The Second BMX Challenge...

...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!

New Summer Tees at HUGE Savings

We have a limited number of our well-received (and obviously popular!) Art Ragz series of t-shirts, and in sizes from small through 2XL (adult sizes only). What's great is that, for under ten bucks, you get a THREE COLOR (yeah, 3 colors!) design, printed on the back, and our logo up front... all on a lightweight tee that's perfect for Summer. Even better: with the low price, you won't live in fear of messing it up in the garage, shop, studio, environmental disaster, using it to choke a hippie, pie-eating contest, whatever.

These are Gildan Ultra Blend tees,and the printing is light enough (and has enough open space, too) that you won't get that dreaded "sweaty back" feeling... And, as if that weren't enough, we threw in some 'flake, too... because, after all, what's cooler than THAT?

Here's the front, BTW:

You can buy some tees in our online store... As we said, limited quantities remain, and Summer's here, so grab 'em while they last... And, as always, thank you for the support!

When the Rubber Hits the Road

While it certainly sounds like the event which might signal the close of a truck stop tryst (We apologize for that. Brian apparently found the good coffee again –Ed.), but we’re more interested (for the time being) about the 2010 Amsoil/Street Rodder Magazine Road Tour car leaving the shop, and hitting the wide open spaces, highways, side streets and assorted roadside tourist traps that make our country great.

The Shadow Rods-based hauler made a grand entrance on May 16th at Southern Rods in Greer, South Carolina, and we’re stoked all over again! Built by our pal (and Hall of Famer, no less) Zane Cullen over at Cotati Speed Shop in Santa Rosa, it’s a killer combination of traditional style, reverence to the Bay Area’s storied hot rod past, and modern reliability and power. The car looks incredible with a track nose, hood blister, and so much of that trademark Cotati Speed Shop attention to detail that we can’t begin to list it all here…

You can keep up with the Tour Car  on the official blog HERE, and see where Jerry is headed, where he’s been, and where you can join in the fun, too! And if you can, head on out and join the fun!


…and hey…. if I can be of use to design YOUR next ride, website, whatever… hit me up on the site! www.problemchildkustoms.com

Happy Holidays...

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!

A History of Speed Parts

"The dry lakes racers opened a door of opportunity," writes Barney Navarro in his forward to Paul D. Smith's book Merchants of Speed, and this hits the nail on the head to be certain.



For anyone interested in tracing hot rodding's roots, all roads lead back to the dry lakes and the men who were interested in one thing: speed. Early on, the Mohave Desert provided a testing ground for anyone seeking to try their hand at that all-American pastime of tinkering. As fast as Detroit could build them, you just knew there would be some guy out there looking to make his car faster or more unique. Naturally, any display of creativity breeds a sense of competition, and with competition, we often find ingenuity and innovation. Such was the case with hot rods, and following World War II and the return home of servicemen who had been exposed to new technology and training, the industry began a period of exponential growth.

Mr. Smith takes a look at twenty six of the original speed parts manufacturers over twenty-two chapters, giving some personal history on each, and digging up the inspiration behind their contributions to the industry. The book was written using the hundreds of hours of interviews conducted, and the voices of the men behind the history really shine through. From humorous anecdotes to sobering looks at tragic wrecks, we are presented with a living history of this truly American industry. We are treated to an ongoing series of innovations, witnessing the evolution of technology, and ever-changing business and manufacturing standards. The pursuit of quality and craftsmanship reaches ever-higher benchmarks as the stories roll on, and the "inside story" of so many parts we now take for granted seem to fill the little gaps that so often appear when one wonders "how'd they come up with that?".

Being born at the close of the musclecar era, so many of the names in this book were, up to reading this volume, just that... names. I was treated to what felt like a first-hand drive through the living history of the sport and industry I grew up loving, and make my living in. The book is a substantial 240 pages, loaded with over 250 images of the men, the parts, and numerous action shots. Truly a must-have for anyone seeking the "behind the scenes" history, and truly priceless for the artists out there who are looking for rare reference photos of parts and accessories.

