I find it fascinating that a small company like Morgan survived all the decades of change in the automotive industry, while continuing to establish a very well known brand. So I was looking forward to getting to know more. Veloce Publishing just released a new book “Making a Morgan’ written by Andreas and Dagmar Hensing.

Making a Morgan written by Andreas and Dagmar Hensing.

As you might know, each car is made in almost the same way as it was done before WWII. A steel chassis with a wooden frame and a metal body. They produce around 500 cars per year in a factory in Malvern in Worchestershire. Of course this book, like so many car books, starts with the history of the brand.  I particularly liked the photo of Dorothy, the sister of the founder Harry Morgan, in the protoype of the Morgan three-wheeler. These three wheelers, in a much more modern version are still being produced at Morgan.

Making a Morgan written by Andreas and Dagmar Hensing.

Morgan build “pure” cars. They have this unique combination of classic and fresh design. It feels like a tribute to the past. Well especially the Morgan Aeromax, designed in 2005 by Matthew Humphries who had completed an apprenticeship in the Morgan works. The design was a homage to the legendary Bugatti Type 57 SC Atlantic.

Making a Morgan written by Andreas and Dagmar Hensing.

As said, Morgans are being built in the traditional way and the following 110 pages document the production process step by step. Photos, text and interviews with the different craftsman add to the personality of the brand. It makes the reader appreciate the dedication each worker at Morgan has for his or her car. Day by the day the production process is followed, from the chassis to the wood work, from the body to the painting.

Making a Morgan written by Andreas and Dagmar Hensing.

Making a Morgan written by Andreas and Dagmar Hensing.

Making a Morgan written by Andreas and Dagmar Hensing.

Making a Morgan written by Andreas and Dagmar Hensing.

A lovely book. Available at Veloce Publishing. ISBN: 978-1-845848-73-6

The post MAKING A MORGAN appeared first on CarArtSpot.

Stanley Wanlass Automotive Artist & Sculptor

What is your story Stanley, how did you become an artist?

I’m just an ordinary guy who happens to seek beauty; no matter where it is found.  I’m also constantly searching for truth; but that’s much harder to discern.  I suppose that I’m a hopeless idealist & a romantic.  My goal is to aesthetically improve what I can and share my subjective vision of beauty.  I’ve always been an artist. When I was studying at the University in the late fifties and early sixties, it was almost impossible to make a living as an artist.  Mark Rothko was probably one of the first artists to sell enough art not to starve in N.Y. in the early fifties.  So to be practical, and in order to make a living, I went into my second interest which was medicine.  It wasn’t until a couple of years later that I finally came to the realization that my real love was the art and I didn’t care if I starved, I was going to follow my BLISS & my dreams as an artist. However, my sculpting & painting were immeasurably improved by my medical studies and made me a better artist and a broader human being.  Also, to this day, I am creatively inspired (everyday) by my studies of Literature and Music.

Sculpture by Stanley Wanlass

Spirit of Excellence by Stanley Wanlass

I had come to the conclusion that for me.  There is but one God - and his revealer is Art

Do you come from an artistic family?

Not really, with the exception of my Grandfather whom was an easel painter. My Mother was very artistic; but not in a conventional way. Indirectly my childhood naturally lead me toward artistic endeavors.  During the 40‘s & 50‘s I loved working with my Dad helping with the assessment work at his mines located all around the west desert, the Henry mountains, the San Rafael Swell and the Thomas range.  I was just a kid but my Dad put me in charge of the powder & blasting caps after they were flown to our sites in an old “Jenny” bi-wing which bounced over the sagebrush landing strip we had crudely made.  The pilot’s name was “Old Blue”.  His full name (I think) was Blue Archer.  I did a painting of him and his plane near our sagebrush campfire.  I still have that painting to this day.  it’s very dear to me and I can’t bare to sell it although I have had many try to buy; while I do offer it as a Giclee’.

Old Blue by Stanley Wanlass

While combing the deserts I ran across numerous old cars that were all rusted out and unusable.  One thing that fascinated me with these old wrecks was that they had this beautiful cloisonné emblem on the front of the radiator.  I started to collect and catalog them wondering how many different ones that I could find and indeed, how many varied car companies there had been in America up to that time.  Years later, when I was working on my Masters Degree, the emblems became a large part of my 500 page thesis on automotive design.  Most experts at that time estimated that there were maybe 3000 to 5000 different individual car companies producing cars from 1900 to 1930 in America.  My research revealed more than 12,000 during those years.  My thesis has since been published by Dover Publications, New York. One of my Dad’s mining claims was near the Bonneville Salt Flats.  I remember the very early hot rods during this period of time which I’m sure helped develop my love for racing from then until now.  And, I was always sculpting and or painting automobile subjects during these years which lead to building real hot rods during the 50’s at my Father’s service station.

What sort of jobs did you have before coming an artist?

I taught at the University of Grenoble and the European Art Academy in France in 1966 and again in 1969 & 1970.  I also taught for six years at Brigham Young University, then another ten or fifteen years at Colleges and Universities in Canada and Oregon.  I was sculpting and painting full time even while I was teaching but when I decided to quit, it really left me much more time to create.

Art around the corner by Stanley Wanlass

Cars are a recurring topic in your art, why is that?

My love for the Automobile and history have been paramount in my life and led to my passion for creating Historical Monuments and Automotive sculpture/paintings. I’ve always loved cars.  I have built them and collected them all of my life. They are kinetic and to me they symbolize the ultimate expression of human FREEDOM.  The Automobile was the only really new significant art form of the 20th century.  For thousands of years’ man relied on the horse and wagon for transportation.  Then this contraption comes along and revolutionized the world.  This came about within my parent’s lifetime.  This was an epic milestone.  This and other significant automotive events should be celebrated as iconic in world history.

I have a world history chart on my wall that is 162 inches long.  It represents the history of the world from 4000 years BC to present.  The invention and history of the automobile is only the last 3 inches.  What an impact the automobile has made in such a short period of time.  My sculptures “SPIRIT OF MERCEDES” & “THE BENZ CENTENNIAL” are in celebration of this milestone.  Another of my sculptures, “PASSING OF THE HORSE” represents the exact moment when this epic demise of the horse (for transportation purposes) came to pass.  The Automobile, along with the computer are in my opinion, the two most significant things to have happened in the last century.

