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.

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.

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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Olivier Gamiette - Artist and Designer

When I noticed that Designstudio press released a book on concept watches made by a car designer, I was intrigued. Cars and watches are worlds apart. The scale and dimensions of the components differ in magnitudes. Why would a car designer want to design watches and what is the link? As I started my career as a precision engineer, I have always had an interested in the precision mechanics of timepieces.  So when I received the book for a review, my expectations were high. And rightly so, since I spent hours studying Olivier Gamiettes' designs and figuring out how to read the time on some of his designs. I was eager to know more and contacted him for an interview. Here is his story.

SOON Timepiece Phenomena by Olivier Gamiette

How did you get into designing and cars Olivier?

For some reason I have always been attracted to cars. As a kid, I used to play exclusively with toy cars that I happened to customize myself and I dreamed of one day building my own car. I have also always liked to draw. Later I entered the world of professional design as a 3D modeler for the Peugeot brand. I was responsible for converting drawings for designers, the so called « sketches » in 3D surfaces and volumes respecting the technical constraints and mechanical bases of the project.

Through the years the creativity spectrum has broadened and today I enjoy designing manifold objects and basically anything that comes into my head. I only considered myself an artist quite recently. Right now, I am into watchmaking. I would say that being an artist AND an engineer has always been a great advantage for me, leading me to imagine credible design solutions, which are original and feasible at the same time. I believe that the work I have done recently, and my concept watches book in particular, have brought together all the pieces of the puzzle of my creative personality.

As an automotive designer what did it take to re-calibrate your understanding of dimensions when you started to work on these watch designs?

I started from scratch to design these watches, I do not know how it worked, what were the right dimensions, what was the size of the parts. I did drawing after drawing and realized how to articulate this huge puzzle in this small object. I had to dissect a watch to better understand the different plans on which mechanisms lay. I also printed my watches on strips of paper to give me an idea of ​​the size I was manipulating. It also allowed me to understand whether the figures, the details were sufficiently visible and realistic. Everything came gradually. However, I still have a long way to go. Working on a computer screen distorts the perception of the scale for such a small object. Everything is magnified on the screen and it is better to have some real references as a starting point.

Automotive Art by Olivier Gamiette

Several of your designs include car elements. Like the dials on “Copper shield”, “formula 3” and “la Magnifique”. What is your vision on car designs today compared to the past? Which ones inspire you more?

Automotive design has probably reached its limits today because the technical and security constraints and regulations as well as the will to make profit naturally, end up in ‘compromise cars’ as a result. This does not mean that we put less effort into making nice cars, it is just more difficult to make an original and strong design. Elitist machines that I cherish the most are becoming as rare as they are not market profitable. On the other hand, with the help of internet, car design trends spread out instantly. Design is too fast and becomes uniform worldwide. Manufacturers share design formulas that seem to appeal to customers and show less enthusiasm to take risks in order to push forward their proper design vision. I think they used to be more insolent in the past, especially in the 70s. It was an age that used to emphasize hard, strict shapes, devoid of gratuitousness. This is a great source of inspiration for my watch designs.

Breitling and Bentley are working together and there is a beautiful watch named “La Ferrari”. Do you see yourself working together with a specific car brand in the future? For example, your design “la Magnifique” could be related to Bugatti already.

Of course it would be interesting. La Magnifique is only a first draft, we should further develop its own watch philosophy and refine the choice of materials especially if we had to amplify the relationship with this prestigious brand. All car brands are not willing to go as far as Hublot with Ferrari. This is a watch that does not lack audacity even if I would have preferred a smaller size. Other brands may simply want a more wearable, less extravagant watch. Personally, I love strong design watches, that look different from the traditional watch, free from traditional needles to display new kinematics, but I am aware that not everyone feels the same. I would like to work on the sobriety and purity of the dial graphics in the next future.

Watch Design by Olivier Gamiette

Watch Designs by Designer Olivier Gamiette

In the 70’s, all Lincoln Continentals came with a Cartier clock. This came to mind when I saw your “Trion”. Have your watch designs influenced your automotive designs?