More than just a history of the speed parts industry, we are invited to share the memories of the "founding fathers": Lou Senter (Ansen Automotive), Tommy Thickstun, Frank Baron, Bob Tattersfield, Nick Brajevich (Braje Equipment), Harvey Crane Je. (Crane Cams), Vic Edelbrok Sr. (Edelbrock), Jack Engle (Engle Racing Cams), Earle Evans (Evans Speed Equipment), Chet Herbert (Herbert Racing Cams), Stu Hilborn (Hilborn Fuel Injection), Howard Johansen (Howards Racing Cams), Ed "Isky" Iskendarian (Iskendarian Racing Cams), Frank McGurk (McGurk Engineering), Barney Navarro (Navarro Racing Equipment), Fred Offenhauser (Offenhauser), Chuck Potvin (Potvin Racing Cams), Mel Scott (Scott Fuel Injection), Al Sharp (Sharp Speed Equipment), Bill and Tom Spalding (Spalding Racing Cams & Ignitions), Wayne Horning and Harry Warner (Wayne Manufacturing), Harry Weber (Weber Racing Cams), Phil Weiand (Weiand Power & Racing), And Dempsey Wilson (Dempsey Wilson Racing Cams).

It's one of those rare multi-purpose books that will occupy equal time in the Studio being cracked open for research, as well as being brought out for some additional inspiration in those late-night bench race sessions.

Merchants of Speed
The Men Who Built America's Performance Industry
by Paul D. Smith
Illustrated. 240 pp.
Motorbooks
$40.00

Grab your copy here, and save almost 35%

Hiring a Hot Rod Designer

Over the last decade, we've seen explosive growth in the hot rod and custom car industry and hobby as a whole. This can be attributed to the popularity of television shows like Overhaulin', American Hot Rod and others, as well as Powerblock TV, the Barrett-Jackson Collector Car Events, and of course, the access to great personalities like Chip Foose, Stacey David and others. This brings in new enthusiasts, and naturally, more project cars!

Not since George Barris snapped thousands of photos and wrote hundreds of articles promoting the hobby back in the 1950's and '60's have we seen so much attention on our hobby, and it's amazing to witness. Yet, while there's all of the excitement, many of these new fans and participants are feeling lost when starting a project. It can be a daunting task to say the least, but when taking those first steps, having the right footing can make all of the difference in the world.

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. Thus, 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 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.




Five things to consider when hiring a designer:

Unless you have a background in design, you'll want to seek out a designer to help you refine your vision. The importance of having a vision on paper, especially when working with shops and others on a team cannot be overlooked. You'll have a vision of the finished product for everyone to work from, and it helps to avoid gaps in communication, and errors in describing what you want to accomplish.

When shopping for a designer, keep some things in mind:


1. Look for one with a style you like.

Not only are you hiring someone to assist in laying the groundwork for your project, but this person must be able to convey your ideas and tastes, as well as create a piece that will inspire your build team. You'll want some "wow" factor, but also be sure that your designer draws with proper scale and proportion! Taking a cartoon or shoddy "Photochop" to an experienced builder will get you laughed out of the shop. Sure, the kid you hire in a forum can make that '58 Edsel bumper look like it fits your Monza, 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 chose a car that excited 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 conversing with designers. See if you get along, and can communicate freely. An open exchange with your designer will pay off in a HUGE way when working. Look for someone who can help guide, if asked, but also take an idea you have and run with it. Nothing can be more disappointing than getting going with a guy who doesn't listen, or is looking to create a portfolio piece on your dime. On the flip side, simply hiring a "wrist" to make some lines based only on what you say is boring, and will; leave your design "flat". On the same note, just hiring an "artist" who rehashes the same 3D model their last 40 customers got, but with different paint and wheels will get you, well, the same car as those other 40 guys.
Make your budget known, and make sure that your designer understands that.
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.

3. Understand the designer's terms.

Get it ironed out immediately when speaking, just how many revisions you'll receive, and what the cost may be above that level. Know how the work will 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 furnish a contract spelling this out, allowing for worry-free design time. Check this out from step one, and you'll avoid starting over when your forum buddy disappears with your PayPal payment.

Understand, too, that work will often depend on payment. If you want your designs quickly and well-done, 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, giving the same consideration to your designer will breed 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 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. 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. 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. Make a list of things that you enjoy about cars. Perhaps you enjoy good handling, or maybe straight line 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 this stage that will help determine a direction for the project, and is of HUGE importance.







You should have a list of your dreams for the car, and one alongside that is more realistic, taking into consideration the reality of the car you've chosen. Approaching a professional designer with these will save time, frustration, and above all, help to nail that "perfect" concept.

5. Don't fall victim to trends.

Simply shopping at the "popular kids" table 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. Much as you may have enjoyed looking at that model in a magazine ad, would you marry her? Chances are, you'd rather find someone who fits your life, who matched that often undefinable set of criteria that just "does" something for you.

