Clark Lincoln’s jaw-dropping illustrations were an inspiration to me in terms of technique, composition, and design. I spent many years in Buick Exterior I studio, and it was there that I believe we worked together for a short time.
He definitely influenced my rendering style. Most designers used markers and chalk on vellum, not bond paper. But over time I developed a variation of Clark’s technique on bond. One thing for sure. You needed a fresh $300 set of Berol Prismacolor markers to attempt to emulate Clark’s marker technique.
Before I left GM in 1988, Clark’s Alias renderings were starting to show up. They were outstanding. I wanted very much to learn Alias, but I never got the chance. —Gary
by Clark Lincoln
I hired in at GM Design in ’69, having an offer from both GM and Ford following a couple of years in an ID Studio in Detroit doing product design. This was my first design job after I returned from Viet Nam. I served four years or so after graduating (MA Industrial Design)) from Michigan State in ’62.
My first three years were working in experimental interior design under Jim McCormack. After a short break from GM to go into my wife’s family business (which was a mistake) I came back and was put into exterior working with Phil Garcia (“El Piloto”) in one of the Advanced Studios. I did spend a few months working with Wayne Cherry at Vauxhall sometime during the late ’70s.
Then in the early ’80s I was promoted to Assistant Chief Designer in Pontiac Studio with Terry Henline to be followed several years later by a promotion to Chief Designer of one of the Advanced Studios. It was in this position that I was given the assignment to work with the Canadian company Alias to develop a new product they created to provide studio designers a user friendly 3D CAD system. This was a very interesting and, as it turned out, very far reaching project as today this system is used world wide in design studios.
About 1996 I was transferred to Truck 1 Studio as Chief Designer, where I remained until I retired in 2001. We did the full size pickups for Chevy and GMC—the moneymakers for the corporation.
All through my career, design concept presentation was very important to me. It was not enough to just draw a great design, it had to be presented in a compelling way. This was mainly important, so I felt anyway, to get the attention of the bosses during a review. I remember one thing I worked out that really worked well was to work small on typewriter size bond paper with ball point pens and markers. This way when the boss came in and looked at all the design renderings, they had to walk up and lean in to see my stuff rather than stand back indifferently and scan a bunch of large pieces. You KNEW they were looking at your stuff! A little ego stroke that we all needed.
You can see this technique in several of the pieces attached here. The most evident is in the Cadillac V-16 sketch.
Photos and text provided by Clark Lincoln. Printed by permission.