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.

Paul White Automotive Art - Yellow on black (Firebird) stack

Paul, do you consider yourself an Automotive Artist or a general artist?

I guess I am not an Automotive artist in general but I have always been into cars. Growing up with the car culture in the suburbs of Sydney, my Dad and family always had cars and I have always liked Australian Muscle cars. General Motors particularly. I’ve had a few Muscle cars and still have a 1974 Holden Torana SL/R 5000. It’s kind of like the Australian version of the Camaro. It’s bright green with black stripes. A real Muscle car.

Do you do all the mechanics on the car yourself?

Yes I like to do a bit but don’t have much time these days.

Your drawings show a lot of technical details of the cars and always a kind of deterioration. Can you share what is behind that?

Well I grew up with old cars and I used to go with my Dad to wrecking yards to get parts for them. This is almost 30 years ago and if you needed a part for your car, you’d have to go to the wrecking yard and explore there for the parts you needed. Maybe that’s where it began. Thinking back to that, the decay, obsolescence and the way old things pass away with time and new things are created. It has to do with the whole idea of the history which you see in those wrecking yards.

Paul White Automotive Art - Leftovers (sandwiched)

Do you visit those yards and take photo’s for inspiration? How does that process work?

I lived for a while in Los Angeles and I think a lot of my ideas about decay came from there. It’s such a big metropolis and is kind of in decay itself. I’ve been back a few times just to take photo’s and visit wrecking yards, where you see lots of older cars.

Your work is always about vehicles like old trucks, trailers and some campers etc. But there are never people involved. Why is that?

Well maybe that’s inspired by all the end of the world movies I’ve watched. Where there is nothing left in the world except the remnants of things falling apart which were once used and necessary for us to get around. I like the quietness you get from looking at those objects.

Is that a message you want to convey with your art? The deterioration and uselessness of how the cars become?

Yeah, because there is a kind of beauty in that as well. In looking at those things which are so neglected and abandoned. I try to make them beautiful and really nice to look at. I guess there is also a message in there about our culture and the state of our world.

Paul White Automotive Art - White knight end of night (Firebird) looking forward to

Paul White Automotive Art

You have done the Firebird on your homepage at least twice from different angles.

Yeah, I’ve done a few angles of that one. I guess there is also a personal connection with some cars because they are automotives which I desired as a kid, or saw in movies. I’m sure I drew pictures of them back then too. By presenting them in that run down state, it’s like time has passed and that is all behind me. But there are particular cars like that, that I have an interest in anyway.

Your style is always pencil on paper.

Yes I always use pencil on paper. I’ve probably been working in that way for about 14 years. Before that I made different artwork when I went to Art School.

How did you develop your style? Do you see some evolution in your work Paul?

I hadn’t drawn since a kid really and wanted to go back and teach myself. It was a personal challenge and I progressed further and further. I like the idea of seeing how far I can go with such a simple medium like pencil and paper.

Paul White Automotive Art - Dodgetown hazard meeting

You have a definite Paul White signature. Is it difficult to maintain that?

I guess it’s a logical progression and one thing leads to the next and it makes sense.

How would you describe your own signature style?

I don’t know. They are highly detailed colour pencil drawings but I guess what sets my signature style is how I present them. With a lot of white space around the image to give you more focus without any distraction.

You have a very consistent palette in the colours you use.

Yes, I guess I like the muted colours and with pencils you are a bit limited. It’s not like mixing with paints.

Paul White Automotive Art - Yin and yang (Camaro)

You use a lot of  Graffiti in your artwork. Is that already on the subject in the scrapyard or do you come up with that yourself?

I think it’s probably there a lot in real life. Like when you go to a big wrecking yard with 4000 cars or so. There’s quite a lot of graffiti with all those cars going to waste. It’s also maybe the intensity of my drawings which bring it out as well because they are quite detailed and that also elevates the sense of gravity. 

Do you have a bucket list of things you feel you really need to do?

I would like to look at using paints as another challenge for myself.

Don’t you have the feeling that it’s tricky to change and tend to want to stick with what works?

Yes, it is tricky when you become known for doing a certain thing. You feel as if you should stay consistent but it’s nice not to get stuck in doing the same thing as well. It’s also good to keep it interesting for yourself and for your audience and to try different things and evolve in different directions.

Do you speak to other artists for inspiration and feedback?

I have a lot of friends who are artists and I guess we inspire each other by seeing what the other does.

Who is your main inspiration at the moment as an artist?