This project car should be no different.

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 keep a few bucks from doing likewise from your wallet.


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. "Build to YOUR taste, not someone elses'" is my credo in the studio. 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, question the hell out of it.

That said, head on out and explore... look at work, compare styles, and talk with designers. Your decision should go beyond price, and be the RIGHT fit for your project. Seek out a designer that can listen, offer ideas, and above all, nail your design. After all, simply setting sail on the ocean might take you SOMEPLACE, but is it where you WANTED to go? Hiring a designer will help chart that course, and the end of the journey, when plotted correctly, will have you itching to hoist the sails again, and that's what this whole car thing is all about anyway... feeding that passion.

Artist Feature... and FREE WHEELS!

I have an upcoming artist feature in the relatively new Benchrace Magazine, an online publication geared toward the hot rod community, and loaded with absolutely killer feature articles each month, and I'm pretty stoked, as this is really the first online 'zine to include my work.


Weighing in at nine issues (when the new one hits, anyway), the magazine has already nailed some killer content, including stuff from guys like Jim "Jake" Jacobs, Tom Fritz, our good pal Jimmy Smith, Dan Picasso and more! Hell, it's even had the great Reverend Billy Gibbons on the pages! Good times indeed!

Suffice to say, it was cool when Robert threw the idea out there to feature my art... I'm always stoked when anyone takes notice of my stuff, and it was a good experience! As part of the fun, I was asked to offer up a print as part of his monthly prizedrawing, and I've obliged, offering up on of my signed/numbered and limited-edition pieces, the Mahi Mah-T:

Add to that (by golly, it just gets better and better, huh?) the chance to win a free set of wheels, compliments of Real Rodders Wheels, just for subscribing (it's FREE, by the way), and the icing is on the cake:

If you get a chance, check it out... I think you'll enjoy it.

"Automotive taxidermy"...

...was the term I dropped into the conversation, and it brought on a stare, followed by a knowing grin and a nod of agreement.

I was having a discussion with a friend of mine, and the usual bench racing turned to the topic of restored cars... namely muscle cars and classics, and soon to one-off's like customs and hot rods. Initially, conversation revolved around escalating costs involved with merely buying a muscle car in today's market. It's a large amount of money to even touch anything worthwhile, and it prices the average Joe out of the game from square one. Add to this the recent trendiness that revolves around said collecting, and the people outside of the hobby begin to think that any car manufactured pre-1980 is a collector car, and worth hundreds of thousands of dollars. All of this notwithstanding, we soon hit on the real meat of the situation:

Cars locked in museums.

Granted, I can appreciate a one-off ride being preserved for future generations to enjoy and study... and who wouldn't want a work of art like Cadzilla to be around for a hundred or so years? Yet, to keep the cars locked in a climate-controlled room, pampered (sometimes quite literally) by teams of "preservation technicians", to me, anyway, deprives us of the best aspect of building a car. Actually driving it, and witnessing it in action!

Granted, you're not going to pull a world championship-winning Ferrari F-1 car out for a jaunt to the Circle K (that'd be like asking to fly the Spirit of St. Louis over a stadium, dragging a banner advertising a tanning salon, or a space shuttle around for kicks), and I can't imagine risking the original Hirohata Merc in LA traffic. What I'm getting at is that taking a Camaro or a Mustang, whatever, and storing it inside forever is a waste of the car. Why not just commission a great scale model, or a nice painting, or even a Poloroid?

Cars today are fast becoming trophies. Watch a certain auction, where it's no longer about bringing enthusiasts together to trade vintage rides and share some time... It's about "dig how much money I have!", and then living in fear of enjoying the purchase. I cannot fathom anyone getting so behind this attitude, and helping to hype it. It's a hobby meant to enjoy. The moment anything becomes centered on simply getting rich from it, well... at that point, I've lost any respect for the person(s) involved.

Take the car, and drive it. Not onto a trailer, and then off of it, 30 feet to a spot at a show.... Take it to the drags. Go for ice cream. Hit the park, whatever. If you don't, it's the equivalent of stuffing the deer you bagged, and throwing away the meat. Why not just mount the front clip over your fireplace, and tell stories of the "big block that got away"? In my opinion, there's really no place in the hobby for automotive taxidermy...

And with that, I'll hop off my soap box here...

Red and random...