I think so, though it is not necessarily conscious. I guess all the ideas in my head talk together. As I said before, there are no borders when I create. There is a bank of shapes in my head that is fed by external images and by my own research which is used for a comprehensive creative process.

Your work reminded me of the designs by Daniel Simon. Do you know him? Are there any specific car designers that have influenced you and more specifically, your watch designs.

I know the work of Daniel Simon, just like him I like portraying interesting details. His work showed me that one should not be afraid to push boundaries. Beyond its style and its formidable design, it is the coherent universe that he managed to create that inspired me. The notion of creative universe might be hard to understand as it is not palpable nor visible to all. One has the impression of watching fantastic cars and mechanical gear with stunning design but ultimately, it is Daniel Simon’s universe as a whole that stands out. His world lies in our mind and does not stop at the book’s pages. This is what I find the most inspiring. I felt like I wanted to create my own universe around watches. I wanted to imagine a set of objects very different from one other but emanating from one consistent universe, my own creative universe.

Hot Rod by Olivier Gamiette

Do you have a certain theme in your work?

As my job is to draw mostly production cars, I escape in my free time by imagining forms which are more free. In my daily work life, there are technical and product specifications and a brand identity to respect, so it is quite complicated to have fun. I like hotrods, custom bikes and very mechanical machines with a metal body.

Which techniques do you use?

I do a lot of pencil sketches, usually with crayons but also with a ballpoint pen. I inevitably go through this phase because the relationship I have with paper gives me the creative freedom and spontaneity that I have not found with other tools. On paper I can throw down ideas very quickly and instinctively as they arise. I decant sketches for some time before looking at them with a fresher eye later on and select sketches that I will colour with Photoshop. I use Photoshop exclusively for colouring, I never draw with it on the graphic tablet.

I believe that the work I have done around the watches is quite unique, as representing such timepieces in a photorealistic way gives them a special identity Actually, watchmaking illustration standard is gouache drawings, digital sketches are hardly ever shown and 3D renderings are too explicit to be done by a machine. Even though I enjoy digital drawings a lot, one day I would like to explore other subjects with more concrete, classical techniques such as oil painting.

Watch Designs by Olivier Gamiette

What inspires you to start a specific artwork?

I try to imagine and draw objects that I would like to see in the street. My world is more conceptual than artistically. I'm not just trying to make beautiful illustrations, I am striving to show new and unique ideas, concepts, mechanisms at their best. I do not merely want to draw, I want to create and that is what drives me to draw.

Whatever the topic, I always start with a freehand sketch to find new ideas or new shapes. I make many very little drawings on a single sheet of paper. This way, I spend little time doing the design itself, so I can make more spontaneous research without getting tired and wasting my time with a big, detailed drawing. A beautiful design is based on a powerful idea and that can also be expressed in a small sketch. Today’s tools allow to resize the sketch in order to work on the right scale and I like reinterpret my old drawings which I had abandoned. I never throw my drawings away! I usually draw with pencil crayons or a ballpoint pen.

What do you want to express with your artwork?

In my work I seek principles, ideas that challenge the existing common knowledge. I like to believe that there is another truth than the one we know. For example, in some car illustrations, I imagine that the scene takes place in a world where light can be solid and therefore transmits efforts. As I have an engineering background, I like to use physical, optical and mechanical phenomena to create new things with style. I have an engineer’s head and an artist's hands. This becomes very clear when I design watches, looking primarily to propose new forms and shapes but also previously unseen kinematics. As many things have already been done before, the challenge is a lot more interesting.

Automotive Art by Olivier Gamiette

What are you most proud of?

Today I am pleased to wear two hats: one as an engineer and the other as an artist. This allows me to be very independent in my creations. As a designer, it is very important for me to create credible, consistent, meaningful and well-drawn objects. I am proud of the infinite potential that this represents. I am also proud to bring this knowledge and convey it to the people through my illustrations. Managing to provide pleasure or emotions by means of a drawing is a great pride and reward for me.

How did you develop your style?

