9- AUTOMOTIVE DESIGN (styling, schools, process)

Brian Paul Wiegand, B.M.E., P.E.
1
AUTOMOTIVE DYNAMICS and DESIGN
1968 Dodge Charger

2
For 1968, the 2nd generation Dodge Charger was totally redesigned, with results
that would punch up sales and instantly turn the car into a classic, remembered
and shown for decades afterwards. Richard Sias is credited with the “Coke
bottle” side profile, giving Charger its attractive “double diamond” shape. Sias
was 26 when he created the 1/10 scale model that led to the Charger’s final
shape, just two years before the design was “locked down”.
The 1968 Charger was an anomaly. Bill Brownlie, Dodge Studio Executive
Designer, wanted an evolutionary design from the 1966, another fastback.
Meanwhile, off in a corner of the Dodge Studio, Richard Sias, was making
a 1/10th scale clay model, but it wasn't a fastback.
However, it was such an exciting shape that Chuck Mitchell, Chief Designer,
wondered if it could be morphed into a B body size car. Since the program hadn't
yet started, a full size clay model was begun while hidden behind two 20 foot
black boards. Frank Ruff, B-Body Car Line Manager, with his experience and the
Sias design, directed the clay modelers to do what soon looked like the ’68
Charger.

3
Everybody knew it was a winner; the “sail panels” made it look fastback enough to
satisfy Brownlie. While still behind the boards, it was informally shown to Bob
McCurry, Dodge Division VP. He approved it on the spot; it was moved out onto a
regular platform in the studio to be finalized and refined, and then released to
Engineering. So, there never was a traditional design program as such, which is
what made it an anomaly.
Along the way, during the grille and lamp design cycle, Product Planning wanted
to cancel the concealed headlamps to save money. It was mocked up with a huge
mirror at the centerline so the design could be seen both ways. Dodge General
Manager Bob McCurry walked in, looked at both sides, said two words, “Keep
’em,” and left.
Louvers were then added to the door front surface to give clearance to the lower
hinge, an interference missed early on. Diran Yazejian designed the tail lamps,
departing from the horizontal theme of the preceding Chargers by going to dual
rounds set in a rectangular field. Harvey Winn restated his Coronet bumble bee
stripe on the rear of the Charger R/T, which began a family identifier of
performance Dodges.
.”

4
From 1969 to 1974 the
Dodge Charger would
be redesigned some-
what every year.
Richard Sias felt
unrecognized for his
originating the side
profile, and left soon
after. Other names that
are associated with
Charger development:
Marc Rozman, Frank
Ruff, Ric Carell, Elwood
Engle, John Herlitz,
Bruce Hatch, and Jeff
Godshall.

5
1971 Production
The third generation Charger
in 1971 fell victim to the
Chrysler Corporation’s new
“Fuselage Look”…

6
…and yet we have committees;
almost all significant work is a
corporate effort, and committees
(group effort) are necessary given
the sheer scale and complexity of
most projects.
There are all manner of
jokes utilizing as raw
material the supposed
inefficiency and
ineffectiveness of group
efforts….

7
Back in 1979 men's fashion designer John
Weitz decided he wanted a car that exuded
the same wonderful good taste as his clothes.
So he took a brand new Camaro Z28, drew a
few sketches, and sent the lot over to some
panel beaters in the UK for transformation into
something real; the result is as per these
photos:
So, in this case, a committee might
have helped…The world didn’t need
a Batmobile Junior.

8
In 1957 Father Alfred A.
Juliano (a Roman Catholic
priest) unleashed his
Aurora safety car on the
world… No committee
could have done worse!
2005 Restoration by Andy Saunders (UK)
2005 Restoration by Andy Saunders (UK) 2005 Restoration by Andy Saunders (UK)

9
“The trouble with Detroit is that teams of stylists work
on various details of a car, the grille, the front fenders,
the interior, even the door handles. And they are
jealous of one another. So one says ‘I don’t care if it
doesn’t fit, it’s a beautiful grille.” And you see that on
the cars. Sometimes you see a beautiful detail, like a
taillight, but it doesn’t fit with the rest of the car.”
Albrecht Goertz
The coordination of individual efforts into a corporate
endeavor has always been a problem, and the solution
to that problem is called management…and
management requires leaders…

10

11

12

13
Founded in 1930 as the
“Art Center School”, the
Art Center College of
Design of Pasadena, CA
is one of the most
prestigious design
schools in the world,
offering courses of
study in Film & Cinema,
Fine Art, Graphic
Design, Illustration,
Photography, Product
Design, Environmental
Design, Transportation
Design, and Industrial
Design.

14
•Chris Bangle, 1979 graduated ACCD, 1980 Master’s in Industrial Design from U. of Wisconsin,
1981 Opel Deputy Head of Interior Design , 1985 Fiat Head of Exterior Design, 1992 Chief of
Design at BMW, 2010 founded Chris Bangle Associates, 2012 Samsung.
•Wayne Cherry, 1962 graduated ACCD, hired by General Motors. 1965 Vauxhall Motors, 1975
Design Director. 1975 Adam Opel AG Design Director. 1992 VP of GM Global Design, 2004 retired.
•Willie G. Davidson, 1955 U. of Wisconsin, 1959 graduated ACCD, worked for Ford, Brooks
Stevens Inc. 1963 went to Harley Davidson, 1969 Vice President of HD Styling, 2012 retired.
•Henrik Fisker, 1989 graduated ACCD, BMW designer, 1992-1997 BMW Z07 concept car, Z8
roadster, 2000 President & CEO Designworks USA, 2001 Aston Martin Design Director, Ingeni
Creative Director, 2003 Director Ford Global Design, 2004 founded Fisker Coachbuild, 2008
founded Fisker Automotive (mfg. Karma electric), 2013 resigned as Fisker Automotive went
bankrupt (the bought up remains became Karma Automotive), 2013 founded HF Design.
•Chip Foose, 1982 started ACCD, 1984 dropped out, went to work for Clenet Coachworks. 1990
graduated ACCD, went to work for Sterenberger Design. 1993 Pres. of “Hot Rods by Boyd” (Boyd
Coddington’s company), 1998 founded Foose Design, 2004 TV program Overhaulin’.
•Larry Shinoda, 1942-45 held with family in WW II Manzanar Internment Camp. 1955 expelled from
ACCD, went to work for Ford, then Packard. 1956 worked under Bill Mitchell at GM, did Mako
Shark show car & XP 819 experimental car. 1968 Ford Pres. Bunkie Knudsen hired Shinoda. 1969
founded independent design company. 1997 died of heart failure.
•Jack Telnack, 1958 graduated ACCD, hired by Ford. 1965 Lincoln-Mercury Head Stylist. 1966
Australian Ford Chief Designer. 1974 European Ford VP of Design. 1980 Ford Global VP of
Design. 1997 retired.
From the standpoint of Automotive Design, some of the most significant
alumni of the Art Center College of Design are:

15
Pratt Institute, Brooklyn, NY, was founded in in
1887 with programs primarily in engineering
(until 1993), architecture, and the fine arts.
Comprising five schools, the Institute is
primarily known for its highly ranked
programs in architecture, interior design, and
industrial design.