Got to playing with a series of works lately, all based on a monochrome theme, and thought I'd show one off for a Friday morning:


Suffice to say, it's a rather colorful series, with an interesting mix of contrasting and complementing cars and styles, each coupled with a color chosen in the same way... Hope you dig it.

Innovation, guest appearances and simple math...

...all combined in my head over the past couple of days. I had been in the studio almost non-stop this past week, trying to keep up, and finishing up some bigger projects, and as usual, began to ponder mysteries of life.

One topic that often entertains my gray matter is that of innovation. I enjoy looking back on instances where one single event or idea made enough of a ripple to change something. Consider skateboarding (not much of that happening with a knee like mine lately)... A simple trick like the Ollie took it from slalom and simple "sidewalk surfing" into a whole new universe. Arials, tricks previously unimagined... Hell, almost all extreme (board) sports can trace some lineage back to this simple trick (consider how surfing was transformed by the arial). Car-wise, consider Sam Barris chopping the first Merc...

...or better yet, his fastback Buick!

Style moved in a whole new direction! Lower, cleaner designs poured from Detroit following this most basic (yet complex) custom idea.

It's all simple math, really. Add where you must, subtract what must be removed for the sake of style, and, if you do your math carefully, you have a winner! Consider that there are an almost infinite number of equations to arrive at a solid design, and it boggles the mind. It all falls on vision, and carrying elements to the right places.

Speaking of innovations, simple math, etc... I listen to a lot of music in the Studio, and I enjoy a broad range of styles. A recent spinning of some classic R & B really got the brain firing on all cylinders. I began to think about guest appearances, and the blending of occasionally different, and sometimes similar elements, and how they can affect the final product, be it music, cars, or even food. Canned Heat recorded an album with the legendary John Lee Hooker, entitled Hooker n' Heat, as the band was getting back to their blues roots.

The album is almost, in essence, a John Lee Hooker album, with the Heat playing backup... But it works. In fact, it's something beyond a simple listening experience... it takes on a life of its own (namely in Wilson's unbelievable harmonica playing-- sadly, also his last appearance). The meshing of Canned Heat's loose, funky, boogie style, with Hooker's down and dirty demeanor make this not only a great listen, but inspiration!

Consider how, in most cases, a guest appearance by anyone (be it TV, music, or anything) is often watered-down. In the case at hand, Hooker just stomps his way in front, and stays there... It's pure "attitude music" if ever such a thing existed.

How does this apply to cars? Like any good design, it's in choosing the right ingredients, and using them to the right level... pulling the most from their potential. It's not about just bringing in the hottest "at-the-moment" thing (remember composite headlamps being installed on EVERYTHING in the '80's? There's a warning.), it's choosing some elements that may be, on the surface, anyway, entirely different... and finding some common ground or theme for them to work from. Looking at the raw material, and then seeking out an element, a slice of character in either a part or a modification that just makes visual "sense". Consider the use of Buick trim on a Merc. Just looks "right" somehow. A good idea that spawned countless clones. I suppose that my point is simply to hone your ability to discern what makes for good design, and to absorb those things that look (or sound!) "right"... and make sense of the WHY (why they look right, why it flows). In short, don't be afraid to kick the tail of your board, invite a different co-host (or opinion), or throw a few new numbers into the equation.

After all, when it comes to innovation or imitation, there's really only one way I'd like to go...

The old days...

...sure look awesome when looking over old magazines and photos, don’t they? All of the killer cars, shiny paint, classic locations, impeccably dressed people and so-on. It makes it all the more interesting when you either stumble across (or are handed!) an old snapshot that captures real life… an actual hot-rodding moment, frozen on Instamatic or Polaroid paper… In this instance, we have such a subject; one that makes you say "D'oh!"

Yep, it’s harsh reality, there to smack you in the head, as it always seems to. The photo above came to my desk while hunting for source material to fuel my current background project, documenting East Coast customs and hot rods… My father gave me some surviving photos of old cars and car shows, and mixed in was the gem you see above. The car was his personal ride, a ‘57 Chevy 210 that he originally purchased with a six cylinder. The car received a nifty little 283, bored to 301ci, and backed with a 3-speed, 4.11:1’s, and exhaust he described only as “loud”. The car was respectable and quick for the times, running low 13’s. Not too shabby for a kid, and especially for a daily driver.

Anyhow, the moment above captures the aftermath of a floor shift install. Say what? OK, not the IMMEDIATE aftermath… You see, my dad had installed a floor shifter that fine day, and, like so mmany times that I’m sure we can all look back on and say “yup… done that!”, he rushed through to get to work on time (night shift!), and we all know how shifter installs seem to go… Something ALWAYS goes a little haywire. Needless to say, shifting from second to third resulted in, well, nothing.

