...picks up right where last year's left off, but with less bruising and sore muscles.
The Second Annual Hot Rod Industry BMX Challenge takes place later this week (August 7, to be exact) in Louisville, KY, and returns to the amazing Derby City BMX grounds, and coincides with the NSRA Street Rod Nationals. As the official release reads:
"We are really excited about the BMX Challenge this year – we have changed the rules just a little – for the HRIC you must be a participant or vendor at the Street Rod Nationals – the BMX race is once again FREE of charge for you to participate in BUT to mix it up a little and to help give you guys and the spectators a better show we challenge you to “get sponsored”.
We will be running a Pro/Am mixed in with the Hot Rod Challenge and in order to bring in the “big guns” we have to show them the money! So we challenge you to get a sponsor for your race. Along with your name being announced during the race your sponsor will get some plugs as well! We ask you to get a min of $25 but challenge you to get more – the rider with the most sponsor money will get an extra special prize! Standard Byke Company is on board again this year – the winner of the HRIC will receive a new frame! Add to that more prizes, surprises and yet another frame from the great folks at Intense, and you have the makings of a grand event indeed."
Last years' event attracted 16 of the biggest and best builders in the game today, including Dave Tucci, Jesse Greening and Roger Burman, among the many talented riders and other industry professionals from companies like Billet Specialties, Welder Series, Vintage Air, Art Morrison, Calfornia Car Cover and more! Bill Stevens from Star Custom took the grand prize last year, after taking the lead from John Pearce after he lost rhythm in the last corner. Truly an exciting and fun event, to be certain, and with this year's prizes, it promises to be an even bigger draw!
What's really fun for me, anyway, is being tapped to create some art each year for the event... This year, as usual, the Stranges gave me full creative control, and told me to "just do what you do!". Suffice to say, I've had vintage drag racing on my brain for a few weeks, and busted out a Fiat altered, smoking the tires... I wanted more action this year, and wasn't going to go with a static car like last year. One thing led to another, and soon there was a rider in full flight overhead, and it just seemed to come together as most fun pieces tend to do.
I threw in a couple of little details as tributes to friends and family (as I do with almost every piece that leaves the Studio), and I'm genuinely stoked about the finished product. There's nothing like creating a souvenir piece for an event like this, and even better when it's for not only our colleagues and friends, but for prople whom I look up to for their skill, talent and drive...
If you'll be in Louisville for the Nats, or just happen to live or have plans in the neighborhood, make it a point to go to the races on Saturday... Get in on the fun, meet some great, influential folks, and enjoy the thrill of a hobby that got so many of us into cars in the first place!
If you're a fan or friend of ours on Facebook, then you've probably seen what we've been doing with the page, and how it's starting to take on a life of its own. Between the blogs, sneak peeks and more, we're stoked about the new features, and are adding more all of the time!
One popular feature has been the Garage Sale (you'll need to be a fan to view it)... We've been offering one-off's, originals and protoypes, and have much more on the way. Some has reached actual bidding war, while other items have gone for literally pennies on the dollar.
We have two new items up for grabs this weekend, with an anaglyph (a 3D image) that hung in the Hot Rod Art Book: Masters of Chicken Scratch show at GINAC Gallery last year... It is framed, includes killer Wayfarer-style glasses, and is signed. A true one-off collectible indeed.
We recently packed and shipped off this original:
...which was a detailed, mixed media Tour de Force, and the new owner is stoked.
Get in on the deals, and grab some great stuff as we make room in the Studio for new projects and capabilities! Hope to see you there, and thanks!
...and yeah, it's a little crazy, but so was this past year.
Starting today (12.30.09), you can order a single-view rendering (front 3/4, rear 3/4 or profile, whichever you like!) at prices we had in 1999! That's right, a single-view rendering of your hot rod, custom car, street machine, classic, daily driver, whatever for a discount! (pricing info is on our site at problemchildkustoms.com) That's a fully-detailed, highest quality, 19x13-inch piece of art, ready to frame at HUGE savings...
These aren't some knocked-back, lesser quality versions.... These are the real deal, Studio PCK renderings as you've seen in the magazines and the Hot Rod Art Book. The very same detailed pieces we provide to the top shops when laying out a project car, or preparing artwork for promotional use and portraits as well!