16
alumni of Pratt Institute are:
Norman J. James, 1953 Pratt Institute Graduate, Bachelor’s in Industrial Design; 1st employment at
GM Styling (Firebird III), then GM Defense Research Laboratories to design lunar vehicles. Later at
Sundberg-Ferar on L-1011 interiors; then Rohr Industries/Goodrich Aerostructures on mass transit
systems, surface-effects ships, the X-33, and aircraft engine nacelle / thrust reverser systems. Now
semi-retired and continuing to work at Goodrich Aerostructures in R&D.
R. Preston (“Pres”) Bruning, 1961 Pratt Institute Graduate, Industrial Design; 1963-2000 GM
Design; 1980-1990 Automotive Design Instructor, College of Creative Studies, Detroit. 1982
Contributor to Walt Disney Epcot Center, World of Motion.
William (“Bill”) Porter, 1958 Pratt Institute Graduate, Masters in Industrial Design, joined GM
Styling. Late 1960’s Chief Designer for Pontiac Motor Division, directed design of Firebird, Le
Mans, GTO, Catalina, Bonneville, Grand Prix. 1980 Chief Designer Buick 1 Studio, directed design
of Park Avenue, Le Sabre, Riviera, 1987 Regal sedan, 2000 Buick Le Sabre. Taught at Wayne State
University and College for Creative Studies. 1996 Retired.
Elia (“Russ”) Russinoff, 1949 Fisher Body Craftsman’s Guild 1st National Sr. Award, 1954 Pratt
Institute Graduate, 1955-1995 Assistant Chief Designer at GM Design.
William (“Bill”) Michalak, 1966 Pratt Institute Graduate,1966-2001Senior Designer at GM Design.
Paul Deesen, 1954 Pratt Institute Graduate, 1954-1996 Assistant Chief Designer at GM Design.
Albrecht Goertz, 1945 attended Pratt Institute for 2 months, hired by Raymond Loewy. 1952
Establishes Goertz Industrial Design. 1955 Designs BMW 503 and 507. 2006 Deceased.

17
College for Creative Studies was founded in 1906 as the Detroit Society
of Arts & Crafts, and after various permutations finally became the College
for Creative Studies in 2001.

18
alumni of the College of Creative Studies are:
Roy Brown Jr. (1916-2013) 1937 graduate of the “Detroit Art Academy”. Initially employed at
General Motors, then at Ford in both the US and the UK. Credited with design of 1939 Cadillac
(dashboard), 1951 English Ford Zephyr, 1955 Ford Futura (later converted by George Barris into
TV’s “Batmobile”), 1957 Edsel, 1962 English Ford Cortina, and 1966 Ford Econoline.
Crystal Windham, 1994 graduate of the College of Creative Studies in Transportation Design, hired
by GM European Design in Germany. 2002 Design Manager of Interiors. 2008 General Motors
Director of North American Passenger Car Interior Design.
Robert Boniface – 1993 graduate of the College of Creative Studies in Transportation Design, hired
by Daimler-Chrysler, 2004 Design Director Advanced Design, General Motors Design Center.
Ralph Gilles - 1992 graduate of the College of Creative Studies in Transportation Design, President
and CEO of “Street and Racing Technology, Motorsports”, and Senior Vice President of Design at
Chrysler Group LLC. Has received the Michigan State University Eli Broad Graduate School of
Management Young Alumni Achievement Award, Automotive Hall of Fame Young Leadership &
Excellence Award, NV Magazine Innovation Award, Black Engineer of the Year President’s Award
and N’Digo Foundation N’Design Award.
Thomas Kearns – 1987 graduate of the College of Creative Studies in Transportation Design, Chief
Designer, Kia Design Center of America.
Earl Lucas – Booker T. Washington HS for the Performing & Visual Arts, 1996 graduate of the
College of Creative Studies in Transportation Design, Interior Design at Lear Corporation, 1999
hired by Ford Motor Company, Design Manager Lincoln-Mercury Division.

19
There are many other fine schools of art and design, some of which are:
Savannah College of Art and Design (Savannah, GA)
LSU Art and Design (Baton Rouge, LA)
California Institute of the Arts (Valencia, CA)
Maryland Institute College of Art (Baltimore, MD)
Otis College of Art and Design (Los Angeles, CA)
Rhode Island School of Design (Providence, RI)
Cleveland Art Institute (Cleveland, OH)
Harrow College of Art and Technology (Harrow, UK)
College of Fine Arts, Howard University (Washington, DC)
High Point University, School of Art & Design (High Point, NC)
Hong Kong Polytechnic University (Kowloon, Hong Kong)
Georgia Institute of Technology (Atlanta , GA)
Aalto U. School of Arts, Design & Architecture (Helsinki, Finland)
Institute of Design (Chicago, IL)

The Fisher Body Craftsman’s Guild was a
national automotive design competition
sponsored by the Fisher Body Division
of General Motors. The competition was
for teenagers to contend for college
scholarships by designing and building
scale model "dream" cars. Held 1934-1968, it helped create
whole generations of designers and design executives.
Among those designers and design executives who
participated in the Guild are Virgil M. Exner Jr., Charles
‘Chuck’ M. Jordan, Robert W. Henderson, Robert A. Cadaret,
Richard Arbib, Elia 'Russ' Russinoff, Galen Wickersham,
Ronald C. Hill, Edward F. Taylor, George R. Chartier, Charles
W. Pelly, Gary Graham, Charles A. Gibilterra, E. Arthur
Russell, William A. Moore, Terry R. Henline, Paul Tatseos,
Allen T. Weideman, Kenneth J. Dowd, Stuart Shuster, John
M. Mellberg, Harry E. Schoepf, and Ronald ‘Ron’ J. Will.
20

21
THE 1965 COMPETITION

22
1961,
Ronald
“Ron” Will

23
1947, Charles “Chuck” Jordan

24
1949, Elia “Russ” Russinoff

25
1946, Virgil Exner Jr.

26
The design efforts of those who were to go on to become professional
designers and/or design managers are not necessarily the only designs of
note; a great many wonderful designs were created by those whose
subsequent path in life is unknown…
1961 Paul F. Bonfilio

27
1965 Geza A. Loczi

28
1965 George Prentice

29
1966 Joseph D’Mura

30
1955 Adrian A. Bruno

31
1955 Milt Antonick

32
1957 Arthur Russell

33
1968 Stewart Reed

34
1965 Bud Magaldi

35
1969 Dodge Charger III
Could Bud Magaldi’s ‘65 model car
have actually inspired this GM ‘69
show car?