Youthful thought offered the option to just reach through the ample hole in the floorboard and grab the linkage, when the stars aligned to strengthen the bowtie camp in the infamous Chevy versus Ford battle... and the mighty tri-five Chevy plowed into a ‘63 Fairlane. Certainly ironic.

The car was fixed, using the remains of a t-boned Bel Air hardtop, with the same car supplying the interior for this same car a bit later. The car was sold when my father entered the service, and marked a three year span of ownership in his life. We’ll have to look at the ‘64 Impala and ‘66 Charger that followed at some point, too, all with somewhat better results!

Granted, I’ve done worse myself (and with no shift linkage to blame!), and that’s not the point here… It’s just an interesting look back on a moment frozen in time… one of those images you don’t often see. It’s real life mixing with youth, hot rodding, and all of those experiences we try to teach our own young ‘uns with…

Dial 3 for...

...3D, I guess.

Having always been a fan of classic movies, and even more, an Alfred Hitchcock fanatic, I took a rare couple of hours last week to sit and watch a film. The day’s selection? “Dial M For Murder”, Frederick Knott’s great play-turned film. If you’ve never seen the movie, do yourself a favor, and scare up a copy. It’s typical Hitchcock visionary cinema, and is so far ahead of its time, presentation-wise, that it boggles the mind. What’s really slick about the film (beyond the incredibly intimate camera angles) is the use of very limited sets. The majority of the film takes place in an apartment, by the the story makes you forget that.

Anyway, why bring up this film? The movie was filmed and subsequently released in 3D back in 1954, coincidentally, the year that the fictional scene depicted in the image with this post takes place (...it always ties together, doesn’t it?). What’s great about this film in particular is that it wasn’t the typically hokey 3D spectacle… It used the effect brilliantly and subtly. Granted, in ‘54, there were a ton of 3D movies, and most of them bad, thus, “Dial M for Murder”, shown in 3D, didn’t fare so well, which is a shame, because, as we’ve touched on before, it was done superbly and subtly.

If you’ve got a pair of the old red and blue 3D glasses laying around, dig on the pictures that accompany this post…

I’m a fan of subtlety, always opting to take the “less is more” route, and playing with a design to harness some serious visual impact from a well-placed modification. Perhaps that’s why Hitchcock’s films appeal to me: they are well-crafted, and sort of sneak up on you, making you re-examine a scene, study the details a bit more carefully, and pay closer attention. In the last issue of Rod and Custom, I was fortunate to have had another piece featured as their “Dream Car of the Month”, that being the ‘53 Ford moonshine runner, which illustrates this subtle approach perfectly. There’s a lot going on with this car, but it’s presented in a very subtle way (on the car itself, anyway… Racing through the woods in a custom car isn’t precisely “subtle” by any means…). It’s got many layers to dig through, and the narrative behind the image is pure fun… But it’s what was on my mind when creating it that makes this so damn cool.

When I began drawing the car, the scene was already set in my mind: there would be a dark, moonlit night in 1954 (ahhh…. it’s all tying together!), a bed of red clay, a police car in pursuit, and some moody lighting. But what made this piece unique in my portfolio was that I kept seeing this thing in 3D… stereoscopically. I set out to create multiple versions of the piece, and there had to be one that used 3D glasses. No two ways about it, that’s what my mind kept going back to, and I was determined to reach into my bag of tricks, pull out a clever technique, and apply it to this piece.

It was fun to make the trees “pop” out and recede, to make the lights gain some depth and “flicker”, and to work to make the features of the car visually sit in their rightful places in space. It’s a lot of work to get things “right” (working a drawing into 3D isn’t as easy as working from a couple of photographs, and requires a TON of planning and work… but the results are just damn cool), and when they fall into place, the results are stunning. I’ve been experimenting with a number of my older pieces using this technique, and I even have prints available (with killer plastic-rimmed anaglyph glasses-- comfy and stylish!) on my site at www.problemchildkustoms.com

In any event, what this all boils down to is that I’m happy to be having fun with it all again, and after applying some inspiration from a great cinematic experience, I’ve embarked on a new path with my work… It’s getting to the point where I can invite you to reach into my work, and see it in a whole new way… and how cool is THAT?!

Look for more soon…

"If life were fair..."