All work is of the highest quality, and all renderings come delivered on superior quality stock, feature archival inks (8-color process with incredible depth and saturation), and are ready to frame. Naturally, all of this is subject to a limited-time offer, and full details are available on our site at www.problemchildkustoms.com
It's our way of saying "Thank You" for getting to do what we love every day, and saving you some cash on some great art. This is an incredible time to get that one-of-a-kind gift for someone special, and perhaps even knock out next years Christmas list for your hot rod building family member or enthusiast. Thanks again, and feel free to hit us up HERE, or give us a call in the Studio (contact info is HERE) with any questions, or to get the ball rolling on YOUR rendering. Happy New Year, and thanks again!
Many years ago, I was introduced to the work of a writer 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: Living it! 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 a 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.
Doesn't 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. 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 some new lease on 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 Stanford rendering to some Photohack from a guy in a forum. Name your three favorite Jimmy Smith 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.
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"!!
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.
to all of our friends and colleagues! A HUGE thanks to all who supported us this year, and to our "regulars" for the faith in what we do! Nothing beats hearing those words "just do what you do... run with it!". Just know we appreciate it!
With a shaky year now drifting into the past, here's hoping that 2010 brings out some more creativity and a willingness to really "push the envelope". I can't begin to explain what a cool year this was in a few short sentences, but I'll give you a quick summary of the places and people that made it such a killer year. Howzabout a sneaky-peek at the holiday card artwork... your friendly postman is probably carrying yours right now...
Starting in January we hit the GNRS in Pomona, and nailed a double-whammy, launching the Hot Rod Art Book: Masters of Chicken Scratch, which we were stoked to be a part of... Not only does The Hot Rod Art Book contain over 100 pages of beautiful hot rod art from a variety of artists, but it includes tutorials from a past Hot Wheels designer, Dwayne Vance on an instructional CD that shows the complete process from sketch to rendering plus a few extras. The first printing sold out, and the second printing will be in shortly, so if you missd it, grab one when these hit!
That same weekend in January, we debuted Resilience, the '52 Buick we were honored to be a part of with owners Erik and Paul Hansen and builder Tim Strange. The radical Buick received a ton of great press, both here in the US and overseas, as well! As the year rolled by, the mighty Buick cleaned up with some great awards, even capturing the KKOA 777 Custom Crown Award as America's Top Custom...and the prestigious Elden Titus Memorial Design Award... OUTSTANDING!!
While attending the GNRS, Paul and Erik Hansen were kind enough to invite me along to the Hall of Fame Luncheon, which was a once-in-a-lifetime highlight to be certain. We have some video from this all-star gala HERE on the site... Legends like Blackie Gejeian, Mary Slonaker, Dick Bertolucci, Thom Taylor and more... Definitely worth a look.
As the year rolled by, we were chosen to be a part of many great projects, meeting some incredible builders and designers along the way... We were even chosen to pen the 2010 Street Rodder Road Tour car! (see it in this month's Street Rodder Magazine)
This year also saw the first Hot Rod Industry BMX Challenge, which we were honored to create the artwork for. Organized by Tim and Carrie Strange, it was a great event held the weekend of the Street Rod Nationals in Louisville, and attended by many top builders and great folks in the industry. Look for this to continue to grow!
Add to all of this working with Denny and the crew at ProRides on their latest Drag Week monster, the "Sick Seconds" Camaro, which debuted in raw form at the PRI show... Look for this terror to swallow 1320 feet and thousands of miles in the coming year!
While staying thankfully busy, I took on some added responsibility, accepting the role as V.P. at Motorburg, Inc., a position offered to me by one of the founders and a HUGE inspiration in my work, Charlie Smith. The automotive art and design community has some incredible history, and I was brought on to build the community. Starting with a new website, revamped forums and a social network, things are REALLY starting to happen there, with some incredibly talented folks posting articles, tutorials, and just generally sharing tricks, tips and advice on everything from drawing to running a studio. Check it out!
