a list of your dreams for the car, as well as a list that is more realistic, taking into consideration the reality of the car you've chosen. Approaching a professional designer with these ideas in place will save time, frustration, and above all, help to nail your "perfect" concept.

5. Don't Fall Victim To Trends

If you've seen a teal green and gray car with a tweed interior and 15-inch billet wheels lately and thought "wow... the 1990's called, and they want their car back", imagine what response a car built in a trendy style today will elicit in ten or fifteen years.

Simply shopping through magazine articles will, inevitably, breed you a cookie-cutter car. Simply saying "oh man, that car that won Street Machine of the Year had a cool hood, so I want THAT hood, and the same wheels, and the same paint, and then that car that won the year before had those seats... I want THAT interior..." and so-on, will not design or build YOUR dream car.

Seek out a designer who understands the style you're planning to build your car in, and can offer unique approaches to design problems that not only make your eyes pop out, but will prevent your hard earned dollars from doing likewise from your wallet. Approach modifications tastefully, respectfully, and with the thinking "how does this change affect the rest of the car? What purpose does it serve?" If it makes sense, do it. If it's questionable, then question the hell out of it! A good designer is one part artist, one part engineer, another part visual designer, and one part detective.