...Johnny Carson once said, "...Elvis would be alive and all the impersonators would be dead."

It's a pretty deep thought. It's a fitting one, too, as originality seems to be a dying art at times. I fell into a creative funk recently, and began to look at a late crop of cars, and thought "wow... another car on a set of aftermarket rims. How progresssive." (keep in mind that the cars in question were presented as some "Hot, new!" and "ground-breaking!" rides, and a few were flowing from my pen, seemingly keeping the envelope flat and tidy -- no pushing allowed!) It appeared, during that spell, that true automotive personalization was dead... That, just maybe, we had gotten to a stagnant point in the hobby where every car had to adhere to some set of rules to be "cool"... it was high school all over again, oh no! And just when I thought it was, along came a brilliantly conceived idea, and I'm honored to take part in the design process. Suffice to say, a client approached me with his genius take on a truck, and it's lit a fire, so to speak... In fact, that fire spread quickly to a new piece for a magazine, that I knocked out in record time... (not a truck, but an over-looked car that suddenly hit me like a ton of bricks) The drive was back, and with a fury... My eyes were opened to a whole new set of possibilities... it was like re-discovering cars. I dug through my notebooks and sketchbooks, and began reviewing them with a new-found purpose. I have set out on a journey, the road paved with unique cars, and seemingly endless possibilities.

Talk about timing, too... Some time back, we took in the "Curves of Steel" exhibition at the Phoenix Art Museum, which, despite its small size, packed an unexpected punch. It was a great time, just taking in some design work from true masters. Classic forms, many mixed with function light years ahead of their time, all leading to one thought in my mind: I love what I do. I create, literally, passion on paper. It's not a job, it's creation of passion. It's taking an idea and running with it. It's not something you wake up one day and say "I'm going to design custom cars." It chooses you, and while it makes you work at it endlessly, it gives back a million times over in satisfaction. Simply put:

If I were approached to design a hot rod, custom, pro-touring ride, whatever, I'd want to bring out every aspect of the car's potential, and tie it with the owner's personality, not just create another ho-hum car that wears the right "uniform" for its genre. Granted, certain ideas work well, and have an established following... an early generation Mustang or Chevelle, for example, on 18's and 19's and sitting low looks good, it's a given. However, simply adhering to one look closes so many doors, creatively speaking, that you rob yourself of exploring the car's full potential. It's far too easy to just plug in a formula to achieve a certain look... Of course, there are always budget constraints and whatnot, but this is where careful, creative planning in the earliest stages can make any car into a unique, personal statement.

Obviously, if you like a style of car, you should go for it... I'd never suggest change for the sake of change. Don't just plop a heap of "different"" on top of an over-used motif just to stand out... To stretch the metaphor, if a singing impersonator is good, a fire-eating, sword-swallowing, contortionist skydiving crooner may not always breed better results.

Break the formula where you can, and stretch your imagination, but keep good taste in mind. All it really boils down to is that if all cars were built using the "formula method", every car would simply mimic another, and, in effect, be just another Elvis impersonator. And that's just not fair...

Ingenuity...

...is defined by Webster's as "skill or cleverness in devising or combining : inventiveness, or: cleverness or aptness of design or contrivance".

It's been a word that has spent an unholy amount of time bouncing a

round in my brain lately. I find it to be a powerful word when applied to our hobby/industry of hot rodding in general, as it's really the backbone of what we do. Consider an engine builder, working to tweak every last ounce of power, Sam Barris chopping the first Merc roof, or the first guy to conceive the idea of using lace to create killer patterns in custom paint. Hell, each day I'm confronted with the challenge of bringing unique ideas to a project, and in some cases, finding ways to stretch a budget, and draw in some wicked little details to set a car over the top. It's a matter of using what's there in front of you (and occasionally what doesn't exist!) in a new or different way, and then getting it all to flow.

A recurring theme here in the old blog has been that of cool details and inventive use of materials on a project, and this entry brings in some really neat stuff. First off, time had shot over some pics of his new, self-made planishing hammer.

Confronted with pre-made units that maybe had the power but lacked the throw he needed, or even vice-versa, he did what any hot rodder might do: He made his own. 

Pretty slick, indeed, and a great illustration of the point here. The human mind is capable of solving problems with amazing agility at times (there's even some grace in banging a sheetmetal panel to shape over a 2x4 when it's in the right hands!), and when it comes to creating tools to aid in work, provide convenience, whatever, it's always cool to witness. 