Oh, there are too many. Lots of famous painters and a lot of my friends who are doing really great work. It’s inspiring to be a part of that community.

Paul White Automotive Art - Leftover chop shop second coming

Do you have contact with other artists who paint cars?

I’m probably alone in my group of friends for doing car art. Although we all grew up with Muscles cars and all appreciate cars. I know of another artist who is doing car elements in a very conceptional way but it’s not really about the car itself. His name is Aaron Martin .

What do you think triggers buyers to purchase and collect your art Paul?

Sometimes they are car people. Like the guy who bought the Firebird. He had a Firebird himself. Other people may not particularly be into cars but appreciate the image as an artwork.

How do you promote your work? I notice you have lots of awards and prizes.

Art prizes are always a great way to promote your work. They give you some kind of validation and often the judges are good people to have view your work. I have a couple of galleries who represent and promote my work but more people probably see my work via social media.

Paul White Automotive Art - Evolutionary extinction (commodore heights)

What kind of advice can you give to struggling artists just starting?

I guess you just have to follow your passion. If you have the drive to do it, just keep going and it will find an audience one way or another. Social networks are great to promote yourself and spread the images you make. It’s probably as good a way as galleries ever were. It’s a tough road being an artist and even artists doing extremely well can fall out of flavour. Those who are dedicated, just keep at it and don’t know any better.

What can we expect in the coming months Paul? Any new challenges?

Well, although cars will always play a role in my work, I am starting to think more about natural elements like botanical work, landscapes and more elements of nature compared to the mechanical. Or maybe a combination of the two. But I am known for my cars, so I will keep the consistency as well.

To see more of Paul Whites work, please visit his website

More links:

Facebook

Instagram

See also Paul White Time-Lapse of a Drawing

The post Paul White Wrecked Car Beauty appeared first on CarArtSpot.

Art of The Mustang. Photography by Tom Loeser and text by Donald Farr

The ultimate dream of any Muscle car fan would be to own a Mustang and preferably a Shelby version. Especially if that fan would be me. I fell in love with this car after watching Nicolas Cage drive it in Gone in 60 Seconds. “Eleanor” the 1967 Ford Mustang fastback depicted as a Shelby GT500.

Art of The Mustang - 2014 Shelby GT500

Art of The Mustang - 2015 Mustang 50 Year Limited Edition

In this book, photographer Tom Loeser pays his tribute to 50 years of Mustang. He knows how to highlight the specifics of each model by playing with dark and light to get the best photos. The strength of the photos in this book is the fact that there are no backgrounds distracting you from the car. They are pitch black which enhances and accentuates the colours and lines of the car.

Mustangs are cars which bring back memories and make you share stories. And that’s exactly what Donald Farr has done with this book, sharing the stories of guys like Jordan Besenburch who happens to be the proud owner of a Boss 302. His grandfather parked the car under a tarp in 1988 after blowing up the engine during a street race. David now plans to refurbish the Boss in tribute to his father.

Art of The Mustang. Photography by Tom Loeser and text by Donald Farr

Art of The Mustang - 1965 GT350 School Car

The combination of photos, stories and some technical background text works really well. Art deserves to be shared and exposed to a large audience and the Art of the Mustang is no different. A worthy tribute to the Mustang.

This book is published by Motorbooks and available here.

ISBN 9780760347867

The post Art of the Mustang appeared first on CarArtSpot.

So Dave, you are into gassers.

Yes, I’m into cars which, back in the mid west in the 50’s, were called gassers because they looked like cars you could drive on the street but they had modified motors. Later cars evolved and became more elaborate and pretty soon during the 60’s, they were really no longer street legal cars. They had very powerful motors and by the end of the 60’s, gassers evolved into drag racing cars which became the ‘ funny car’. It was basically a fibre glass body on a dragster chassis. So I was in on the early years of those kind of cars and that’s what I’ve always stayed involved in. Drag racing cars of the 60’s and sometimes muscle cars. I don’t drive in them now. I just like restoring or building one which I think reflects that time. It’s my hobby.

Dave Miller

Well I had never heard of the word ‘gassers’ before.

I could take you to garages with guys you have never heard of, who are doing some magnificent work. I was there in the early stages and have seen how this hobby and industry has developed and I want people to remember that it’s really an individual activity.  There are so many talented people out there, engineers who are never heard of. Cars are not about one individual or one shop. Every little town has someone who loves and builds wonderful cars. They are labours of love. I’m focused on the 60’s when cars were so supreme, it just boggles your mind and I’ve been fortunate enough to build a couple of really nice cars. I’ve loved cars all my life.