The Benz Centennial by Stanley Wanlass

Passing of the horse by Stanley Wanlass

Your art shows a “Joy de Vivre”, enjoying life. Is that a reflection of who you are?

I’m mostly optimistic and try to have a positive & loving outlook on life.  And yes, I like to hide little “pearls” or “treasures” of whimsy as well as poignant gems of wisdom in both my paintings and sculptures; only to be found by those who take the time to participate in the work.  Some are nothing more than little visual “gems”, others are more serious.  One example is a message in Latin that I hid in one of my Lewis & Clark Monuments, (“Clark’s Tree”) that expresses a question mankind has asked itself since the beginning of time.  There has been a series of articles concerning this hidden message in the Seattle Times.  So far, lots have searched but no one has discovered it.

Clarck's Tree

Every person born to this world has God given gifts of genius (in varying degrees, of course) that are unique and different than anyone before or after him/her.  None are the same... just as no two artists are equal in inspiration, technique, temperament or vision. 

Too many artists believe they have to compete with other artists not realizing that it is impossible to compare.  The truth is that each individual is so unique that they can only really be in competition with themselves. I prefer to start every creation with the end in mind.  As I’m working toward my goal of creating the art it always evolves into something far better than my initial idea.

I would suggest to any artist, don’t be afraid to start.  Then, don’t be afraid to make mistakes.  It’s all part of creating.  Mistakes are part of the process and propel you faster and with more clarity and excellence toward the end result than by not making any mistakes at all.

It’s fun and exciting to see the results of your vision become a reality.  It is very satisfying.  But even more exciting is knowing that magic will happen as you are in the act of creating.  You instinctively know that the process naturally evolves way beyond your initial vision... making the process a very satisfying and integral part of creating. Just as a writer must write about what he knows and loves; which is his passion; regardless of a scanty or critical audience, the artist must refuse to surrender the subject of his bliss in trade for the acceptance of the critics.  Without choice, there is no creativity.  Creation demands genuine diversity.  It implies unity but not uniformity.

I take license with facts if it will help the composition.  I change whatever I need to in order to establish a symbol.  Facts bore me.  I’m more interested in truth.  I feel comfortable stretching history and condensing time and space bringing together a dramatic depiction of the spirit of the subject...a symbol, a gestalt, a truth.  “Cold exactitude isn’t art, spirit and form are more important.  Content and meaning are also important, however, form (structure) is the first consideration.  Good design is the structure that supports the statement.  If the form and statement successfully interact a symbol is born.  It becomes more than the sum of its parts.

As I mentioned, an artist should be more interested in truth than fact, and not stunt intuition with reason.  Jean Jacques Rousseau, the noted 18th century philosopher said, “The world of reality has its limits; the world of imagination is boundless.”

Is that also what you want to express with your artwork?

Yes, beauty as well as dignity & success through struggle.  Man against the odds, and indeed, man & machine against the odds.  Heroic and Epic deeds and the pursuit of excellence.

Fast Company by Stanley Wanlass

Another element seems to be your respect for the history of the United States, is this important for you?

I am very interested in the history of the United States but more importantly the history of the world.  For example, the art history of Asia is so vast that most knowledgeable art historians refer to Europe and the rest of the world as “The small peninsulas of Asia”. I love many artists, writers, musicians and philosophers from all over the world; the United States being only a small part of my studies and appreciation.  Some of my favorites are Michelle de Montaine, Shakespeare, Chopin, Beethoven, Peter Helck, Goethe, Walter Gotschke & Voltaire; not necessarily in that order.

The automobile, arguably had its birth in Germany and eventually came to America. Then, sports cars were developed in Italy, France & England and emanated to America.  However, Hot rods are a purely American phenomenon having their birth here in the United States and are now represented in every socialized country in the world.  I was lucky enough to be a part of this initial movement; having built numerous hot rods in the 1950‘s... and, still at it.  My “Wanlass Windshield” that I designed and built (for 1932 -1934 Ford Roadsters) had its beginnings during this time.  Now, it is also on hot rods in each of these countries.  The altered windshield isn’t just about form, it’s about function.  The chopped, laid-back windshield with a one inch radius cheats the wind.  The aero look moves more efficiently through the air.  This provides such advantages as better gas mileage, fewer bugs and less water & snow on the glass. Plus, the relative wind flows over the cockpit while racing burbles above the deck-lid instead of the cockpit, giving more traction to the rear drive wheels.  This change in the lift/drag coefficient prevents the car from spinning at high speeds.  Although I was very interested in efficiency and function, the real reason for designing and building this windshield was to make the car look downright nasty and mysterious, mean and enigmatic; giving the roadster a real attitude.

Wanlass windshield

'32 Ford Roadster

Stanley Wanlass Alfa Drive

Stan Wanlass '32 Ford Roadster

Which techniques do you use and are they unique?

The origin of bronze casting is shrouded in antiquity.  It is a 6,000 (plus) year old process called Cire Perdue which is (French) from the Latin (Cera Perduta) currently called investment casting, lost wax casting or ceramic shell casting.  Even though some modern materials and techniques are incorporated today, the lengthy process remains surprisingly similar and is very labor intensive. For my monuments, I begin with a relatively soft #2 clay that is sculpted over a stronger armature to ensure that it won’t collapse under its own weight (thousands of pounds).  It is easier to move a soft clay over a large area than a more viscus clay or wax that is stiff and almost unmovable.  For my smaller pieces I use a relatively hard (Victory Brown) microcrystalline wax (a petrochemical) that holds its configuration.  I simply heat it to the consistency of clay while working.  It turns hard again as it cools thus bypassing the need for an armature.

When I have completed my research and the labor of sculpting.......the sculpture (whether clay or wax) is then taken to the foundry where the molding and casting process takes place. After ten to fifteen weeks of work at the foundry, I heat the bronze and apply a chemical patina.  Or, sometimes I paint (polychrome) the bronze.  I typically use acrylics, oils, egg tempera and or enamels.  After painting, I remove (through an ageing process) as much paint necessary to prevent the paint from looking like an apology for the bronze.

You can find a video of the lost wax casting process here https://www.youtube.com/watch?v=wdTM5rSSJjk (not related to Stanley's work).

What inspires you to start a specific artwork?

That’s a hard question to answer as it depends upon whether I’m working on a commission or following my own creative inspiration.  It has to be emotionally positive rather than negative.  And, can’t have a derogatory presence without dignity.  It has to be uplifting to carry the spirit of the viewer to a higher state; as in inspirational music or thought.  Does not have to be religious, but must be spiritual and visually excite the senses.  That way I can have a passion for and accept the commission as my own.