Speaking of ingenuity, a recent side trek on the web, seeking more info on Sam Barris' Merc led me to a video highlighting a car that's always kept me fascinated (and, amazingly, another Barris-constructed car -- I say "constructed", as the majority of the innovations on the car were those of the owner), the Golden Sahara II, from the ingenuity (see a theme here?) of owner/designer Jim Skonzakis (aka Jim Street). Every inch of this car is loaded with ingenuity, and inventive, if not a step beyond state-of-the-art for its time (this was pre-1962!)... Man, consider that this was the FIRST car to have a TV in it, much less every other technical marvel thrown in. You may know this '53 Lincoln Capri from the Jerry Lewis movie Cinderfella:

or even the old Rob't. Williams "Leadsleds" poster (it's there in the original incarnation, anyway), too! In any event, over on YouTube is the following video... take a peek, and we'll pick this back up in a few: 

How absolutely freaking cool is THAT??!

...and those light-up tires? Dig this:

In the '60's, Goodyear toyed with translucent polymers to create pastel-colored, illuminated tires! More likely than not, they were to be marketed toward women (color matching everything was in fashion, after all), yet the material proved to wear too quickly, and they never made it to market... 

Ponder the thought that went into this car, the forward thinking, the sheer inventiveness... the INGENUITY. Granted, there's a lot of gimmickry going on here, but isn't this car just the perfect illustration of the times? That whole "world of tomorrow" kinda vibe going on, and all wrapped up neatly in a pretty slick custom.

 
I had shown this to my kids, and they flipped that the car had a TV, a remote... and then they said "they had TV back THEN"? Illuminated tires, whoopie.... TV? Amazing to kids. Go figure...

Why Hot Rodding is So Damn Important Right NOW

In an age of absolute uncertainty (be it financial, moral or otherwise...take your pick), there are few things that seem to stand the test of time, and afford that feeling of general stability in one's life. I'm not talking so much about job security, or the familiar smile of your favorite teller at the neighborhood bank so much as I am the feeling you get when you talk to someone genuine... Anyone who miraculously slices through the presumptuous bullshit and makes you think a bit.

I know, I know... "but Brian, I NEED the media to tell me what my opinion is on things, and I'm too much of a pussy (yes, I said it: "PUSSY") to express any original thought around my liberal, communist, Stepford-like, golf-afficianado douchebag neighbors for fear of being branded a radical and not being invited along to play Bunko!" If this is your line of thinking, well, you might want to head on off and try on a new pair of plaid shorts. The logic here may get too heavy for you and make your carbon footprint too wide.

For the real people, let's talk about hot rods. "What do hot rods have to do with stability in an uncertain time?" you ask...

Glad you threw that out there.

Simply put, when times get tough, what's the first thing anyone looks at? The negative. And in an age of general stupidity and inability for most folks to construct an original thought for themselves, we have to seek out creativity in almost any fashion, and hold onto it, and push that bastard hard and fast... It's a straightforward concept that I'm throwing out here... And unless you've been raised on network news, awards shows, or sat at the "popular table" and never outgrew your high school days, you should be able to keep up fairly well here. When we start contemplating the negative, it's all that we have to build on, and the logical product of that is, naturally, more negativity. When it's all doom and gloom, any glimmer of hope starts to look better than what's been fed to you, and if you're so conditioned to just take what's handed out, well naturally it all looks good, right? So you accept more of the same agenda as some new concept, and while away the days drinking the Kool Aid and hoping you'll adapt. Not my speed at all.

Maybe that's why I dig hot rods so much.

You see, in the beginning, hot rods were a means of expression, a unique art form that celebrated inventive thought, a positive goal of improved looks and performance (... something we can all use, according to my TV, anyway), and genuine good times. At its heart, it's all never changed, really... Cars are cool, and hot rods even cooler... No matter what the manufacturers threw at us, as hot rodders, we've always managed to make something cool from it. The spirit to alter what's out there, to personalize it, to make it our own. As a general rule, creating something bitchin' from something mundane brings about a kick-ass reaction, and doubly-so from the non-initiated.

What's so scary in this day and age is how the uninitiated ("non hot rodders") are pushing to make this form of expression, along with anything else that resembles free thought or expression for that matter, a thing of the past. Whether we're being blamed for the environment (after all, those glasspacks on your '36 Ford cause the air over China to turn black, right?), told that we're throublemakers, or whatever... Consider that in a half century of hot rodding, our creativity and forward thinking have led to HUGE technological leaps... Simple backyard engineering has led to efficient engines, better aerodynamics, incredible styling, safety features... And yet, they spoon-feed you some hybrid turd that requires strip-mining, international trade treaties that take jobs from our country, and pad special interest group wallets, further separating the have's and have-nots (hey, that's you and me!).