I have always liked to see the reflections that become distorted, especially on cars’ metal bodies. I have always wanted to represent this in my drawings. It's a way for me to bring realism to the object in the drawing because this will psychologically melt in its’ environment. The brain interprets the reflections and understands that the object is integrated in the scene. My math’s curriculum led me to understand the tricks of such deformations. And it is trying to imitate reality that I have found the effects and functions to translate it on Photoshop over time. Today my designs borrow certain physical phenomena from reality, but they remain mere illustrations of reality.

Do you prefer any specific materials or tools?

As a designer, my favourite tool is the black pencil which I use on Bristol paper which ages better in time. I am not looking to make beautiful designs in this phase but try to grasp the idea that lurks in my head and pencil crayons or ballpoint pen allow me to capture it very quickly with little loss. That's why I do not do my research on the graphic tablet; it disturbs my creative rhythm. Moreover, coloured pencils allow you to shade the drawing, creating the illusion of volume which is the best! It is more difficult with a ballpoint pen to draw the volume’s shadows. After defining the linework to create the shape, I quickly shade the drawing to mark down the volumes in order to keep the idea for the second phase. The second phase, in fact, hinges on the Photoshop tool. There are other digital tools to colour drawings on the computer but I have known this program for a long time. This phase is very technical because it consists in creating volumes with light and shadow and also to generate perceived material finish that is not borrowed from any picture. For example, for many of my watches I use a brushed copper finish which I draw exclusively with Photoshop. I like layer management a lot because the possibilities are endless.

Watch Designs by Olivier Gamiette

Watch Design by Olivier Gamiette

Do you work alone?

Yes, but I like to expose the topics that I want to develop to my creative partners (Nicolas Depierre and Alexandre Meyer). They are my favourite guinea pigs! They share my vision of design and their reactions tell me about the relevance of my concepts and intentions. Before moving to the colour phase which can take a long time, it is valuable for me to have some intermediate feedback.

Do you work in silence or with music? What type of music?

I find this question particularly interesting because artists’ work is usually shown without specifying the context in which such artists operate or the atmosphere in which they create. It is important for me to work with music, it is like taking a warm bath. I feel immersed in my world of vibrations, of feelings and inner exchanges enhancing the desire to create.

Do you have a favourite car design?

For me car design is a huge puzzle. That said I do not like a particular brand above others, but I like the stance of some manufacturers, I like cars that have a well defined character and a clear formal language. Finally, if there was only one car to remember, I would say that for me Bertone Stratos Zero is the most fantastic car ever imagined. The line is simply amazing and timeless.

Do you own a car yourself?

I own a Plymouth Prowler 1999 that I bought in the US back in 2003. It is a very original car which does not go unnoticed here in Paris. However, I bought it for its line and proportions that are very close to a designer’s fantasies. It is an uncompromising car; that is what I like.

Hot Rod by Automotive Artist & Designer Olivier Gamiette

What is your advice for people who want to become an Automotive Artist?

Be patient, because nothing happens overnight. It takes time to practice and find an artistic identity which is natural and consistent with your own self. One must get inspiration from other artists but it has its’ limits. You have to tell your own story and claim your uniqueness. Do not be afraid to be different or to see things differently, it is a chance to have this vision instead. You must practice regularly and learn to listen to others’ feedback because the purpose of your work is to be seen and appreciated by the public. It is that people see from the outside what we express from the inside as artists.

Is this a book for car fans? No, it's not. There are no cars in this book. But is it a book for anyone interested in car design? Then the answer is definitely yes. It will give you a deeper appreciation of what it takes to design devices and objects. How to bridge technical challenges and how to be innovative and break traditional boundaries.

To see more of Olivier Gamiettes work, please visit his website.

Book is published by Designstudio press. and available here.

The post Olivier Gamiette Automotive Designer to Watch appeared first on CarArtSpot.

Josh, I read that you started your art at Chrysler. How did that happen?

Although I have a couple of brothers who are trained artists, it was never my goal. But when I got to Chrysler, welding was a part which I really loved. I did my apprenticeship there and got a really cool background in lots of types of welding. All the spare time I had, I was in the workshop putting things together. At first it was craft and not necessarily art but it kept evolving and before too long, I became passionate about creating sculptures.