Dave Millers' 1955 Chevrolet gasser

Dave Millers' 1955 Chevrolet gasser. It won Postwar Race Car Class at the 2009 Los Angeles Concours d' Elegance and was most recently one of four featured gasser's at the First Annual Tribute to Gassers 2014 presented by the Automobile Driving Museum in Los Angeles.

So for you, it’s important to build those cars with all the detail and in exactly the same way as they were in the 60’s.

You nailed it. People find some aspect about the car from the era I like, which is kind of unique; they take that and pretty soon it’s reproduced everywhere and becomes the standard. But it really isn’t the standard because it wasn’t the way it was done. For instance, I’ve seen modern cars of today painted in all black primer. That kind of got started with Hot Rods and gassers because people building replica’s would paint them in all black primer. So people assume Hod Rods and gassers were painted in primer but thats not true. In my day, no-one wanted a primer, they were only painted in the primer temporarly until you could afford to paint it in the colour you wanted. I like to show people and remind them the correct way it was done back then.

Today, replica’s can be built of any car you want. For example, some high end beautiful roadsters from the 30s and 40’s get built and the level of workmanship on those cars is phenomenal.  In my opinion, they are no longer cars, they are works of art.

In 2009, I entered one of my cars, a 1955 Chevraley gasser which I restored, in the Los Angeles Concours D’elegance. We won ‘Post War Race Car Class’ because we restored it to the exact way it used to be. That means that we left imperfections in the car which the original builder was in too much of a hurry to get finished and out onto the race track.  When we showed it at a car show, we got 994 points out of 1000. They took off 6 points because the fit of the doors were not as close as they thought they should be. The fact is, the doors were fibre glass, like the hood and other parts and the original builder didn’t want them to fit. He wanted people to know they were fibre glass. This is my point. Todays replica’s, even of gassers, are built to a level which just did not exist back in my time.

Dave Millers' 1955 Chevrolet gasser at Los Angeles Concours 2009

Dave Millers' 1955 Chevrolet gasser at Los Angeles Concours 2009

It's not about the most expensive car, it’s about the car which has the most emotional association!

Is that because at that time, those elements were not the main importance? The focus was on the performance and the general appearance.

You got it.  My focus is just to try to remind people that a car is a car but it still has tremendous emotional artistic value to people in remembering a time and an era. Some of the things that get overlooked are vital to really understanding that. The hurriedness and the imperfections that were left because they didn’t have the equipment or the time to finish it.

1939 Willys pickup

How do you see the role of an automotive artist?

I think that good art should tell a story of a place and have a broader impact on the people looking at it. Too much of our emphasis is making assets out of things and transforming them into objects to be sold. Take the French impressionists, their paintings give us a sense of the time and place. They show the average person, something which they didn’t see, and remind the viewer of something that has been forgotten or overlooked.

At the General Motors Heritage Museum in Detroit the biggest crowd puller is the little brown car in the corner which people remember their grandfather driving in or remember sitting in the back seat when they were a child. It’s about hitting the most hearts with the most emotion. It’s not the most expensive car, it’s the car which has the most emotional association.

Replica of the 1968 Corvette commissioned Chevrolet Public Relations. Built by Chevrolet Engineering

That’s also the role of an automotve artist; to capture emotion and preserve the cars of those days for future generations.

Exactly. Explaining the culture of the time and place through the car, not as a vehicle but as a vehicle to connect the viewer with some important aspects of that time and place. Cars become very personal to me and it’s hard to get rid of them. But I am happy to pass them on to the right group of people.

I have an association with Holland because my father is buried in Maastricht. He was killed over there in the WW2. 

A very big thank you to Dave Miller for sharing his wonderful knowledge, experience and stories with CarArtSpot.

Related links: 

A Blast While It Lasted, Unique Corvette Earns an Encore

Long Lead Corvette 

Photographs and websites supplied courtesy of Dave Miller and Paul Stenquist of Paul Stenquist Photography .

The post Gassers and Car Art appeared first on CarArtSpot.

2013 - 2014 LAMBORGHINI ROADSTER ART PRINT BY DANNY WHITFIELD

The Automotive Art of Danny Whitfield

Apart from establishing himself as a respected automotive artist in the car industry, Danny is himself an enthusiastic drummer and loves R&B, Jazz and Fusion. He also plays in Church every Sunday. He is a deeply religious man. Apart from his drive, passion and true love for the automobile and his illustrations, his father and other important people have been a big inspiration in his life.