AUTOMOTIVE DESIGN, THE
PRACTITIONERS
36
HARLEY J. EARL…
Harley J. Earl left
Stanford University due
to illness and began to
learn design working at
his father’s coach
works. His work came to
the attention of General
Motors, and by 1927
was named Head of the
newly formed “Art and
Color Section”, which
soon afterward was
elevated to a corporate
Vice President position.
This was the beginning
of the modern emphasis
on styling…

PRACTITIONERS
37
HARLEY EARL…
…Revolutionized the significance
of styling in automotive production.
After his elevation to head of GM
styling he never drew a line again;
instead he got what he wanted
through a forceful use of others.
He retired in 1959, and died from a
stroke in 1969.

PRACTITIONERS
38
HARLEY EARL…
1893 Harley born. 1900 The Earl family settles in
Hollywood, CA. 1908 Father changes “Earl
Carriage Works” to “Earl Automobile Works”. 1909
Starts modeling in clay as a styling tool. 1914 Goes
to Stanford University to study law, drops out, and
goes to work at “Earl Automobile Works”. 1919
Established purveyor of custom cars to the stars.
Designs shown at Los Angeles Auto Show. Cadillac
dealer Don Lee buys “Earl Automobile Works”,
retains Harley Earl as Chief Designer. 1925 Orders
100 Cadillac chassis, resulting in Harley Earl coming to the attention of Cadillac
President Lawrence P. Fisher. 1926 GM President Alfred P. Sloan contracts
Harley Earl to design the new La Salle. 1927 La Salle debuts to great acclaim,
first mass produced car to be designed by a stylist. Sloan forms GM “Art and
Colour Section” , hires Earl as section head. 1928 Section Head elevated to
Corporate VP position. 1959 Earl retires. 1969 Dies from stroke.

…1927 La Salle
PRACTITIONERS
39
HARLEY EARL…
Sloan and Fisher

PRACTITIONERS
40
HARLEY EARL…
…1939 Y-Job

PRACTITIONERS
41
HARLEY EARL…
The 1938 Y-Job was the first modern
“concept car”. Designed by Harley
Earl, the car had power-
operated hidden head lights, a "gun
sight” hood ornament, electric
windows, wrap-around bumper, flush
door handles, plus other styling cues
used by Buick until the 1950s; the
vertical waterfall grille is still used by
Buick.
...“Buick” Y-Job

42
HARLEY EARL…
1951 LeSabre concept car
PRACTITIONERS

PRACTITIONERS
43
RAYMOND LOEWY…
1910 Université de Paris, BEE.
Enters the École de Lanneau…
1914-1918 French Army, then
graduates École de Lanneau, ME.
1919 Immigrates to US, illustrator
for Vogue, window display designer.
1929 Founds Loewy Studios, 1st
Industrial Design commission
(Gestetner copy machine).
1930 Hupp Motor Co. contract.
1934 Sears & Roebuck (refrigerator)
1936 Studebaker contract.
1937 Pennsylvania Railroad job.
1939 Loewy hires Virgil Exner Sr.
1945 Founds Raymond Loewy
Associates, world’s largest industrial design firm. Would work on designs for
CokaCola soda, Lucky Strike cigarettes, NASA, USAF, etc. 1986 Dies in Monaco.

PRACTITIONERS
44
RAYMOND LOEWY…
1953 “LOEWY DESIGNED” (ROBERT BOURK) STUDEBAKER STARLINER
Starlight

PRACTITIONERS
45
RAYMOND LOEWY…
1961 LOEWY DESIGN SKETCHES FOR PROPOSED STUDEBAKER AVANTI
#1
#2
#12

PRACTITIONERS
46
1961 LOEWY DESIGN SKETCH FOR PROPOSED STUDEBAKER AVANTI
RAYMOND LOEWY…

PRACTITIONERS
47
RAYMOND LOEWY…
1963 (John Ebstein, Bob Andrews, Tom Kellogg, et al) STUDEBAKER AVANTI
1964

PRACTITIONERS
Chief of Body Design. 1933 Briggs “Dream Car”. 1934 Briggs “Kitchen of
Tomorrow”. 1936 Lincoln Zephyr “adaptation” of Tjaarda design. Tjaarda’s
designs were not merely a matter of style, but of substance. However, the
substance is never recognized, and Tjaarda ultimately becomes disillusioned and
withdraws from automotive work. 1961 Tjaarda Dies.
48
JOHN TJAARDA…
1897 Born Joop "Jan" Tjaarda van
Sterkenburg (landed nobility).
1915 Studies Aeronautical Design
in the UK, flys for Dutch Air Force,
works for Fokker.
1923 Immigrates to US, changes
name, works under Harley Earl at
Earl Automotive in LA.
1926 Begins work on his own
“Sterkenburg Series” designs.
1930 GM Art and Color Section.
1932 Briggs Manufacturing Co.,

PRACTITIONERS
49
JOHN TJAARDA…
Note that “rear engine”
design is more of a “mid-
engine” design; the engine
resides forward of the rear
axle line.
Illustrations are from
July 1931 issue of
Modern Mechanics
and Inventions, pp.
180-181.
“Sterkenburg”
“Sterkenburg”

PRACTITIONERS
50
JOHN TJAARDA…
1933 Briggs “Dream Car” (Tjaarda, Bonbright)

PRACTITIONERS
51
JOHN TJAARDA…
1936 Lincoln Zephyr
(Bob Gregorie, based
on the “Dream Car”)

PRACTITIONERS
52
HOWARD “DUTCH” DARRIN…
1907 At age 10 works for
“Automobile Topics”
magazine.
1912 Westinghouse
intern, Electrical Dept.
1916 John North Willys
has Darrin design elect.
gearshift. Enlists Army
Air Corps, WW I fighter
pilot.
1919 Founds Aero Limited airline, 1st Marriage. 1921 Stockbroker, Used Car
Salesman. 1923 Opens Paris auto body design office: Carrosserie Hibbard et
Darrin. Exhibit at Paris Auto Salon, “Sylentlyte” alum body system. 1929 GM
commission 5 custom bodies. Opens NYC office, Stock Market crash. 1930
Hibbard et Darrin bankrupt. 1931 Darrin patents safety dash/steering wheel.
1932 Carrosserie Fernandez et Darrin. 1937 WW II impending, moves office to
Hollywood CA.

PRACTITIONERS
53
HOWARD A. “DUTCH” DARRIN…
1938 Opens “Darrin of
Paris”
1939 Association with
Packard, “Darrin of Paris”
closes. 1941 Canadian Air
Force recruiter.
1942 US Army Air Corps
instructor.
1943 Marries 2nd wife.
1945 Establishes crop
dusting business.
1946 Darrin Motor Car Co., Association with Kaiser-Frazer. 1952 Kaiser-
Darrin sports car. 1955 Cadillac powered version. 1960 Israeli sports car
concept. 1965 Syracuse University honors Darrin as One of the 20th
Century’s Top 15 Designers. 1992 Dies.