At a more grass-roots level, ponder that you're told only a part of the story by your beloved media, and each day you give up more and more freedom to express your automotive visions... and beyond cars, well... you can only imagine.

The point here?

More than ever, simply sitting on your ass and letting someone make a decision for you, or simple going along with the opinion of some less-informed douchebag with an agenda will strip you of any creative outlet... Imagine having a total stranger step in and build your project as they see fit... Fantastic if they have the vision and experience (like Foose or Brizio...), but what a bummer if it's someone you've never heard of, and who can't back up any claims of their ability... Yet, look around you, and you can see it happening already. Personally, I'm not willing to lay back and see a fairgrounds full of green Priuses passing as a hot rod show, and if you are, well, enjoy the shit out of the boring, constricted future you helped to make, hippy. I'll be hanging out on the fringe, right where you've pushed guys like me for years... And our familiarity with this region will continue to be our greatest strength.

All things considered, with the chips down, and the prospect of being dealt yet another loaded hand, celebrating hot rodding at its very essence is more important than ever. We're the guys who push styling, safety, engineering and technology to that ragged edge where it hangs on, eyes bugging out, screaming for us to back off... And if we let them take that, well....

THE anything...

…was this past weeks’ lingering thought.

Put the word “the” in front of another word… but with emphasis. Like “THE album”, or “THE ‘55 Chevy”. When you do this, especially in the presence of friends or like-minded people, you can almost always get a knowing nod or smile. If you’re Zeppelin fans, “THE album” may be either Physical Graffiti or IV (and may be grounds for a fist fight, who knows?). Say “THE ‘55 Chevy” in one group, and you conjure images of either Falfa’s black ride from American Graffiti (or its prior incarnation in gray for “Two Lane Blacktop”… perhaps the sound of it in “Smokey and the Bandit”? We’ll save that for another time…), or in another crowd, Scott Sullivan’s Cheez Wiz Orange masterpiece.

Say “THE goal” to a Hockey fan, and you’ll conjure up this iconic, historic image:

Game 4. Overtime. Sweep of the Blues on the line. First Cup victory in 29 years. Sanderson’s pass leaves Orr’s stick as he’s hit by Blues defenseman Picard. As Orr sails though the air, the puck slides past goaltender Hall, and a historic moment is caught on film… quite possibly the most famous sports photo of all time….which is what got me thinking about all of this in the first place. Bobby Orr. Why would I think of Hockey’s greatest defenseman while sketching up some cars? It may have to do with my kids heading back to school this past week, and thoughts of book reports, nostalgic whatever about my days in school, who knows… But I do know that one of my first book reports was on a book about Mr. Orr, and it left an impression on me.

I recall reading the book, and thinking “whoa… this guy is the greatest!”, and not just numbers-wise, but man… he’s everything a sports hero SHOULD be: talented, dedicated, and driven. Calder Cup winner, eight straight Norris Trophies, three-time Hart Trophy recipient, two-time Conn Smythe Trophy winner, and two, count ‘em, TWO Stanley Cup winning goals… and a spot in a little place we call the Hall of Fame. He played with a terribly injured left knee, and when he felt that his play on that knee was hindering his team, he politely retired from the game. With 270 regular season career goals, and 645 assists, it’s obvious that this guy was a leader…and more. When he moved to Chicago, and his injuries allowed him to play only 26 games, he refused to accept a salary, and, in fact, never cashed a paycheck.

At that early age, what I had learned at home was reinforced in that book: work hard, remain dedicated to what you do, and earn your keep. It left a mark on me that became permanent… What’s this got to do with cars? Like I said at the beginning, there’s always that certain “something” about, well, something that just sets it apart, and etches itself on you in some way. Bobby Orr’s story was like that to me, much like Scott Sullivan’s ‘55, Doane Spence’s roadster and Winfield’s Jade Idol… Each has that mystique, that vibe that draws you in closer, and then leaves an indelible mark. My goal is to one day design or create something that does that to someone, and who knows, maybe inspire some grammar school kid to look up to me. May you have that effect as well, and leave behind a legacy of “THE’s”…

Stenciling in some time...

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!

Thanks again for checking it out...