Like so many other artists I have interviewed, Danny started drawing as a toddler. At high school he made his first commission, drawing a Mustang for seven bucks. As you can hear, Danny was a shrewd business man, even at that age. Detroit, Michigan being the 'Auto Capital of the World' obviously had an influence on Danny but automobiles have always been his first love in the creative world.

Some automotive art sketches Danny Whitfield drew when he was just thirteen years old.    

After attending college and getting his degree in Industrial Design, Danny worked in several jobs for some of the biggest names in the automotive industry. He gained a lot of experience and although he very much enjoyed his work, his main drive and passion was to share his love of automotive art with the world. Also the uncertainty in the automotive industry resulted in periods where Danny found himself in between jobs. He used that time to focus on his drawings and paintings, visiting car shows and events to gain more exposure. He soon learned that many car enthusiasts spend many hours modifying and customizing their cars, while others dream of customizing their automobiles into their perfect car but can't quite get the idea from their head onto the drawing board. Danny takes those dreams and ideas and turns them into fantastic automotive illustrations. He works on customizing the design, combining shapes and colours, applying a number of alterations to wheels, tires, body colours, etc. He then personalizes his design to meet the specific needs of the customer and captures their dream car in an everlasting memory.

Automotive Art Blue 2012 Camaro by Danny Whitfield

Using the latest technology and mixed media, his various techniques include using illustration boards, watercolours, airbrushing and computer scanning. The end result is an incredible high quality automobile art print.  With the ease of making these kind of modifications combined with his years of automotive design experience, Danny designs customized cars upon request.

Hot Rods and Camaro Indianapolis 500 Pace Car Art by Danny Whitifield

Automotive Art by Danny Whitfield

After noticing that customers were putting his artwork on display next to their cars at automotive shows and events, Danny started offering a unique service.  Beautifully customized 'show boards' with illustrated artwork and full information of the car and owner.

                                      

Customized 'Show Boards' fully illustrated by Danny Whitfield

You may notice that on most of his work the background is minimal. The idea behind this is not to distract from the car itself. Danny explains that he likes to keep it simple but make it look like it is the cars first appearance with curtains behind, or a circle underneath. Like a public showing for the first time, making a grand entrance. Sometimes the logo of the car is also added. When he does add a background, it is often with objects from the same era as the car.

Corvette Roadster Car Art by Danny Whitfield

 

Hot Rods and Corvette Roadster Automotive Art by Danny Whitfield

Hot Rods and Corvette Roadster Automotive Art by Danny Whitfield

Danny has been illustrating cars (classic cars, hot rods, custom cars and many more) but in particular Mustangs. From the first 1962 Mustang concept to the most current 2015.  He is currently working on a 2015 Custom 'Whitfield Edition' Mustang. Despite many obstacles, he has established himself in the auto world and created a large fan base.

Automotive Art Ford Mustang by Danny Whitfield

Danny was one of the artists who worked on the early Dodge Viper paintings and was invited as a guest to attend the 1992 Detroit North American Auto Show. Among his collection is the artist proofs of the original 1993 Viper and his rendition of a concept Dodge Viper, signed by the famous Chrysler "Dream Team". The team consisted of Robert Lutz, Thomas Gale and Francois Casting. Read more about Chryslers' Dream Team here.

1993 Dodge Viper Automotive Art by Danny Whitfield

 

2009 Cobra Eliminator Car Art by Danny Whitfield

Prior to the unfortunate death of Racing Legend Dale Earnhard, Danny had the opportunity of taking photo's of an autograph session at the National Corvette Museum celebration. Dale Earnhard signed two of Dannys' Corvette prints which are today of course priceless!. With his global audience, Danny would like his work to be recognized in the 'fine arts' category instead of being labeled commercial art.

If you own an American, European, sport, muscle or exotic car and want to enjoy it to its' fullest by not only driving it but by bringing it inside your office or man cave, then Danny is your guy! His automotive illustrations will not only be a showcase in your home but make for a great conversation for all you car enthusiasts out there.

More information can be found on Dannys' website and his Facebook

You can also find Danny Whitfield on Linkedin

The post Automotive Art of Danny Whitfield appeared first on CarArtSpot.