PRACTITIONERS
54
Carrosserie Hibbard et Darrin design with
patented convertible top. Also patented
by Hibbard et Darrin was a theft proof out
board spare tire mounting, the “Silentlyte”
auto body construction system, and a safe
design dash/steering wheel…

55
HOWARD A.
“DUTCH” DARRIN…
1938 Darrin bodied Packard Eight for Clark Gable
Stock 1938 Packard Eight
PRACTITIONERS

PRACTITIONERS
56
1953 Kaiser Darrin
Note the sliding action of the doors,
which was a truly unique feature at
the time.

PRACTITIONERS
57
Gordon Miller Buehrig
1910 Packard, General Motors, then Stutz
bodies of Stutz Black Hawks to race at Le
Mans. 1925 Duesenberg Chief Body
Designer, did the Model J. 1934 Auburn
Automobile Company, produced 1935 851
Boattail Speedster (based on work of Alan
Leamy), and Cord 810/812 (recognized for
its beauty by Museum of Modern Art). 1936
Budd Corporation, then Consolidated Aircraft,
followed by Goodyear Tire. 1948 Helped form
American Sports Car Company, for which he
designed the TASCO with T-tops (tops
patented 5 June 1951).
1949 Joined Ford, projects included 1951 Victoria Coupe and 1956 Continental Mk II.
1965 Retired, taught at Art Center College of Design.
1979 Produced the Buehrig Motor Car.
1990 Died.

58
PRACTITIONERS
Gordon Miller Buehrig
1935 Auburn 851 Boat-tail Speedster
1937/38 Cord 810/812
The inspired design of Gordon
Buehrig, the 810 and 812 were
part science-fiction and part
designer's wild imagination. The
Cord 810 and 812 were works
of art and technological master
pieces.
The supercharged Auburn
Speedster was introduced in
1935 as an effort by designer
Gordon Buehrig and engineer
August Duesenberg to save
the struggling car company.

PRACTITIONERS
59
1928 U. of Notre Dame (Art) drop
out, went to work in advertising.
1934 GM Art & Color Section.
1938 Raymond Loewy Studios.
1949 Chrysler Advanced Design,
devised the “Forward Look”.
1953 Head of Corporate Styling.
1955-56 “Forward Look”
Chryslers debut.
1957 Vice President – Styling,
“Wedge Theme” Chryslers,
awarded Industrial Design
Institute “Gold Medal”.
1961 Resigns from Chrysler,
founds Virgil Exner Inc. with
Virgil Exner Jr., designs various
“classic revivals”.
1973 Deceased (heart attack).
Virgil M. Exner, Sr.

PRACTITIONERS
60
1955 Imperial, one of the first Exner Chryslers
Exner adopted fins as a central
element of his design philosophy
which he called the “Forward Look”.
He believed in the aerodynamic
benefits of the fins, but mainly liked
the visual effect. The “Forward
Look” required lower rooflines, long
hoods, wider stances; cars were
sleeker, smoother, more aggressive.

PRACTITIONERS
61
Built as an experiment and a study of the
“Forward Look” styling, the 1951 K-310 car
was entirely designed and styled in Detroit
by the new Chrysler Design Studio.
1951 Chrysler K-310
The very similar 1953
Chrysler D’Elegance
was derived from the
K-310 supposedly by
Virgil Exner Sr. himself
in his home basement
studio. It would be 1 of
2 cars derived from the
K-310 for 1953.
1953 Chrysler D’Elegance

PRACTITIONERS
62
1933 Born.
1952 Graduated from
Cranbrook School,
Bloomfield Hills, MI.
1956 University of Notre
Dame, designed Simca
Special for Master’s Thesis.
1957 Designer at
Studebaker-Packard.
1958 US Air Force, Korea
1960 Travis AFB, California.
1961 Design Consultant, for
Ghia in Italy.
1962 Virgil M. Exner Inc., a design business founded with his father.
1968 Went to work for Ford Design, Dearborn, MI.
1988 Retired.

63
AUTOMOTIVE DESIGN,
THE PRACTITIONERS
1959, the Simca
Special by Virgil Exner Jr.

64
AUTOMOTIVE DESIGN,
THE PRACTITIONERS
2004 Version of the
Simca Special
by Virgil Exner Jr.

65
AUTOMOTIVE DESIGN,
THE PRACTITIONERS
2003 Imperial Eagle by Virgil Exner Jr.

66
AUTOMOTIVE DESIGN,
THE PRACTITIONERS
2004 Stutz Revival by Virgil Exner Jr.

PRACTITIONERS
67
1911 Born Clifford
Brooks Stevens.
1933 Drops out of
Cornell University.
1934 Establishes
Brooks Stevens
Industrial Design.
1939 Designs Allis-
Chalmers tractors.
1941 Designs
Hamilton Mfg. Co.
clothes dryer.
1944 With Raymond
Loewy, et al, founds the Industrial Designers Society of America. 1947 Designs the
“Hiawatha” trains with “Sky Top Lounge” car for Milwaukie Rail Road. 1949 Hydra-
Glide motorcycle for Harley-Davidson. 1956 Evinrude Lark runabout ….

PRACTITIONERS
68
1957 Tricycle for Junior Toy Co.
1958 Oscar Meyer Wienermobile.
1959 Opens Brooks Stevens Automotive
Museum.
1962 Redesigns Studebaker Gran
Turismo Hawk.
1963 Willys-Jeep Jeep Wagoneer.
1964 Designs Excalibur sports car for
Studebaker. When Studebaker goes out
of business, Stevens and two sons sell
the neoclassic Excalibur independently.
1976 Turns design firm over to son Kipp.
1995 Dies.
1999 Brooks Stevens Automotive
Museum closes.

PRACTITIONERS
69
1952 Die Valkyrie

PRACTITIONERS
70
1959 Scimitar Concept Cars (Town Car, Convertible, Station Wagon)
The design was such
that the three versions
were essentially identical
for most of their body
work, minimizing the
number of panels
needed.

PRACTITIONERS
71
Brooks Stevens 1962 Gran Turismo Hawk owed a lot to the “Raymond Loewy” 1953
Starliner/Starlight designs, but then Studebaker couldn’t afford a total redesign.
1962 Gran Turismo Hawk
The false “grill
plate” at the rear of
the car was
intended to cover
seams due to an
early manufacturing
process. That
process was
subsequently
improved, removing
the need for the
cover plate.