Pure craftsmanship - '48 Buick by Josh Welton of Brown Dog Welding

Have you turned it into a full time job now?

I put full time hours into it and I also work for General Dynamics Land Systems in their proto shop. So I build military type vehicles and prototype parts for defence industry. I work a lot but it's my passion. It's what I love to do. The past couple of years I've had a series of arm surgeries which has put a kink in things. I probably would be off on my own doing my art, if it wasn't for the health issues.

I love the way you describe your passion for welding. I read your Facebook posting about the welding done on the Monster Truck.

Yes, I got a lot of flack for that from the Monster Truck community. It was cool though because one of the guys who works at the shop where they build those trucks, was a little bit offended in the beginning.  But then we got talking, and he said they need to step up their quality. So maybe something good came out of that in the end.

Monster Trucks by Josh Welton of Brown Dog Welding

Monster Trucks by Josh Welton of Brown Dog Welding

I liked it though because it showed your passion for high quality and craftsmanship. You made a reference to your background, and your work for the defence industry.

I don't do that to brag but I want people to realize that I know what I am talking about. I am not just pulling something out and trying to shame anybody, without actually having a background in it. I think some people got the impression that I was just some guy who didn't really know what he is talking about. But at some point, your experience gives you some credibility. I have been through the certification and have seen what can happen if it's not done right and it can be disastrous.

I can relate to that because I have a background as a precision mechanic in engineering. Somewhere in space there is a satellite with a little part in it which I created.

That's awesome. My Grandfather actually had some patents on something that was on Mars or one of the Lunar Rovers, and he would talk about that with a sense of pride because he had some part in doing something which potentially changed the course of human history. It's pretty crazy.

You have a variety of topics, one of which is cars. How do you pick your topics Josh?

It's hard to be in Detroit and not have cars seep into your blood stream. Even before I moved here, I was always into cars and had a Camaro Z28. My Grandfather had an old Buick which I now own and am customizing to be a world trip vehicle. I didn't necessarily grow up to be a hot rod guy. I just like the design aesthetics, even more than the function. I've just always liked things which look cool. That is to me part of the industrial designer stuff. Brutal machines that look cool. Like the old school hot rods which are just bare bones. The guys who were coming back from the war in the 40's were building the choppers and the hot rods. They just basically took everything apart that didn't make it go faster and that was what they drove. It gives off a cool aura.

Metal Car Art by Josh Welton of Brown Dog Welding

Does that describe your style a bit? One side some aesthetics and the other, the mechanics and the raw part of it?

Yes, I don't like it when my work is referred to as a model or replica. It might be semantics but I try to give more essence of what the vehicle is. Actually one of the best compliments I got, was from my friend Tom Fritz. I had done this 48 Buick and he had seen it online but he wanted to see it in person. He came up and said 'You've captured the essence of what these vehicles were'. They are not perfect proportions. You can do something to scale and they never quite look right. You've just got to capture the feel more than anything. I think that's where the art comes from.  Perfection is boring. Anyone can computer scan something to be perfect but you have to figure out where to leave things out and where to add things, to make something have that wow factor. Tom Fritz is someone I respect so much, so it was so nice of him to take the time to say that. I met Tom a few years ago when he gave me some advice. He saw what I was doing and wanted to push me further. It's a great motivating factor when someone like Tom Fritz takes an interest in what you are doing.

So do you have a scrap heap behind your house Josh?

Pretty much.  People found out what I do and offer me scrap metal left and right. So I started collecting it. My shop is pretty much full of old metal. If I do a commission piece, I usually have the person send me a bunch of pictures of their hot rod or their bike or whatever it is. I tape them up on the board, so that I can see them. Sometimes I sketch it out from three different views, so that I have an idea of the proportions. It's not usually something I stick to but it gives me an idea. If I do something out of my head, I just put stuff together until it looks right. That's the nice thing about metal, you can pull it apart and add it. I throw all the stuff together and if I have to take it apart, I take it apart. Usually though, what I have in my head comes out pretty good in my hands.