Apart from having a boutique design studio specialising in quality design, personalised and creative service, Paul is a photographer, featuring Lisa as his main model to enhance the sheer beauty and scale of automotive art and photography.

Paul where did your passion for custom cars come from?

I guess my interest in cars started at a young age. However, before cars, I was so interested in planes from the 40's, 50's and 60's. I loved the shapes of the cockpit and the fuselage, the aerodynamic proportions where function actually followed form. This led me automatically to cars of the 50's. I would leaf through books, magazines and that filled my desire and passion even more. I thought I would never have a spectacular 50's or 60's car but I wanted to own just something like it..... anything from that era would be amazing! To cut a long story short, after a few knocked around cars, I pursued my passion to where it is today. Lucky enough to own three classic American cars. A 1957 Cadillac Coupe DeVille, a 1960's Pontiac Catalina and my favourite, the 1960's Dogde Pioneer, fully customized and complete with three 1/4 inch roof chop.

1957 Cadillac Coupe DeVille, a 1960's Pontiac Catalina and a 1960's fully customized Dodge Pioneer

To me these cars symbolise pure design, the aerodynamic shapes, dashboard treatment, all unique to their own models. There is so much DESIGN in each car. From the triple grooves in the Pontiac indicator, to the clean lines of shaved door handles on the Dodge and Cadillac.

Although I loved original cars from the 50's and 60's, I am becoming more and more interested in custom cars from the same era. Custom cars offer more individuality and unique qualities which the owner can implement and make their own. By simply replacing the original grill and lowering the entire car via airbag suspension, you come up with an even more space age looking car. Now that excites me very much!

I want to step out of the car and see it, almost cartoon like. Almost like an artists' sculpture. The fact that it's an automobile and you can actually drive it as well, is an additional facet of the car.

Customized car art by Paul Vanzella

My ideal way of living would be to have at least one of the cars as a permanent feature in my lounge room. As one would place a piece of furniture or a vase in a room. As simple as that. These cars are pure aesthetics, so why not use them in such a manner?

I also want to have one in my office with my desk just to the side of it. Like the old car salesmen of the 50's. So that I can sit on my Mac in my graphic design studio while being totally inspired by a massive drivable sculpture all day long. Can you imagine working like that?

Dodge Pioneer fully customized - car art by Paul Vanzella

What Paul and Lisa say about their automotive custom car collection

We just love their style, right down to the dash and instrumentation. They are mobile pieces of sculptures on wheels and the best thing is, you can actually drive them!  We love the sound of the engine, their scale and the weight of the car.  Every car is different and that's why you become a collector because you just want to feel that new sensation.

Customized cars - automotive art by Paul Vanzella

Paul explains 'I think what I do with my photography is that I like to embody my imagination and my reality together and use what I have around me, such as my cars. The main feature is the car. They are a key feature but they act as a helmet like a piece of sculpture would. I feature Lisa in the art as well.

Lisa, how do you feel about modelling in Pauls' photographs?

I feel it's actually not me. It's very much a character role that I play. I like to articulate idea's fast and I work very quickly. I push Paul a lot.

Lisa models for husband Paul Vanzella - customized car art

Pauls background

Owner of Vanzella Graphic Design and co-founder of online art website: RedBubble.com. Paul studied at Monash University BA in Design Communication.

Lisa's background

Lisa has enjoyed a diverse and progressive career. Apart from her completion of the Fashion and Design Bachelor of Arts Degree RMIT, Lisa has gone on to gain extensive experience in many areas including brand management. Lisa continues to Consult, Project Management, teach and specialize in Styling and Art Direction with spectacular results.

Paul, what is your inspiration?

Everything.  From when I was growing up, small postcards, movies, interior design, popular culture, trying to develop a way of thinking. I want to create a unique voice with my pieces. It takes time to create a way of thinking because you mature, you gather information and you have experiences. Then you compliment that altogether. I find myself right now at a very high creative point utilizing everything I've been through, I've seen and have collected.

Lisa says 'for me I am always inspired by surroundings and scenery and the ambiance and feeling you get from different spaces, whether they are glamorous or not, fashion, films or cars.

Dodge Pioneer car art by Paul Vanzella

Dodge Pioneer car art by Paul Vanzella

And their goals?

Marketing specialism; continuing to contract for various high end niche brands, blogging and extending our reach with a view to taking on the world.

Visit their website: http://www.vanzella.com.au and facebook

The post Paul Vanzella - Classic Car Collection appeared first on CarArtSpot.