PRACTITIONERS
72
The Excalibur…
1964-1994
Series IV (1980-1986)
Series II (1970-1975)

PRACTITIONERS
73
William L. “Bill” Mitchell…
1928 Carnegie Institute of
Technology (PA), Art Student’s
League (NY), both no degree.
1930 Barron Collier Advertising
1931 Illustrator, Automobile Racing
Club of America.
1935 GM “Art and Color” Section
1936 Cadillac Chief Designer.
1942-1945 US Navy.
1954 GM Director of “Styling” Sect.
1958 GM VP “Design” Section,
“Sheer Look”
1977 Retired from GM (mandatory
retirement age)
1978 William L. Mitchell Design
1988 Deceased

PRACTITIONERS
74
1977 Pontiac Phantom, Mitchell: “…the kind of cars I love.”

PRACTITIONERS
75
The left hand image is from a patent for the 1963 Corvette Stingray filed in May,
1962 by William L. Mitchell on behalf of General Motors Corporation. This is an
ornamental design for the Stingray and simply covers the 'look' of the vehicle.

PRACTITIONERS
76
Golden Gate International Exhibition.1940-1945 US Army, WW II.1945 Drove
“Paragon” to NYC, attended Pratt Institute (2 months), met Raymond Loewy who
hired him to work on Studebaker account.1952 Establishes Goertz Industrial
Design.1955 Designs BMW 503, BMW 507, Porsche proposals rejected. 1964
Nissan Silvia CSP311. 1965 Toyota 2000GT. 2005 Steinway 125th Anniversary
Piano. 2006 Dies.
ALBRECHT
Von GOERTZ…
1914 Born “Albrecht Graf von
Schlitz genannt Goertz von
Wrisberg”; would call himself
Count Albrecht von Goertz.
Early employment with banks
in Germany then England.
1936 Immigrated to US,
settled in LA, worked in a car
wash and aircraft factory.
1938 Business modding Ford
Models A & B. 1939 Exhibited
custom coupe “Paragon” at

PRACTITIONERS
77
ALBRECHT
Von GOERTZ…
1955 BMW 503, Concept
and Production

PRACTITIONERS
78
ALBRECHT Von GOERTZ…
1955 BMW 507

PRACTITIONERS
79
1964 Nissan Silvia CSP311 (Datsun Coupe 1500)

PRACTITIONERS
80
ALBRECHT Von GOERTZ
1965 Toyota 2000GT (Satoru Nozaki)

PRACTITIONERS
81
1969 Nissan (Datsun) 240Z (Yoshihiko Matsuo)

PRACTITIONERS
82
ALEX TREMULIS…
1914 Born Alexander Sarantos Tremulis.1933
Works for Auburn-Cord-Duesenberg.1936
Chief Stylist for ACD.1937 General Motors,
then Briggs-LeBaron. 1938 Custom Motors
Co. in Beverly Hills, CA.
1939 Consultant for Crosley, American Bantam. Returns to Briggs to work on
Packard Clipper. 1941 Chrysler “Thunderbolt”. US Army Air Corps, UFO & ET
speculative drwgs.1945 Tammen & Denison design firm.1948 Hired by Preston
Tucker to work on the Tucker 48 (“Torpedo”). 1949 Started work on the Tucker
“Talisman” concept, Tucker goes out of business.1952 Reworks “Talisman”
concept, hired by Ford.1954-1956 Head of Advanced Styling: “Maxima” (‘54), “La
Tosca” (‘55), “X-2000” (‘56). 1956 Demoted for insubordination.1962 Ford Seattle-
ite concept car for World’s Fair.1963 Founds own design firm. 1966 Gyronaut X-1
LSR motorcycle (245.66 mph).1978 Subaru BRAT, X-100. 1982 Automobile Hall
of Fame.1987 Honored by SAE for Tucker 48. 1988 Consultant for “Tucker”
movie, writes for R&T magazine. 1991 Dies of strokes.

PRACTITIONERS
83
ALEX TREMULIS…
An Early Tremulis Design

84
ALEX TREMULIS…
1941 Chrysler Thunderbolt
PRACTITIONERS
Designed by Ralph Roberts and Alex Tremulis

PRACTITIONERS
85
ALEX TREMULIS…
1948 Tucker 48 (“Torpedo”)
Production and Concepts

PRACTITIONERS
86
ALEX TREMULIS…
1950
1952
Talisman

PRACTITIONERS
87
ALEX TREMULIS…
1954 “Maxima” 3-Wheel Concept

PRACTITIONERS
88
ALEX TREMULIS…
1955 “La Tosca” Concept (Alex Tremulis and Romeyn Hammond)

89
1956 Ford “X-2000” Concept (3/8 Scale Model)
ALEX TREMULIS…
PRACTITIONERS
1999 Working Full Size X-2000 by Andy Saunders (UK)

90
ALEX TREMULIS…
1961 “Gyron” Concept (Alex Tremulis and Syd Mead)
PRACTITIONERS

91
ALEX TREMULIS…
1962 “Seattle-ite XXI” Concept (3/8 Scale Model)
PRACTITIONERS

PRACTITIONERS
92
CHARLES
“CHUCK”
JORDAN…
Charles M. Jordan
1947 Fisher Body
Craftsman’s Guild 1st,
National Sr. Award
1949 MIT Graduate,
GM styling, helped
develop “New Look”.
1953 Chief Designer
GM Special Projects.
1957 Cadillac Chief
Designer.
1962 Chief GM Car &
Truck Design.
1967 Design Director
Opel AG.
1970 Head Interior
Design.
1986 VP GM Design.
1992 Retired.

PRACTITIONERS
93
CHARLES “CHUCK” JORDAN…
…unlike most automobile
designers, Jordan started his
professional career with trucks
and trains…

PRACTITIONERS
94
1955 Cameo show truck

PRACTITIONERS
95
1956 Buick Centurion

PRACTITIONERS
96
1960 XP-700 Phantom Corvette

PRACTITIONERS
97
…receiving award for design of
1968 Opel GT…
1968 Opel GT

PRACTITIONERS
98
Entry for “2010-2011 Studebaker Revival Project”

PRACTITIONERS
99
Entry for “2009-2010 Ferrari Design Exhibition”

…
100
(Stone, Matt; “Not A Computer In Sight, The Design World Has Changed A Lot In the Last 40 Years”, Motor Trend, July 2009,
pg. 139.)
1955 expelled from Art
Center College of Design,
went to work for Ford,
then Packard. 1956 worked
under Bill Mitchell at GM,
did Mako Shark show car,
XP 819 experimental car.
1968 Ford Pres. Bunkie
Knudsen hired Shinoda.
1969 Founded own design
company. 1997 Died of
heart failure while waiting
for kidney transplant.
.