Icon FJ44 Metal Car Art by Josh Welton of Brown Dog Welding

Icon FJ44 Metal Car Art by Josh Welton of Brown Dog Welding

Icon FJ44 Metal Car Art by Josh Welton of Brown Dog Welding

Is it almost like clay?

Yes, a famous sculpturer once said "the model is inside the stone. I just have to chip away at it until it shows up".  I kind of do the opposite. The sculpture is in the metal somewhere. I've just got to keep at it until it looks right. Kind of the opposite to carving stone but pretty similar to clay I suppose. Putting it together and then shaping it exactly to what you want.

A lot of people wouldn't expect that from a material like iron and metal

And that's something I have fun with, using industrial material. I started using old sheet metal. Like the 48 Buick I did. That was with sheet metal door skins off of a 68 Satellite. At one time it was stamped out and used as something very utilitarian. Now I am taking it and recycling it into an art form which represents that motor transportation in a different way. I like working with metal. One thing which bugs me about a lot of fine artists who use metal as material, is that they learn just enough about welding or cutting or grinding to make their vision become a reality. When I got started at the Detroit Institute of Art, there was this stainless steel sculpture there which was huge and the welds were just atrocious. I thought to myself 'I might have a great concept for painting or a drawing but I can't paint and I can't draw.  So I'm not going to try it. Why do these people think they can create a metal sculpture without having mastered the basic welding techniques then?". Something I try to bring to my metal art, is having the technique done first and then being able to translate it into my art.

Do you continue to practice welding and also other techniques?

I absolutely love welding. About four years ago, I stopped using the art as an excuse to weld and decided that I had to take the art itself more seriously. Rather than just using it as an outlet for my welding. On the other hand, I have welding skills and work on a small scale. It takes a lot of practice and experience and enables me to create things which are maybe not so easy for other people to do.  Whether it's the art or my fabrication, I am always welding and I'll always be doing that as long as I am physically able.

Josh Welton of Brown Dog Welding

  "I'm always welding. It's what I love doing"

How do you create all the different parts? It's like creating your own model kit and then assembling it with welding. How does that work?

I pretty much just put it together. To bond similar metals, I use a filler called Silicon Bronze to attach copper or bronze or galvanize for my sculptures. I don't paint. All the colours I get are either from different types of metal or different fillers, or from the heat that goes into the metal. That's where I like to get my colour from.

I am looking now at the blue Chrysler Desoto. Was that original paint?

Yes that was original paint from an old electrical box that I had sitting in my shop. I welded it to the body and then clear coated it.

Blue Chrysler Desoto Metal Car Art by Josh Welton of Brown Dog Welding

During the melting process, can it get damaged?

It can, and that was actually the first time I tried that technique. I did that car for Jonathan Ward. The underneath of his car was all new and modern but the body was purposely old and patina'd. I wanted to capture those aesthetics, so I decided to try using pieces that were already patina'd and painted. I used very little heat and strategically placed my weld, to not burn off too much of the metal. That was a learning curve. You can see the rear fenders are a little bit burned because I tried welding all the way around. Even though it didn't turn out exactly as I had it in my head, I still think it looked cool with the piece. So I left it at that. Each time I learn a bit more about how to keep as much of the original paint as possible. It's like an assemblage but I like to do it by welding instead of gluing or screwing something together.

What is the Lizard you made?

That's Johnathon Wards' logo. The Desoto, the 48 Buick and the Toyota are all vehicles that Johnathon built at his shop in California which is ICON and that lizard is his company logo. So I added it.

Lizard Logo by Josh Welton of Brown Dog Welding

Icon Buick Super by Josh Welton of Brown Dog Welding

What is that other art on your website? I saw a couple of skulls.

I call it tattooed metal. I've done that forever. I just use the weld to build up designs. The more I do it, the better I get at controlling the heat to manipulate the colours.

So by controlling the heat, you can get different colours. Do you do that with your torch?