That’s why I typically create my own ideas.  Although I do love the challenge of making a commission my own.  I am inspired to create through Music, Poetry, Literature, History, extraordinary feats by ordinary people and inspiration from unusual beauty.  Also, ideas and concepts that transcend myself and need to be out there to inspire others, now and in perpetuity; giving purpose and beauty to life.  Hopefully I’ll be able to leave the world a better and more interesting place than prior to my life here.

Tw-throughbreads by Stanley Wanlass

Over the last eight years I have been participating with and creating for Utah Fast Pass, eight paintings over eight years.  Each summer we have from forty to sixty super-cars come from all over the world.  We start out with a day at Miller Motor-sports track, then take a thousand mile run through the Red Rock country of Utah culminating in a Concours d’Non Elegance (exhibit of all cars with dirt & bugs) at the Grand America where we have a Gala Dinner & Auction. 100% of the funds go to 16 charities such as crippled children, Navajo Christmas, fallen Highway Patrolman’s families, etc. I donate a painting each year that is used for the route book covers, posters, advertisements and eventually, sold at auction to help fund the charities mentioned. There is much inspiration not only of speed and sound but the shapes and colors of the cars and the beautiful surrounding are beyond an artist’s dreams. Also, my love of history got me involved in creating four major Heroic Lewis & Clark Monuments on the Oregon and Washington Coast for the Lewis & Clark Bicentennial from 1982 through 2002.

What does your studio look like?

Oscar Wilde would say that it looks a lot like a “Picture of Dorian Gray”. A mess!  But an organized mess.  Yes, I do file many things, but I need specific items all in one place at one time when I’m creating.  My biggest frustration is to not be able to find a specific item when I need it.  If I file it, I might as well throw it in the trash.  It needs to be in a stack that I’m familiar with.

What are you most proud of?

My best creations are my children; which I couldn’t have produced or been successful (as well as my career) without my lovely & talented wife Joy!  Actually, she does most of the work and I take the credit. Being a part of the “rebirth of Automotive Art” The resurgence of the art that formed around the invention of the automobile in 1885; only with a difference........

Sculpture by Stanley Wanlass

There was no “Car Art” when I was growing up; to my knowledge I was the only one doing it.  There were no automotive fine artists except those involved in automobile advertising or automotive designers.  There were a couple of exceptions to this such as Peter Helck (born in 1893) & Walter Gotschke (born in 1912) who were products of the birth of the automobile and its exciting freshness.  And, a few automotive designers who were looking for a way to break away from the car companies and start painting for themselves.  Many of these fine artists became the bulk of what was to become the Automotive Fine Arts Society who solidified and legitimized this important movement.

In the late seventies or very early eighties Charlie Schalebaum (who was a New York Agent) saw one of my ads showing some of my automotive sculptures that I had put in a national magazine.  He called and asked to represent me; which started a 40 year relationship as my agent. Ten years earlier Joy & I had lived in New York City where Joy was modeling for Francis Gill Agency.  Too bad I hadn’t met Charlie then while in New York.  Maybe Automotive Art would have been launched ten or so years earlier. I owe so very much to Charlie as he had an established world-wide clientele which helped me immeasurably.

What are you currently working on?

I am working on several projects. Automotive Art: “Horse Play” (early automotive toys) on the automotive design I am continuing with the Wanlass Windshield (1932 Ford Roadster), (1934 Ford Roadster), I am currently in the planning stages of a 40 foot "SEAFARERS MEMORIAL" that will be placed at the confluence of the Pacific Ocean and the Columbia River near the tip of the Astoria, Oregon Peninsula:  www.seafarersmemorial.com  simply click and scroll down for photos and information.

Seafarers Memorial by Stanley Wanlass

Seafarers Memorial by Stanley Wanlass

The City of Astoria and the Port of Astoria, plus the U.S. Army Corps of Engineers are working in concert to make this monument a reality.  They are currently in the planning stages of building an island with pilings and structures to hold the finished memorial.  The Riverfront Trolley will have a 'trolley stop' at the walkway (land-bridge) leading to the island and monument which is adjacent to the West-end Mooring Basin Marina and the docks where the Corps of Engineers dredge the shipping channel.  The channel allows all incoming and outgoing ships (the maritime commerce of the world) to come within a few yards of the monument; including huge cruise ships from various parts of the world which dock within a few feet of the memorial.

What is your advice for people who want to become an automotive artist?

I would ask, “Where were you when I needed you back when I was trying to put together a market for Automotive Art.” I had to recruit my artist friends and convert them to automotive art (just to make a market). Then, not too much time passed until the Automotive Fine Arts Society (AFAS) got started; which really helped to legitimize the Automotive Art scene. Unfortunately, for a while it seemed as though we had been too successful in recruiting and it attracted some mediocre talent.  But the market soon separated the serious and talented from the opportunist.  There is however, always a prominent place for genius when it comes to the ever changing face and excitement of new innovations and different avenues of artistic statements.

Another suggestion to the prospective Automotive Artist:  Your second thousand drawings, paintings or sculpture will be better than the first thousand.  And, to always being sensitive, observant and aware.  Michelangelo said, “Some people are nothing more than passages for food; producers of excretions”.

I would say to any artist: Plan, Simplify & Be Strong!  Simplicity is Power. Our dignity lies not in who we are or what we do, but in what we understand. Understanding usually only comes in retrospect.  An artist asks the world questions and the world replies, “I hear you and I answer that I cannot answer; you must find out for yourself.”  Then as the artist creatively expresses understanding, the resulting message becomes art.

Dream Machines by Stanley Wanlass

It is unfortunate that all too frequently the most gifted never do much to develop their talents to excellence.  It comes too easily, so they just slide along, unconcerned.  It is the B student that tries and works unceasingly harder that ultimately become the creative heroes of this world.  Monet said, “Things that come too easily disgust me”.  Hemingway said of F. Scott Fitzgerald, “His talent was as natural as the pattern that was made by the dust on a butterfly’s wings.  At one time he understood it no more than the butterfly did and he did not know when it was brushed or marred.  Later he became conscious of his damaged wings and of their construction and he learned to think and could not fly anymore because the love of flight was gone and he could only remember when it had been effortless. So, not all great artists are strong & sure of themselves.  How do you judge the most fragile among us?  It is the finest blades that are most easily blunted, bent or broken.  Some artists are too fragile & vulnerable to be judged openly.