PRACTITIONERS
101
1961 XP-755 Mako Shark I

PRACTITIONERS
102
SHINODA’S ‘63 CORVETTE CONCEPT…

PRACTITIONERS
103
1964 XP-819 Rear Engine Corvette

PRACTITIONERS
104
1965 XP-830 Mako Shark II with Bill Mitchell

PRACTITIONERS
105
SHINODA’S ‘97 CORVETTE CONCEPT…

106
PRACTITIONERS

107
PRACTITIONERS
Elia “Russ” Russinoff
Elia (“Russ”)
Russinoff,
1949 Fisher Body
Craftsman’s
Guild 1st National
Sr. Award.
1950 Meinzinger
School of Art,
Detroit.
1954 Pratt
Institute
Graduate.
1955-1995
Assistant Chief
Designer at GM
Design.

108
PRACTITIONERS
1950’s Early Russinoff Design

1950’s Early Russinoff Design
109
PRACTITIONERS

110
PRACTITIONERS
Entries for “2009-2010 Ferrari Design Exhibit”

111
PRACTITIONERS

112
PRACTITIONERS

113
PRACTITIONERS
BILL PORTER…
William (“Bill”) Porter, 1956
University of Louisville, fine art
and art history. 1958 Pratt Institute
Graduate, Masters in Industrial
Design, joined GM Styling. Late
1960’s Chief Designer for Pontiac
Motor Division, directed design of
Firebird, Le Mans, GTO, Catalina,
Bonneville, Grand Prix. 1980 Chief
Designer Buick 1 Studio, directed
design of Park Avenue, Le Sabre,
Riviera, 1987 Regal sedan, 2000
Buick Le Sabre. Taught at Wayne
State University and College for
Creative Studies. 1996 Retired.

114
PRACTITIONERS
BILL PORTER…
An early sketch that influenced the 1968 Pontiac GTO

115
PRACTITIONERS
BILL PORTER…

116
PRACTITIONERS
JOHN J. “JACK” TELNACK…
1937 Born.
1958 Graduated from Art Center
College of Design, hired by Ford Motor
Co.
1965 Lincoln-Mercury Head Stylist.
1966 Sent to Ford of Australia.
1969 Returns to US, becomes Head of
Mustang Studio.
1974 European Ford Design VP.
1979 Mustang, with “European Look”.
1980 Ford Motor Co. Vice President –
Design.
1983 “Aero Look”, Ford Thunderbird.
1986 Ford Taurus.
1996 “New Edge” look.
1997 Retired.

117
PRACTITIONERS
1957 “Ultra Advanced Car”
1957 “Ford Minivan Concept”
While still an undergraduate Telnack
sharpened his airbrush skills with
designs like these…
From ‘Sorge, Marjorie; “Look Who’s
Talking: Jack Telnack”, Automotive
Industries, Feb. 1998, pp. 150-151’

118
PRACTITIONERS
JOHN J. “JACK” TELNACK
From ‘Sorge, Marjorie; “Look Who’s
Talking: Jack Telnack”, Automotive
Industries, Feb. 1998, pp. 150-151’

119
PRACTITIONERS
Some later
Jack Telnack
designs…

PRACTITIONERS
120
PRESTON “PRES” BRUNING…
1961 Pratt Institute Graduate, Industrial
Design.
1963 GM Design, Chief Designer
Advanced Concepts.
1982 Design of the “Lean Machine”
1980 Automotive Design
Instructor, College of Creative
Studies, Detroit.
1990 Retires.

PRACTITIONERS
121
Entries for “2009-2010 Ferrari Design Exhibit”

PRACTITIONERS
122
Entry for “2010-2011 Studebaker Revival Project”

PRACTITIONERS
123
1943 Born.
1961 1st Place National in Fisher Body
Craftsman's Guild
1963 Purdue University, Associates
Degree, Industrial Design
1967 Illinois Institute of Technology,
Bachelors Degree, Product Design.
Junior Year GM Summer Design
Internship Program.
1967 Senior Designer, GM, Corvette/
Camaro studios, worked on Aerovette,
25th Anniversary Corvette, Camaro/
Vega/XP-898 show cars. 1976 Turbo
Phantom 3-Wheeler. 1980 Subaru of
America, Outback concept, Forester
concept.
2006 Phantom Design Company. 2009
Consultant, Institute for Energy
Resourcefulness.

PRACTITIONERS
124
The Turbo Phantom
designed by Ron
Will is possibly the
finest three-wheel
design of all time.
Unfortunately, the
design proved too
expensive for the
Will brothers to
mass produce. A
less expensive
vehicle, the “Jet
Fighter Commuter”,
was designed, but
also failed to
achieve production.
Excerpt
from sales
brochure…

PRACTITIONERS
125
Entries for “2009-2010
Ferrari Design Exhibit”

PRACTITIONERS
126
As a matter of necessity, this class segment has concentrated on
US designers, and only a small sampling of them. Numerous
foreign designers have also contributed to the styling evolution of
the automobile. Some of the more significant include: Giovanni
Bertone (founded Carrozzeria Bertone in 1912), Leonardo
Fioravanti (designer and engineer), Giorgetto Giugiaro (founded
Italdesign in 1968), Giovanni Michelotti (founded Michelottti Design
in 1959), Battista “Pinin” Farina (founded Carrozzeria Pininfarina in
1930), Bruno Sacco (long time Daimler-Benz design head), Franco
Scaglione (famous for the 1967 Alfa Romeo 33 Stradale), Sir
William Lyons (one of the founders of Jaguar, “did" most of the
early designs), Malcomb Sayer (long term Jaguar aerodynamicist,
famous for the E-type design)…

PRACTITIONERS
127
1961 Jaguar E-Type (Malcomb Sayer)

PRACTITIONERS
128
1968 Lamborghini Espada (Giorgetto Giugiaro, Italdesign)

PRACTITIONERS
129
1967 DeTomaso Mangusta (Giorgetto Giugiaro)

PRACTITIONERS
130
1968 Ferrari “Dino” 206 GT (Leonardo Fioravanti, Pininfarina)

PRACTITIONERS
131
1974 Lamborghini Countach (Marcello Gandini, Bertone)

IT ALL BEGINS WITH
A SKETCH…
R. PRESTON
BRUNING, 2008
132

133
R. PRESTON BRUNING,
2008
RONALD “RON” WILL,
1976

…GRADUATES TO MODELS and MOCK-UPS…
134
RONALD “RON” WILL, 1976-
1978
3/8 scale wind tunnel model full scale mock-up

…RESULTING IN ENGINEERING DRAWINGS…
135

…AND MORE ENGINEERING DRAWINGS…
136

…THEN TO PROTOTYPES…
137

AND FINALLY TO PRODUCTION…(OR MAYBE NOT)
138
1947 Studebaker Starlight
1968 Mazda Cosmo
1968 Buick LeSabre
1948
Tucker
The Tucker pictured here is after a deliberate roll over at
94 mph to demonstrate its safety. Only about 50 were
ever made.
Only a few hundred
Mazda Cosmos were
ever produced.