Things just kept picking up, with the Hot Rod Art Book show at GINAC Gallery in Santa Ana, and more drawing and designing...
We began wrapping the year up with the Goodguys Southwest Nationals in Scottsdale, and were once again shown incredible hospitality from Scott and the crew at Billet Specialties... thanks again, guys!!
Speaking of Billet Specialties, dig on the new tees we designed for them to celebrate their 25th year, as well as some great wheels and accessories!
Rounding out the year, the wife and I continued a tradition we began some years back, and instead of exchanging gifts, she grabs a few "Christmas Angels" from the tree at work, and we go about giving a few kids a Christmas to remember... The kids get involved, and it's a great lesson in sharing and giving a hand to someone who may be a bit down. I can't say enough good about the program, and encourage you to take part as well.
And, just a reminder to give back a little if you can, especially to those who need a little cheer this season. Head on over to the Car Design Fetish store and grab a gift that not only supports a great cause, but gives back twelve times a year with some fantastic artwork! This is a great-quality and big calendar, too, at 11x17 with thick card stock and full bleed printing. Very high quality indeed, and with art from guys like Scott Robertson, yours truly, Micah Jones, Raza Bashir, Mark Weaver, Dustin Shedlarski, Wayne Manista, Charlie Smith, Dwayne Vance, Arvind Ramkrishna, and Sangyup Lee, it's a virtual "who's who" of OEM and hot rod design and artistry! Certainly a future collectible.
We're not slowing at all heading into 2010, and hope you'll stick around as it just gets crazier and crazier! Thanks again, and Happy Holidays!
Lately, it's been rough finding a few hours here or there to do anything, much less create some art on the side... but somehow, some way... I managed to sneak in a minute or two per day, and nail down some visions that had been trapped in my head right where they belong: On paper and canvas!
The piece to the left here began some time ago as a digital work, and if you've been following along since 2004 or so, you'll recognize the basics here... I had wanted to throw in the '40 on the first Disturbingly Kool tee, but opted at the very last second to incorporate the Valley Custom-style creeper... This time around, well... it needed to be the '40, and I broke out the Mylar, frisket and tape, and began the process of creating stencils and masks, oh my!
I poked around the studio and garage for a few days as well, rounding up texturally interesting items, and a piece of expanded metal called to me, as well as some bubble wrap... and pretty soon, I had the background texture flying! Mixing paints, inks, and then mixing different mediums into those paints, I began to just go on "auto-pilot", letting the layers build themselves. I'm stoked about the result, and hope you dig it, too!
Next up was the painstaking task of cutting the stencils and masks, and figuring out a good system for layering them all, as I wanted to get this as detailed as possible, and have as much depth as I could, but still retain that flat, stencil look that brought this whole project on in the first place...
If you check out the detail shot to the right here, you'll see what I was after, as well as a slight shift in the stencils, a product of a very late night, but one of those "happy accidents" Bob Ross used to speak of. I learned a LOT about creating work in this manner, and will DEFINITELY do more... it's a blast, and really is a ton of fun to put down the stylus and mouse, and just attack materials with an X-Acto knife, some brushes, an the trusty Iwata twins... There's just that almost Zen moment when David Lee Roth's voice is drowned-out by the hum of the compressor, and the paints manage to somehow eek out of the air brush, loaded with extenders and matte and gloss medium. It's almost crazy to think that it had been so long since I created anything without the aid of computers, and shocking how different of a tan you get between a momitor's glow, and the lighting out in the shop!
I hope you dig this piece, as it's one of my favorites! (so much so, in fact, that I had it scanned, and am offering limited-edition print of this monster over on my site at www.problemchildkustoms.com) If you get time, please check it out, and if the mood strikes, pick up a print so that I can buy some more supplies!
And you know, that song has been stuck in my head for weeks. It's been years since I first heard the Kinks' song "Do It Again", and it kind of slid its way into the soundtrack of my life... What made me bring this up is the recent train of thought I've been on, with respect to my work, art and life in general. It seems that as things drift closer and closer to the absurd, I'm finding my inspiration in the very stuff that got me into this in the first place, which, as it turns out, is just absolutely beautiful.