Eagles don’t chase butterflies.  Follow your Bliss

Do you have any advice for people who want to buy automotive art or start a car art collection?

Yes, give me a call! [laughs]. Collect only what speaks to you spiritually, it must feed your soul.  Don’t buy for investment, you may own it for a long time.

If thou of fortune be bereft, and in thy store there be but left two loaves, sell one, and with the dole, buy hyacinths to feed thy soul. John Greenleaf Whittier.

To see more of Stanley Wanlass's work, please visit his website.

The post Stanley Wanlass Automotive Vision of Beauty appeared first on CarArtSpot.

Randy Leffingwell is an established writer of automotive books. His fast knowledge of American cars and of the Porsche is impressive. He combines insight into the technical data with historical details. Supported by an impressive network in the automotive scene.

But beside his writing skills he has become an expert in what he and photographer Tom Loeser name “light painting”. It results in photos with a black background emphasizing the car in a perfect light.

Wide-Open Muscle by Randy Leffingwell. Photography by Tom Loeser

For one of his previous books, Randy worked with 'The Brothers' and seeing so many unique big-block convertibles, it didn’t take long to decide to do a book on these cars covering 30 cars from The Brothers collection.

The regulations in those days required that racing cars needed to be street legal. However, racers would never consider using an open top car for racing. Not strong enough, not rigid enough and not safe enough. But for the streets it was a perfect combination of power and coolness.

1965 Pontiac GTO

Leffingwell presents the cars in three parts; the Chrysler Corporation, the Ford motor Company and General Motors.

1967 Chevrolet Corvette 427 L68 Convertible

One of the first artists interviews I did was with Etienne Carignan. He had just completed an illustration of the Plymouth Roadrunner and I fell in love with that car. Randy spends a full chapter on the convertible version of this cartoon inspired car. The rapid flightless bird can be found in several places on the car and the engineers even installed a “beep-beep” horn . Eventually the Plymouth road runner became Chrysler Corporations purest muscle car. 

Wide-Open Muscle by Randy Leffingwell. Photography by Tom Loeser.

Wide-Open Muscle by Randy Leffingwell. Photography by Tom Loeser.

Wide-Open Muscle by Randy Leffingwell. Photography by Tom Loeser.

This is one of those books that belongs in each men’s mancave where you enjoy showing these cars to your buddies, while sharing dreams about your next car and bragging about the performance of your muscle car. A real must have!

This book is available at:  Motorbooks

The post Wide-Open Muscle appeared first on CarArtSpot.

Hendrik, I am calling you in your studio, what are you working on?

I am doing a commission for a young man right now. His grandfather owned a Ferrari 212 in the fifities and I’m painting that car with his grandfather behind the wheel. I have to work of some old black and white photos which makes it a difficult task.

"MASERATI" by Automotive Artist Hendrik Mueller

When you are not doing a commission, how do you pick freestyle work?

Well when I see a car that I really like, I make sure I take a lot of photographs and get all the details and pick out a certain angle. Most times I see the idea already in my mind of how to paint that car.

I usually take only a small part of the car and paint that. The rest of the car is already on your brain.

"Alfa Romeo 6C 2500 SS, 1942" by Automotive Artist Hendrik Mueller

For the Alfa you painted the back side of the car.

Yes, the front is so different from the back side, which is so wonderful. By focusing on only a part of the car, I want to express the beauty of the whole car without showing everything. This is enough.

"The cat's eyes" Jaguar Lightweight by Hendrik Mueller

Like what you did with the E-type…

Yes, it’s enough.

What do you want to express in your paintings Hendrik?

It’s a kind of love of this car. A tribute to the car. I start with a sketch of the car. New cars are easier to paint because they don’t have so many details. They have a clean surface while older cars have more details on the outside. I want the full focus to be on the car itself. So I decide what to focus on, so I don’t give people a chance to focus on something else.

You did something similar with the Volkswagen  Beetle.

Yes, the colours of that car and the shape are not so interesting. I therefore added the lady and the shadow of the trees. The car is not complete, the lady is not complete which makes you become a part of the painting. Your mind has to come up with the rest.

"Zwei flotte Käfer" by Automotive Artist Hendrik Mueller

Humour is important to you. You like a good laugh and I noticed that you painted this cup of coffee on the expensive Ferrari Dino.

You are right, some people replied “it’s not allowed to put a cup of coffee on this car”. But that is why I did it. Well, actually I did not, I only painted it. You see, I had painted the car but something was missing to excite it and I decided to add the coffee.

Ferrari Dino by Automotive Artist Hendrik Mueller

Another example is the big steam train.

Yes, that has the title “the best way to empty a toothpaste tube”. When men look at this painting, they start discussing the technical details. But mostly women and children see the tube.

"Resita & Ajona" by Automotive Artist Hendrik Mueller

What does studio look like?

Well I am very lucky to have this large studio It's 200 square meters and it's where I also keep my 1932 Renault. I just enjoy being here on my own, working on my paintings while listening to some good Jazz music.

I’m here all day, go home to have dinner with my lovely girlfriend and then I go back for some more painting. Sometimes until 10 p.m.

What can we expect from you?

I have many ideas and sketches for paintings and I enjoy painting every day, so you will see much more work of me hopefully.

For more of Hendrik Muellers work, please go to his website

Hendrik Mueller

The post Hendrik Mueller Automotive Beauties appeared first on CarArtSpot.

The stunning number of beautiful classic cars, icons from the history of car racing. Driving through small romantic villages and historic cities like Ferarra and Pisa.  Springtime under the Italian sun. Long winding roads and thousands of spectators waiving and cheering.

Mille Miglia 2015 – The Official Book

What was once a race, not without risks, became a tradition to celebrate wonderful cars. Heroes of those days like Sir Stirling Moss, made the event even more memorable. Heritance of famous car brands show 'acte de presence' like Porsche, Ferrari and Zagato.

Mille Miglia 2015 – The Official Book

Mille Miglia 2015 - The Official Book is just that. A photo book showing photos and names of all the contestants and their cars. Pages filled with tables show the details of the cars and their final ranking. The winners of 2015 were Juan Tonconogy and Guillermo Berisso in a bright blue Bugatti T40, made in 1927. Mind you, driving 1000 miles for four days in an 89 year old car!