139
(“The Art and Color of GM”, by Mark J. McCourt, Hemmings Classic Car, February 2016, pp. 42-49.)
The special relationship
between hand and eye
insures that the process
still begins with sketches.

140
(Note the longitudinal mirror used to
obtain a symmetrical view even though
only one side is fully developed in clay)

141
(Fetherston, David, and Tony Thacker; Chrysler Concept Cars 1940-1970, Car Tech, North Branch, MN, 2007, pg. 16.)
The use of a “bridge”
enables the taking of
measurements with
respect to a fixed frame
of reference, making
possible the obtaining
of a perfectly
symmetrical clay
model.

142
The use of full scale tape
drawings has decreased
somewhat with the advent
of 3-D computer graphics.

143
A computerized
“walk around” is
now possible, but
full scale mock-
ups are still useful
when it comes to
ergonomic
studies.

144

145
APPLYING THE DI-NOC (WRAP) FINISH TO A CLAY MODEL

146
Automotive Styling Process (Concurrent with Engineering Process)
• Initial Concept: Hand Sketches.
• Initial Concept Development, by Hand:
1) Side View (Arrangement of Passengers/Engine, View Cones, Angles of
Approach/Departure, Entrance/Egress, Access, Side Lights, Etc.)
2) Top View (Ditto)
3) Front View (Bumper, License Plate, Air Intakes, Lights…)
4) Rear View (Tail Lights, Bumper, Exhaust, License Plate……….)
• Initial Concept Development, by Computer:
1) Enhanced Side / Top / Front / Rear Views
2) Three-Quarter Views (Front, Rear)
• Intermediate Concept Development, 3-D Model:
1) Small Scale:
a. 1/5 Scale Exterior, Cardboard / Plastic Foam / Balsa Wood for Lateral and
Longitudinal Sections (Hollow Center, Interlocking Sections), Hard Clay,
Surface
b. 1/5 Interior Model: Passenger, Engine, Etc.
c. Refine Computer Model from 3-D models

147
Automotive Styling Process (Con’t)
2) Full Scale:
Exterior: Plywood / Plastic Foam for Lateral and Longitudinal
Sections (Hollow Center Model, Interlocking Sections), Fiberglass,
Surface Details (Locks, Handles, Mirrors, Wipers……….).
Interior: Use model as male mold for production of female mold to
form a model shell, which is then used to refine Passenger, Engine,
Etc., arrangements.
“Finalize” Computer Model from full scale 3-D models.
• Final Development, Styling Merges into Engineering Development:
1) Combine body and chassis model for working “mule”.
2) Test mule and refine computer models of body / chassis accordingly.
• Final Development, Production:
1) Minimum Number of Parts, Ease of Assembly, Engineering/Styling/
Manufacturing Work Concurrently, Jigs & Fixtures, Parts on Hand or Just
In Time, Ease of Repair/Maintenance (Access, Common Fasteners,
Labeling, Color Code, Disconnects).

148
SOME GENERAL DESIGN CONSIDERATIONS:
Headlight vertical distance from ground to centerline of light not less than 24
inches (559 mm).
Tail lamps (red) vertical distance from ground to centerline of light not less
than 15 inches (381 mm).
Turn Signal lamp vertical distance from ground to centerline of light not less
than 15 inches (381 mm).
Side marker lamps front (amber) and rear (red).
“Third” high mounted tail lamp (red).
Turn signal lamps front (amber) and rear (red).
Fog lights.
Ground clearance not less than 6 inches (4.5” for Factory Five Racing 1930’s
Ford Hot Rod, per Kit Car Builder, April 2009, page 34. 3.5” for 2010 Hennessey
HPE700 LS9 Camaro, per Road & Track, April 2010, page 39, Stock 2010
Camaro SS ground clearance was around 4.7”).
Front bumper height range 12 to 27 inches above ground plane.
Rear bumper height range 12 to 29 inches above ground plane.

149
SOME GENERAL DESIGN CONSIDERATIONS (CON’T.):
License plate facing upward at an angle not greater than 30° from the vertical
(front plates lower edge 12 inches above ground, upper edge 18.5 inches
above ground is common; rear plates lower edge no less than 12 inches above
ground, lower edge 26 inches above ground with upper edge 32.5 inches
above ground is common). License plate dimensions of 6.5 inches high by 12
inches wide is common (US).
Seating, ergonomics, and eye-level for 50th to 99th percentile individual, male
and female.
Angle body approach not less than 15 deg.
Angle body departure not less than 20 deg.
 Visibility cone forward of 15 degrees elevation, 15 degrees declination, in
side elevation view.
Visibility cone rearward of tbd degrees elevation, tbd degrees declination, in
side elevation view.
“Safety” glass.

150
SOME GENERAL DESIGN CONSIDERATIONS (CON’T):
Visibility cones sideways of tbd degrees elevation, tbd degrees declination,
in front / rear elevation view.
Visibility cone forward of 200 degrees sweep in plan-view.
Visibility cone rearward of tbd degrees sweep in plan-view.
Visibility cones sideways of 90 degrees sweep in plan-view.
Entrance and exit, normal parking (clearance to side) and emergency (roll
over on side and complete inversion).
Engine/Transmission access (oil, radiator coolant, hoses, belts, power
steering fluid, brake fluid, transmission fluid, filters, plugs, etc.).
 Air intake (high pressure) & exhaust (low pressure) locations.
Access to all wheels, brakes, shocks, steering box.
Storage for spare wheel/tire and tools (if any!), with easy access.
Luggage capacity of tbd cubic feet, easy access.
Seat belts.
Padded dash.
Airbags.
Door guard beams.

151
SOME GENERAL DESIGN CONSIDERATIONS (CON’T):
Crush distance front of tbd feet min. (sufficient to pass FMVSS crash tests).
Crush distance side of tbd feet min. (sufficient to pass FMVSS crash tests).
Crush distance rear of tbd feet min. (sufficient to pass FMVSS crash tests).
Crush distance top of tbd feet min. (sufficient to pass FMVSS crash tests).
There are literally thousands of Federal Motor Vehicle Standards, some of
which tend to automatically get complied with as they are more or less just
expressions of “common sense” and/or are complied with at the subcontractor
level, others which require some attention but can be waived with due
application for such waiver, and many others that can destroy a whole project
if inadvertently not adhered to. It pays to be as cognizant of all relevant
standards, especially of the latter type, if not on an individual level then at
least within the design team.

152
FISHER BODY
CRAFTMAN’S GUILD
TEMPLATE
INSTRUCTOR’S SIDE ELEVATION
TEMPLATE

153
(Vinay, S.; “Automotive Design with Respect to Ergonomics”, Presentation, SAMMIE
CAD Ltd., Loughborough, UK, 2008.)

