Bob Caderet renderings, Corvette Nomad and Corvair artwork, early Corvette production shots, Astro I, Astro II, XP-819, Mako Shark I and II vintage photos, and a few unusual Motorama photos.
Everybody has lots of posters. These perhaps are a bit unusual and of interest to the readers of Dean’s Garage.
“I was lucky to get into car designing; I was at the right time and place.”
“Bill Mitchell absolutely hated the 2-Rotor and was very verbal about it calling it all kinds of nasty four letter words.”
The design process from sketch to a roll around hard model.
Looking back, I think what a great place to start an automotive career, and how sad to think of what FOMOCO was then, and what it is now.
Part two of a three part series showing a design process in order from sketch to a roll around hard model.
A wonderful sketching style.
This gallery of images more or less shows the design process in sequence from sketch to a roll around hard model.
Of the many and varied professional opportunities available in the automotive industry, the role of the designer (or stylist) has probably captured the imagination of more young men and auto enthusiasts around the world than any other.
Renderings by Jerry Hirschberg, Allan Flowers, Clark Lincoln, Geza Loczi, and yours truly.
I was a designer for Ford in 1953, and 1956-1961.
Renderings by Geza Loczi, Jerry Hirschberg, Harry Bradley, Clark Lincoln, and yours truly.
I ended up with a box of slides from a major Buick-Oldsmobile show previewing the 1977 Buick and Oldsmobile models.
Jack Humbert, the greatly respected Pontiac studio chief in those years, was very tolerant of my naiveté.
Videos from Archive.org.
Illustrations accompanying the New York Times article published August 26, 2007
Renderings by Jerry Hirschberg, Bill Porter, Allan Flowers, and yours truly.
Photos from Ron Will.
The Fisher Body Craftsman’s Guild got me started.
Mystery Photo. Turns out it was a Toronado proposal.
A rare brochure showing the development of the Aerovette.
Newsprint pads, the same stuff your newspaper is printed on, were far cheaper than other sketch pads and were very popular at Pratt Institute where I did my graduate work in Industrial Design in 1957–58.
A fascinating look into the world of design in the late 1950s