Bugatti T40 made in 1927

Going through all the photo filled pages of each of the participants, I realized that it was not only classic cars participating. There are a few Fiat 500 Topolino’s, a Lincoln Capri Sport Coupe and a Renault 4, just to name a few. 

Renault 4 1957

Aaldering eigenaar Brummen

The last two chapters are filled with photos of the Ferrari and Mercedes tribute to the participants. Cars like the Ferrari LaFerrari and Mercedes-Benz McLaren SLR Stirling Moss. I am sure that all the 2015 Mille Miglia participants would like to have this book. Also those interested in everything around this event, because it really is a great book.

Mille Miglia 2015 – The Official Book

Evert Louwman eigenaar Louwman museum

However, I am missing something and after going through the book for the second time, I realized that I miss photos which capture the feeling of driving through beautiful Italy. All the photos are close-ups of the cars with their drivers but without landscapes. Or photos of all the preparations before the race and late night activities to fix and prep the car for the next day. Stories which are more interesting to me then just the cars. Well maybe that is something for 2016?

This book is available at Giorgio Nada Editore 

The post Mille Miglia 2015 – The Official Book appeared first on CarArtSpot.

David Chapple Auto Art

David, in your work ‘Majestic Glory’, I notice you have the word Jesus on the number plate of the car.

I wanted to do something with the licence plates to honour God and open the conversational doors with people and a lot of people do enquire about it. The licence plate on the actual truck that I drive reads the same thing ‘J3ZU5’and it’s just my way of thanking God for blessing me with this talent.  If you zoom in on the 1960 Empower, it says Lord. It has actually really opened the doors for me. I had a book published with a wonderful Christian writer named Ken Owen, who used to be the Head Chapel for the Raiders for Christ and he would bless all the dragster racers before they went down the quarter mile drag.

How did you get started painting cars?

I started sitting in front of the tv drawing sports figures when I was a little boy.  My father always loved VW’s and he bought a 1969 VW beetle for my grandfather and that just opened the doors for me. I was 14 years old when I started drawing cars and they quickly became my passion. When I was at senior high school, I won the Congressional Award for the State of Michigan with one of my paintings. I then received a scholarship to go to the Hope College in Holland Michigan and then in my junior year in college, I was commissioned by the Hope College to paint three large paintings for the student commission. It was a natural fit and it’s just been a life long journey with the automobile. After I graduated, I started doing certain car events and I haven’t looked back.

One of your paintings is titled ‘Love Bugs’. What is behind the name?

My wife and I have recently moved back to my home town and bought a house across the street from my Mum and Dad. We love being with family. My Dad actually loves that painting. The first paintings that I did were of his cars and he still actually has them in his collection, along with his expanded car collection. He has a ‘68 Karmann convertible, a beautiful 1958 VW Beetle convertible which is flawless, and I actually still have my original 1969 Beetle which was the first one that he purchased. We have a lot of fun with them.

Love Bugs by automotive artist David Chapple

I notice you are using the same kind of colour schemes throughout all your works. Is the choice of colours your signature style and how did you develop that?

Being an artist is finding your own path and I am someone who has always tried to create my own pallet, my own cultural work and something which no-one has ever seen. So it just came out and was a natural progression. I think as you get older as an artist, your colour choices become more complex. You try to experiment and come out with different colours which appeal to your eye.

Your ‘Love Bugs’ painting is quite unique and I notice quite a difference in your work between your commissions and your freestyle, which is much more artistic. Do you see that yourself?

Oh yes, the best clients are the ones who let you create exactly what you want to create and don’t give you parameters or tell you how to do your work. That’s when I do my best work. Back to the Love Bug, that was the first in a series of paintings. I don’t use a computer at all. Everything you see is from my mind’s eye and how I want to convey colours and the overlay. That style was very difficult for me to create. Sometimes it took me months upon months to finish a couple of pieces.

Ford GT40 by automotive artist David Chapple

I can imagine. They are kind of abstract, yet showing the iconic design of the cars itself. You did that with some non automotive work, like the coca cola bottles.

Yes and those were a lot of fun to do. Kind of a pop art style. I really enjoyed painting those.

Coca cola bottle by David Chapple

Your painting ‘Thrust’ has such a different perceptive than what you normally see in a car painting. How do you choose that. Does it take a lof of time to find the right angle?

It really does. When I am doing a layout for a painting, I will agonize over it because I want it to be a journey for the person looking at my painting. I don’t want the eye to just go to one section. I want it to have movement. In a lot of my paintings which have many cars, you will be looking down at the first car and then your eye will have to move through the painting to see the other cars. I like extreme angles when creating paintings with multiple cars. I work tediously at getting that perfect angle and I’ll work further to get it to that point and if it’s not the right angle, I don’t do the painting.

So which techniques did you use in your ‘Thrust’ painting David?

I had a lot of fun painting that. I like the extreme angle that no-one has seen before. I am on the ground, pretty much at pavement level looking at the thrust of the side pipe coming out. I like to paint sometimes from a ground level as if the car is coming right by you. How you would feel with that car inches away from you at that level?  It’s an extreme mean look.

Thrust by David Chapple

The rear tyre is wider than the car itself and it’s really a dominant kind of appeal. Which techniques do you use? Is it water colour?

Everything I do is hand painted acrylic and all done by paint brush on canvas, or on wood or substrate  I think the strongest point of my work is my blending. I love to blend a perfect graduation and I sometimes spend hours achieving the perfect blend. Someone who is not educated in art might think my work is air brushed but it’s all hand painted.

Sn8ke by automotive artist David Chapple

How do you select the car that you want to paint? When does it appeal so much to you that you have to paint it?

Being a lifelong artist, I’ve gone through the classics, the ‘30s Duesenbergs to the 50s Bel Air Chevy’s, the ‘59 Cadillacs and beyond. It’s a progression and I always have to paint something I like. I don’t want to create a painting that would just sell. I paint from the heart and I think that’s important.  Being an artist, you have to paint something that you can get really excited about and that’s when you do your best work. I’m really into the Ferrari’s now because I had never painted them and when your eyes are open to something new, you feel the excitement. I just love to paint them and I am all excited about it and can’t hide it. When it comes down to all my artwork, I like a clean, ultra refined, rich look. Everything that I do, I do to the best of my ability.

Times by automotive artist David Chapple

Do you consider cars to be art?

Yes, yes, yes.

Is your art being respected outside of the automotive world?