Yes. Basically the colours come from the temperature and composition of the metal when it hits the atmosphere. That dictates what the colour is. When you are welding with the torch, you have a gas coverage which protects the molten metal from the atmosphere.

What other tools do you use?

I don't have anything fancy. I got an anvil last year which was my latest and greatest purchase. I've got a 133 pound Trenton handle which was made in 1900. I'm sponsored by Miller Electrics and we have a pretty good relationship. I do a lot of video's with them and those are the welding machines which I use.  I also use a lot of hammers and vices and things like that. Cut off wheels. Nothing too fancy.

It's nice to have an endorsement such as Miller.

Definitely. What is so cool is that I've worked for them for a few years now and they've stuck by me with my health issues. Everyone in the company is so passionate about what they do. I go to shows and I talk to the engineers and we talk welding and private development. It's cool to deal with a company who are so passionate about what they do. Like I'm passionate about what I do. It's the same with my other friends who are hot rod builders and artists and welders.  I am drawn to people who are passionate about what they do.

Metal Car Art by Josh Welton of Brown Dog Welding

Where does your name Brown Dog Welding come from?

When I started at Chrysler in 2001, we adopted a little pit bull boxer mix from a local shelter and he was actually born on the day I first started to weld. He was a little brown dog and that is where the name came from. He just passed away last February and he was our one and only kid. People ask me if I have ever done a sculpture of him and I haven't because I feel like all the pieces I do, have a little bit of his character and spirit in them. He had an old soul and was such a kindred spirit.

Do you visit shows with your art?

I do two shows a year. The Detroit Autorama which is local and I've become such good friends with all the artists who show there. It's a fun weekend and the last three years I have done SEMA in Las Vegas which is the largest trade show in the world. Two years ago, I was one of four artists invited and this year I was one of seven. So it's a select group and it's an awesome show. Shows are a lot of work. I don't tend to do too many of them. When I am healthy, I would rather be out in my garage working. I sell almost everything on line but I have fun attending shows and in the future I would like to do more exotic ones like in Australia, Japan and maybe one or two in Europe. I want to do it for the experience more than anything.

Do you get new inspiration at those places?

Oh definitely. I don't usually have too much of a problem with inspiration. I could live to be 300 years old and never have the time to do all the idea's I have in my head.  I just love the camaraderie of being around other fabricators and artists. It's the atmosphere. I love going to the hot rod shows. Some of the vehicles transcend more than just transportation. They become art in themselves. I've met so many good people while travelling and going to those shows.

'31 Ford Hot Rod Automotive Art by Josh Welton

Is it important for you to meet other automotive artists?

Yes. A couple of my really good friends Max Grundy and Ed Tillrock, who I met in Detroit in 2010 when I had just started my business, took me under their wing. I consider them both as mentors and they've helped me a lot in my development as an artist. It's nice having guys who have been doing this, to be a sounding board and give advice. David Lozeau is another artist who is a good friend and who has helped me figure out how to do my art as a business.  That is probably the most difficult part for me. Creating the art is where I relax and have fun but dealing with the business side of things, is not second nature to me.

I saw your Triumph on Etsy and was surprised at how low the price was because it's awesome!

The pricing is the most difficult thing. Johnathon Ward has been a huge boost for me. He told me to double my prices. It's one of those things where you don't want to jump up too quickly and not have the market be there. That's the goal, to create your brand. The people are out there. You just have to get the word to the people. That's the trick.

Icon Derelict 1952 Chrysler Desoto by Josh Welton

'31 Ford Hot Rod by Josh Welton

It sounds strange but you also need people who dislike your work, to create some emotion.

Yes, and I have a hard time with that because I've always wanted everyone to like me and I've always felt that I needed to defend myself all the time. My wife is actually one of those people who has the attitude that you need to let things go and keep doing what you are doing and not worry about everything else.  I will stand up for myself if anyone attacks my integrity but basically my work speaks for itself.

And it certainly does! See more of Josh's amazing work on his website and visit his Facebook.

The post Brown Dog Automotive Sculptures appeared first on CarArtSpot.