Consider a few things, if you'll humor me (on what has become a long-ass post):
Like anything you find an interest in, eventually you move forward from that original starting point, and hopefully improve upon it, build your skills, and in some instances, find new inspiration someplace else. For me, my interest in art started with comic books, the MAD Magazine and CARtoons Magazine, finally leaping to fine art, namely surrealist paintings and Op-Art. While attending college, I majored in Fine Art, painting and drawing, and was thankfully exposed to a number of different styles, techniques, approaches... and I'd say that just about 90% of it was shit. Somewhere, it seems, craftsmanship was replaced by some rote technique, and "trendy" found a home in the one place it should have never been allowed.
My answer to that? I drew cars again. With the art world pandering to any two-bit hack with a brush, there was a certain peace in sketching hot rods and customs. I moved along with the times, bringing the digital tools into my work, and have continued to push the combinations of organic and electric. But every now and then, I slip into a comfortable routine, and just hit "auto pilot" for a bit... Yeah, I feel kind of guilty about that. I become the very thing that makes me rebel in the first place... And you know what? It's good. It brings about some good, I should say!
What's truly unique about this particular moment is that I have, for the first time, combined a lot of those early influences into my work at the same time. It's been amazing, and only getting better! The point here, though, isn't so much about what has BEEN inspired, but more WHAT has inspired.
I looked back at my more artsy roots, and recall the first time I saw Victor Vasarely's work "Vega-Nor", an Op-Art ("optical art") piece at the Albright-Knox.
This painting warped my young brain... not surprising, as that was its intent... After all, the point of Op-Art is to toy with one's perception, using color and line. I really learned more about using line quality from that piece than anywhere else! It was later in life, while working on a rendering that I stopped to consider just how much depth you could create on paper just with line pressure... up until then, I had a pretty good idea, but the process and idea just seemed, well, natural. Vasarely, mind you, was well ahead of his time. Granted, this whole Op-Art movement was set in motion by the German mathematician (and artist!) Josef Albers, who experimented in the '30's with color, working to create spatial effects, but Vasarely moved it forward, working to create work that all could enjoy and take part in... kind of an anti-agenda, if you will... and as for being ahead of his time? Consider that in 1953, the man stated that "In the future, we will attend projected exhibits by contemporary artists. Two days will suffice to send a large show by envelope to any point in the globe. And in the attached letter, as in some sort of partition, in cyphers and terminology, the artist will present the initial and true conditions of his creation."
Holy (expletive) premonition!!
Continuing this thought, he added that "from now on, the new technologies are here to diffuse art instantaneously to the masses." Ponder this.... the man essentially predicted email, and the use of a means to reach millions in moments, using art coupled with technology. Thinking about this over the past few weeks, it hit me that truly, I was, like the Kinks song mentioned earlier, getting back to where I started! (definitely "lost between tomorrow and yesterday, between now and then"!) Here I am, playing with technology, and bringing in the old techniques. How cool is THAT??! (of course, to keep my cred with the artsy camp, I could point out the irony of using a pop band to illustrate an awakening based in art itself... that should buy some time and sound deep, too)
Over on the opposite side of this note, we have the unseen forces that make it all happen... Beyond the lines and colors and techniques, we have the almost intangible combinations of things that inspire a work to begin with. It's that collection of inspirations that bring us to grab a pencil to begin with... all of those thoughts and items that begin to form a mental image. Each piece, no matter how insignificant on its own adds to the total. By concentrating on these smallest parts, a bigger picture forms... On that thought, I suppose that this is why I've always held a certain disdain for the Nihilistic approach, as it makes no sense at all. To simply start with nothing, and build upon nothing to acheive, well... nothing... is completely illogical. Every little spark springs forth something bigger than itself, and if you've been fortunate to surround yourself with positive, creative influences, then you're going to boldly go where no man has gone before, to to blatantly lift a phrase. Everything has some value, it has to by its very nature... Your job, then, is to not only recognize what is there, but determine its value, and find the right place for it in your work (or life!). Victor Hugo made the point that "There is no such thing as nothingness, and zero does not exist. Everything is something. Nothing is nothing."