It’s mainly in the automotive world right now but I think that will change. Automotive art is a genre that the art museum world needs to take notice of. There are a lot of fine artists out there who are creating incredible automotive art and it needs to have its’ place. I think every automotive artist battles with that. I love my clientele and the position I am in. About two years ago, I became a member of the AFAS group and that is the pinnacle of every automotive artist. I also think the part of what makes automotive art so special is the people you work with and the people who come to these events. They are many of the nicest people you will ever meet. You can look at the grass being greener on the other side or you can make the most of what you have; that’s what I do, I make the most of what life gives to me. I love going to Pebble Beach and the Concourse in the USA and hopefully I can make it over to Europe soon and introduce my work there.

1959 Chevy Custom Bench by David Chapple

Besides paintings, you are also doing sculptures. How did that get started?

It actually started with my benches. I was given a raw flat bench for charity work. I got paid to paint on the bench. They told me to do whatever I wanted. So I painted a ‘57 Chevy on the side of it and it sold very well with their charity. So I thought ‘wow maybe I can offer this to my clientele’ and they responded well to it. Being an artist, when you go into a totally different genre or you work in a different medium, your mind gets tweaked and you become intrigued with it. If you look at the bench lines and the wood that is used, you can see that it was a natural progression into my sculpture work. My wall sculptures have the same line configuration. That was transferred from the bench to the wall sculptures and now I am doing custom furniture in the same exact lines as the bench and wall sculptures. It’s opened a whole new avenue for me creatively. I feel as if I am doing the most exploratory work of my career and I feel alive as an artist now. It’s very exciting for me.

Your sculptures look as if they can be hung on the wall or placed on a table top.

Yes, you can use them for both. I love creating that stuff. It’s very difficult but nothing that is good in life is easy. When you create something which has never been created before, there’s no set way of doing it. You have to explore with trial and error.

GT40 by automotive artist and sculptor David Chapple

Is working in 3D a lot different from working with flat paintings?

I took sculpting classes in college and knew that I wanted to get back to it someday. I just didn’t know quite how but it all fell into place. My current work has set me aside from other artists, so it’s very fulfilling.

The shapes and elements of your Porsche sculptures seem to follow the cockpit and the airflow of the car. Is that also the kind of involvement in your work?

Yeah, it depends on the subject that I am painting. Like ‘Ribbon Candy’, that is something I was designing in my mind and it turned out wonderful. I love that piece. That was the first piece I actually sold at Pebble Beach. I love the 917 and Porsches; there is something about the flow and movement of those cars. Pictures don’t do the sculptures justice because when you move around the sculptures, they move with you and shift to the image that show speed in a wonderful way. It’s fun when I see clients who see my sculptures for real and see first hand how they come to life.

Ribbon Candy Porsche auto art by David Chapple

There are a couple of AFAS members who also do sculptures. Do you share ideas and encourage each other?

I think we all encourage each other. The nice part about it is that we all have different techniques and styles. I am a painter and when I do a form, I have to think how a painting will balance on the sculpture. There are two different elements. It’s not just about creating a sculpture, I have to find a way to paint a car onto that form to convey the speed and the two work together. So it’s kind of a double edged sword when it comes to what I do. I paint on top of it and incorporate both mediums of sculpting and painting. So it’s a difficult process. At AFAS, we want the betterment of the fine art of the automobile and I think that’s the common ground for all of us. 

If you would like to see more of David Chapples’ work, please visit his website.

The post Automotive Sculpting Art appeared first on CarArtSpot.

César Pieri Automotive Designer and Artist

How does an Italian guy start designing British cars César?

That’s a good question.  I am Brazilian/Italian. I work at Jaguar and am running a project in Italy and travel back and forth from Italy to UK.

Working for Jaguar as a car designer must be a boys’ dream come true.

Becoming a designer for Jaguar working on sports cars is a very special thing. I even get paid.

Jaguar has a great heritage. How do you preserve that and continue with new designs?

Many other brands would be glad to have at least half of the Jaguar heritage.  Designing for a brand who has designed such beautiful cars in the past, is more than a normal job. You have to look at past designs, do a lot of research in order to understand the brand and be really attached to it. You need that as a reference. You can’t be retro. You must be forward thinking, keep your ‘mind set’ very fresh to keep producing new things

Jaguar Artwork by César Pieri

I can imagine the design history and certain elements which are every Jaguar limits you. Is that the case?

We have our design DNA and elements which every Jaguar must have. Every Jaguar must be elegant, powerful, have the right stance, the right kind of tension, surface and lines etc.  We need to keep that but in a very modern way and always looking forward. We don’t want to be retro. 

For the Project 7. What was your main challenge?

Project 7 was a very special thing. When I joined Jaguar, I worked on the F-type project and was very lucky to be able to work on that project and get into the company. But I had a D-type artwork in my desk.  I was working on the aero dynamics for a front wheel drive car and I had that artwork in front of me. The E-type was one of the most aero dynamic cars we ever had and I wondered what would happen if I mixed them both together. Nobody had asked me to sketch Project 7 and it wasn’t on the program. So it just happened.  I did a sketch and when Ian Callum saw it, he thought it was a great idea. He is completely responsible for the project moving forward. It became a personal project for me but the timing to deliver was the biggest challenge. We had an excellent interaction between our design team, our engineering team and all the people involved in the building of the car. So I think it was an absolutely stunning design exercise and very nice to be part of it. It is probably the only time that a sketch became a production car because usually the people at the top of the company decide the program and then the designers start doing a creative process. It never starts with a sketch. So it was a truly special project. 

Jaguar Project 7 sketch by César Pieri - Automotive Artist and Designer

Do you consider Project 7 to be a piece of art in itself?

It might be. I see the car in a very different way because I was part of it and it was part of my life. I don’t really know how to classify the car. I just really love it.

My future is a consequence of what I am doing now. César Pieri.

Do you think that cars can be art?

Sure, why not? If you think about the D or C type and other models, they are absolutely stunning. Take the XJS (I think he said XJS since that car has a very outspoken sportscar design); it was beautiful and at that time we had no restraints or restrictions. So it was pure intuitive design which can be considered art, for sure.

César Pieri Automotive Designer and Artist

On your website, you state that you are an automotive designer and in the evening hours, you are an artist. How does this blend?

It’s a very funny thing, I started doing artworks when I was working on the launch of the F-type convertible, the coupé, the F-type itself,  XF, FCR now. So for all the cars I had created a set of artworks, 9 or 10 depending on each car. This is very connected to Jaguar and to myself. As car designers,  we are always fighting for millimeters and everybody thinks it has a lot of glamour but it has a lot of pressure too. It is a very stressful career. We are always working with the engineers, trying to find the best way of dealing with the right materials, putting it into production, getting every part right, respecting all the laws, regulations of different countries etc. So it’s a very stressful and dynamic environment. I started doing artworks as relaxing moments. It was my way of doing something different and getting back to a more creative mindset and using it to almost restart my brain.

Jaguar artworks – New Jaguar XE by César Pieri

But if you paint your XJS bonnets in the evening hours, you obviously still have a lot of energy.

All the artworks I created for Jaguar, obviously belong to them but I wanted to do something for myself.

I wanted to do something expressive and different other than using canvas.  I kept thinking about what I could do, using my passion for Jaguars and their heritage. So I bought a bonnet in London and then tried to paint it and realized that no paint would stick to the metal. I wanted to work with very big brushes and didn’t want to be precise but show my passion with big strokes, while not really going into detail or a photographic approach.  I am doing that at work during my daytime.

I don’t know how many bonnets I lost but I needed to restart and try different things and in the end, I developed my own paint which would not melt or bubble up. The problem is, when you apply paint with a brush, it’s really thick and that will never dry because the material will never absorb the paint.

It was a very experimental project and in the end, I started to get passionate about it and bought more and more bonnets. In the end I had more than 25 bonnets at home. In my living room, my garden, everywhere. It was crazy.

Auto Art Bonnets and Design by César Pieri

You said you don’t put a lot of detail in your bonnets but there is still a lot of detail of the car.

Because of my background and how we work on a daily basis which is really precise and detailed, to me my artworks are not and I consider it as art because it is so difficult for me not to go into detail.

So it started as an escape from your day job and now it has become your own expression.

That’s the funny thing about it. I started about 1.5 years ago with no expectations. I did industrial design at university and worked for many years as a graphic designer in New York, Brazil, Italy and the UK. So I wanted to mix all that 'exPierience' and create something different. But I never thought about showing it because it started out as a single bonnet. Then one day a friend came to my house  and saw my garage was full of painted bonnets in the corner. He wanted to look at them. He asked why I didn’t show them. For me it was personal and for my own pleasure but he wanted to show them. There was Motorfest in Coventry and my friend found a place to put my bonnets. The feedback was quite stunning. People liked it and I thought that was really cool. Then I got an invitaton to take them to the museum in Gaydon, UK which is the biggest British automotive museum in the UK. I went to Gaydon and stayed there for two months. Then I got an invitation to take my artwork to Dubai, to Brazil and to Italy. So now they were in this museum in Italy and for me it was just stunning because it is the most important and biggest automotive museum in Europe. It was just fantastic and the feedback I am getting from that is so nice. Also from the Motorfest and in magazines all around the world. It was a ‘wow’ feeling and it’s really moving forward very fast.

What triggers me about your story is that you showed your own vulnerability by going public with your private work because you never know how it will be received. How was that for you?

As a car designer, I am under this kind of pressure of being judged all the time. People are always looking at what I am creating and sketching and judging.  So I am used to critiscm. I always say to my wife that I am in the ‘no’ profession and sometimes I get a ‘yes’.  So I am very used to this approach but I received a very different feedback from people about my bonnets.

Auto Art Bonnets and Design by César Pieri

Why do you think that is? Is it because you are using bonnets or is it the topic of your work?

I think both.  Using Jaguar bonnets and being a Jaguar designer, it makes sense. It has the right kind of thinking behind it. That’s why I decided to do this. Because of my passion for the brand and for what I am doing. Because I am a designer and maybe an artist as well, I am possibly discovering another side to myself. 

What is it that you want to express with your artwork?

That’s the point. I didn’t intend to show it to anyone. I wanted to satisfy my own request to have  a different artwork in my living room. It’s a crazy thing which you don’t expect to have happen.

I hear that from other artists; it’s a drive from within, to express themselves in their artwork. Is that the same for you?

I don’t have that necessity for expressing myself. I do that everyday in my work. I put ideas from my brain onto a piece of paper or a computer at least 8 hours per day. So it’s a very creative way of doing things. 

Artwork hand-sketch by César Pieri

Alfa Romeo 33 Stradale Artwork by César Pieri

Where do you find your inspiration César?

I think it’s my love for Jaguar and the automotive field. 

Do you study the work of other car designers or artists?

To be a car designer is a very complex thing. You must know a lot of automotive designs, know other designers, know very well the brand you are sketching because you must sketch that brand and not the other ones. So you must understand the other brands as well since you don’t want to put a competitor’s detail in your car design. You need to come up with something new. I have a Masters Degree and have studied architecture, so have always been connected to this field. I still study everyday and try to get better and better to constantly move forward. I work together with the advance design team, so we get the most exciting technology our suppliers can provide. They are constantly updating us and always show us what they might be doing in ten years time. 

Porsche Type 908K by César Pieri Automotive Artist and Designer

Where do you see yourself in ten years time?

I dream about it but I don’t think about it. Everyone is driven by something. I try to live in a very intense way and keep my life focused on what I am doing now, and do that really well and  try to prepare for the future. I am now sketching cars for 2025. We try to predict what will happen in the future. My future is a consequence of what I am doing now. I am trying to enjoy all the opportunites that I am having now. When I was younger, i was working for a bank drawing technical plans.  Now that I work with car design, I have to work with 3D programs and all the things I did in the past, is who I am today. So probably what I am doing now will be very important for me in the future.

To see more of César PieriPieri’s work, please visit his website and The Jaguar Bonnet Art Collection

Design Pieri Auto Art

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Art of the Hot Rod by Ken Gross with photography by Peter Harholdt Published by Motorbooks

Lately I have had several conversations with automotive artists on the subject of car art. They all agree that cars can be art but I haven’t found one description for art which adequately fits cars.
But then I received the “The Art of the Hot Rod” to write a book review and going through the pages I realized 'this is it'. This is art. Each car in this book is built by guys and girls with a drive to create the prefect Hot Rod. A car with perfect proportions, lines that flow, stunning colours perfectly combined with the leather interiors and chrome elements. Their work expresses the respect and admiration for past car designs but with their own signature style.

Steve Moal and his sons David and Michael.