So, I suppose, it's remotely odd that I'd look fondly upon Op-Art and Surrealism so fondly, when either could, at any moment fall over the edge into Nihilism, and eat itself. Perhaps that is what makes it so damn fascinating to me in the first place. Walking that very fine line, and doing its own thing for shits and giggles. It's the same reason that I enjoy the whole "Theater of the Absurd" movement (and its relevance to modern life)... it takes something so necessary for communication (language), and places complete distrust in it, opting for an alternative to illustrate a point... Combvine that with the paragraph above, and you'll gain insight to my values system, and just why I work as hard as I do: If you consistently think, walk and work outside of the box, you're going to find some truly unique ways to approach a creative project or problem, and the end result will be something loaded with fresh meaning.
It's no different than customizing a car, really. You simply have to look beyond what was placed in front of you (the stock car), and find a new way to express an alternate form from it. Consider that, in linguistic terms, having the same car as everyone else would be, by nature, a cliche'. While the Theater of the Absurd attempted to show an audience through an onslaught of cliche's, overly-technical jargon and essentially unconventional speech that they could elevate their communication by seeking more authentic means, and thus communication more clearly, customizing a car communicates non-verbally, and far more effectively that we are all individuals. It goes light years beyond the spoken or written word (which is why, most likely, that the photos in car magazines are so big compared to the text!) And perhaps that's a scientific explanation of why a mild custom works so well... there is beauty in simplicity, and by golly, when applied to a car, it transcends art.
What's also neat about this whole Theater of the Absurd/Op-Art/Brian's listening to the Kinks again deal is how there really is no conflict when done right... much like designing a kick-ass custom. Flow is everything! Consider this video (a visual version of "Bulbous Bouffant" by the Vestibules, a long-time favorite of mine)... Consider the communication... odd, not a lot of sense, but it entertains, and finds a rhythm:
Like any good design, it drags you along for the ride, enjoying the flow, and really not asking for a hell of a lot in return. And that, my friend, is a magical thing... When you can combine a couple of things, and just make it "happen", it's icing on the cake. Here's hoping you'll stay tuned and enjoy the ride! To say the least, I'm pretty stoked about where its all heading now, and the clients I've been fortunate enough to have are right along on this ride, making it even more fun. Like the song at the start of this entry says, "day after day I get up and I say I better do it again", and that takes us, literally, back to where we started...
As a wide-eyed kid, I’d flip open the latest car magazines and drool over the works of my hot rod design heroes… Guys like Charlie Smith, Thom Taylor and Steve Stanford were (and still are!) the guys I looked up to, hoping to one day at least meet these giants among men. They, and other artists like them were my inspiration to head out and do what I love. Never did I dream that I’d be able to make a career of it, but the world works in an odd way… That, along with long days and longer nights paid off in allowing me to do something I love for a living.
Along the way, I have been beyond fortunate to have made great friends, and meet guys I read about in books as a kid, and all have played a great role in making those Math class dreams a reality. One such friend has been the immensely talented Dwayne Vance, a guy who cranks out work that continually makes my head spin, and who has contributed hours of enlightening and entertaining conversation over the years. When Dwayne called and asked for some samples of my work for a book project, I was floored… When he mentioned the names to appear in it, I was speechless… He rounded up Randy Ricklefs, John Bell, James Owens, Eric Brockmeyer, Michael Miernik, Max Grundy, Jimmy Smith, Justin Chin, Thom Taylor, Larry Wood and Steve Stanford! A veritable Who’s Who in our industry… and he had asked me to be a part of this… Amazing. Just amazing! To walk amongst giants like this, well… I still have no idea what to say, except “thank you, man”. Absolutely priceless.
A peek inside!
…and speaking of priceless, the book will be packaged with an instructional CD by Dwayne to accompany the outstanding look into how he does what he does! Hopefully it finds a spot on bookshelves all over the world, and becomes just what it should be: A valuable resource for countless wide-eyed kids drawing hot rods on folders in classrooms everywhere, gearing up for the day when we “old timers” can read THEIR incredible books.
The book is available HERE… Thanks for checking it out.
...picks up right where last year's left off, but with less bruising and sore muscles.
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