I prefer to build from scratch. That’s where you’re challenged to be the most creative. And with that challenge, you have a responsibility. There’s always a chance, a risk, that you might build an ugly car.

1948 Custom, Ex-Norman Timbs, owned by Gary Cerveny

Art of the Hot Rod by Ken Gross with photography by Peter Harholdt Published by Motorbooks

1932 Ford Board Track Racer Full Speed Ahead owned by Lee Munder

1935 Ford Aeroliner owned by Richard Ullman

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At the Retromobile in Paris recently, we saw the unique and artistic work by Amaury Dubois for the first time. His photographic modifications of cars are dynamic and intriguing! Of course, CarArtSpot wanted to know more.

Amaury Dubois - Artist & Photographer

Was your recent exposition at Retromobile in Paris successful for you Amaury?

It was a really good introduction and a surprising success for my new work.  There was a lot more interest than I had expected and I think I was successful in bringing my vision of photography from a different aspect, over to the public.

La Ferrari by Amaury Dubois

How long have you been doing cars?

I have been an artist for 14 years. My first work was with paintings but I studied photography in Belgium. I did photography at the weekends but my real work was paintings. It took about eight years before I figured out my own style in photography and I thought it was time to show my work.

You have been successful with both photography and your paintings.

In the past I have been more successful with my paintings but the last years there has been a lot of interest in my photographic work. I am self-taught and the difference you see in my photographical work comes from my painting style. I take photos in the same way as I paint.

So you use the same technique and principle for both?

Yes. I plan my photo’s in the same way as I would plan a painting. I look for the eye-line and at the anatomy of the objects in the photo.

Ferrari 250 GTE by Amaury Dubois

Looking at your Ferrari 250GTE which also provides a view inside the car, kind of showing all the elements. Is that what you mean by the anatomy?

No, my style is like a guide for your eyes.  It’s a way of looking at it which draws out your own idea of what you think about it. It is more about someone’s’ own dream or vision of a car, instead of just a photo of the car.

So what is your dream of the car? Is it the feeling of the powerful engine and sitting inside and driving this wonderful car?

Yes.  It’s not a static photo. It’s about the speed of the car.

You keep each element in place but also very detailed. You don’t blur it. It is in focus.

I keep all the elements and the line of the car and at first glance, you only see a car. But when you look at the photo more carefully, your brain starts working and you see that there is something different with the photo. You see the front, the back, the engine and all the parts of the car but what is this car? It makes someone think.

Aston DBS 2 by Amaury Dubois

Interior Design by Amaury Dubois

Do you start with a sketch before you start working with the photo?

Yes and I start doing the photos based on my sketch. So I know exactly which photos I need to take, it’s like a shopping list.

Do all the different images come from your database?

No. I have to find car collectors. Sometimes I phone them and other times it goes via word and mouth but the car collectors want to first see my work and meet with me in person before taking me to their collection. Some collectors have very expensive cars stored in very secretive places. It’s very interesting. They like the style of my work and this is why they want to work with me. It’s not just a usual photo of a car. It’s a very different style.

How do you produce your graphical work featured on your new website? Do you use real paints or keep it digital?

I start with a real painting, then take a photo of that painting and then I work with it on the computer.

Painting by Amaury Dubois

Looking at your gallery, I see most of your work has a black background and not yet all these graphical designs. Where are you going with this?

It is still in the experimental stage at the moment. I am not really sure. Maybe it will re-appear in a few years. For the moment, I prefer a black background.  But I always try something different and this is part of my research.

The audience only gets to see the tip of the Iceberg

Before I go to take the photos of the car, I make lots of sketches in preparation of how I want to photograph the car and from which angles. I am a painter and so I work like a painter. I am not like other photographers. It’s more my brain and spirit that do the photo’s which lead to my creations.

I think that is why you are reaching so many new people. Your work goes much further and deeper than other digital photographers.

Like an architect, I need a map and plan.

Corvette C1 by Amaury Dubois

Porsche 918 Spyder by Amaury Dubois

What is your dream for the coming years?

When I see a new car, there’s a new dream. I am going to Singapore soon for an exposition of my paintings.

As an artist you are very diverse, you do paintings, photos but there are also some sculptures

Yes, but for the moment it is only a stage. I am working on it but it’s not ready.

So you have a lot of ideas which still need to be created.

Yes, my brain is full of ideas.

Interior Design by Amaury Dubois

To see more of Amaury Dubois’s work, please visit his website: http://www.amaury-dubois.com/fr/

For his automotive art he recently launched a new website at http://www.art-photo-car.com/en/

The post Amaury Dubois Gives Cars A New Dimension appeared first on CarArtSpot.

Porsche was going to use a Turbocharger and bring it into the racing world. The first person that came up with the Turbo was Alfred Büchi and although the invention was made in 1905, it took many years before it was used in cars. 

Porsche Turbo by Randy Leffingwell

Porsche used this technique for the 917 and we are all familiar with the impressive results. Of course the next step was to use the turbo technique for the 911. As it has always been the philosophy of Porsche to connect their racing technology to street cars.  A first attempt in 1969 failed because there just wasn’t enough space to house the turbo charger.  Many engineers would have given up but for the team at Porsche, this was a challenge.

Porsche 928

Keeping these fast cars on the road by providing enough downforce became the task of the aerodynamics designers. But it wasn’t only the downforce they had to work on as it had the air-cooling, and air inlet became critical. Hundreds of hours of testing different configurations in the windtunnel helped to get the design perfect. The result was the impressive Turbo’s rear wing.

50 years later this book documents the history of the Porsche design describing all the challenges and solutions which the Porsche teams had to face. And the wonderful results covering all the racing cars and the turbo charged street cars. 

Porsche Turbo by Randy Leffingwell

Randy Leffingwell, author of this book, combines his skills as an entertaining writer with his passion for the automotive history. Since 1989 he has been writing books and to date more than 50 books by his hand have been published.  For this book he travelled through Germany to interview retired Porsche designers,  spent time in the Porsche archives and combined it with the memories and stories of famous drivers like Dereck Bell and Jacky Ickx. The result is a remarkable book which is a 'must have' for any Porsche owner, as it provides an even deeper appreciation for their beloved Porsche. 

Porsche 917

Porsche Turbo by Randy Leffingwell

Porsche Turbo by Randy Leffingwell

This book was originally published in 2015 by Quarto Publishing and the German translation is published Delius Klasing both versions are available here.

(this review was done on the German version) 

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