154

155

156

157

158
INSTRUCTOR’S
ENGINE
TEMPLATE
INSTRUCTOR’S SIDE
ELEVATION TEMPLATE

159
INSTRUCTOR’S
ENGINE
TEMPLATE
INSTRUCTOR’S SIDE
ELEVATION TEMPLATE

160
A TEMPLATE CAN BE
USEFUL IN DEVELOPING
A NEW DESIGN OR IN
MODIFYING AN
EXISTING DESIGN…

161
Automotive styling is the art of creating an automotive body that is
pleasing, interesting (not too simple), intriguing to the eye (recesses,
cut-outs, shadows). It’s a matter of rhythm, repetition; a melody in
three dimensions. Styling a car is analogous to composing a
symphony; there is a line which forms a theme, with counterpoint and
subplots. The design can seem quite natural, almost organic, or it can
be “artificial” in that the theme does not come from the body shape
proper, but from attempts to impose a theme via the use of “sweep-
lines”. Some of these “artificial” attempts have been very successful,
but generally are out of favor in today’s environment.
(Girdler, Allan; “Design ‘68”, Car Life, November 1968, pp. 19-25.)

162
As noted, certain principles of music may be adapted to automotive
styling; certain terms may be adopted from that highly developed
medium in order to formulate and express concepts of style. The
basic lines and sweep of the shape constitutes the theme, whereas
the details may provide rhythm, melody, and high lights. This rhythm
may be constant, increasing, or decreasing. Visual interest may also
be created by transparency, recesses, and cut-outs. There is also the
matter of color, which may be contrasting (two-tone), shaded or
blended, and have psychological connotations of its own. Then there
is cultural symbolism, features that resemble wings, fins, jet intakes
or exhausts, as associated with aircraft; or grills, “bombs”, and hood
ornaments which may be associated with human physiology and/or
vintage vehicles. Also, there can be features associated with sport,
like sail cloth, nautical cleats/snaps, and teak wood accents which are
reminiscent of nautical activities. Also, in the earliest efforts at styling
architectural principles were often applied to automotive design.

163
Torpedo, Blimp, Missile, Submarine, etc.: There are many examples,
but mostly in the racing world as this is not a convenient shape for a
production passenger vehicle. “Smokey” Yunick’s Indy Special, a
centrally located pod with a side car for the driver, comes to mind. So
do many Bonneville salt flat LSR vehicles, often made from aircraft
drop tanks (low frontal area). There is also the twin boom
configuration (better than single pod as wheels are enclosed), or a
central pod with outriggers (next best after twin boom).

164
Teardrop: Many early attempts at producing an aerodynamic vehicle
imitated nature, as in teardrops, fish (sort of teardrop shaped), etc.
Edmund Rumpler created the “double teardrop” wherein one teardrop
shape is superimposed on another in order to achieve a more useful
shape for an automobile:
“Smokey” Yunick’s Indy Special

165
Airfoil (Vertical and/or Horizontal Orientation): With the advent of aviation
attempts at streamlining took a new turn by imitating a new ideal.
Although we start with an airfoil, a sophisticated design should modify
the basic shape as a car should not try to fly:
For ground effects the underbelly should
form an angle with respect to the ground
plane, rising from front to rear.
A nose should be added to diminish lift, improve penetration, and
provide crush distance for energy absorption. A reverse radius nose, as
illustrated, may be an ideal nose profile for limiting airflow under the car
and directing it up and over, thus diminishing lift:
There should be a tail termination that
reduces length, provides down force, and
reduces drag / vortex formulation.

166
Wedge: This was once the usual shape of Lotus cars during the 1970’s;
they were sort of like large door stoppers on wheels. When Lotus
(Giorgetto Giugiaro) did the wedge it looked good, but Triumph (Harris
Mann) attempts had the opposite effect; it’s all in the execution:
1976
2004
1975
1981
Note the
changes to
the Lotus
over its
production
range of 26
years…
Note the few
changes to
the Triumph
over its
production
range of 6
years…

167
The noted basic shapes, or various combinations thereof, have formed
the basis for innumerable automotive body designs. Other shapes, the
cut lines for doors, hoods, trunks, etc., which have to be there as a
practical concession, must be shaped to work in harmony with the basic
body design.

168
Fastback…
or Notchback…
or Tunnelback…

169
Wings:

170
Fins:

171
Air Dams, Badges, Spoilers, Diffusers, Strakes, Scoops, Inlets, Grills, Louvers:
Louvers,
Scoop,
Script
Tail Spoiler & Badge
Spoiler & Wing, Script
Chin Spoiler
Strakes
Fins
Grille
Louvers
Air Dam
Inlets
Diffuser
Badge

172
The shape of the windows must also used to further the intent of the
design. Windows range from big sweeping expanses of glass, possibly
tinted, to little portholes. There are various window opening methods:
1- Roll down (via hand crank or electric motor, etc.): The shape of the
side glass is a big factor in this design type; the glass can’t be too large,
awkwardly shaped, or curved (in any plane) so that it will not fit within
the door. Therefore the need for roll-down windows is design limiting
and requires intensive detail design, making it relatively expensive.
2- Slide down (via a squeeze catch, etc.): The shape of the glass is still a
big factor, but the mechanism is simpler, lighter, and much cheaper.
However, it may not be as convenient for the operator and will give the
impression of “cheapness”.
3- Slide back (generally causes interference problems): All of the pros
and cons of the “slide-down” plus the interference problem.

173
4- Flip-up: This is much less restrictive on design; the glass can now be
much more highly curved. However, this gives less scope for partially
open positions and can be seen as “cheap” if not done right (if the
curvature is voluptuous enough then some compromise in window
opening arrangements may be overlooked).
5- Fixed with a small access opening: This was common on race cars
like the Shelby Daytona and the Ford GT-40; usually the windows were
plexiglass and fixed in place, requiring a small hatch for access and
perhaps ventilation. This is cheap, light, inexpensive, and not very
restrictive on design, but generally not acceptable on production road
vehicles.

174
The wheels can be emphasized and made larger than necessary, in
the current mode, or minimized and covered up, as with fender skirts.
The wheel well cut-out shape is instrumental in doing this, and adds
a styling element all its own. The wheel design itself is also
significant, and the sidewall of the tire has also been put to use
(white walls, red line, etc.).
Wheel Cover Designs by Fred Schimmel

175
(Bϋhrer, Werner; “Wheels, A Review of Their Evolution From 1891 To 1979”, Road & Track, August 1979.)

176

177

178

179
The line and sweep of long telescoping antennae
have traditionally been used as design points and
accents, as have chevrons, “ports”, spears, trim,
surrounds, bezels, hood ornaments, and assorted
chrome jewelry. The use of big extraneous lumps of
chrome just tacked on has largely declined, but
once was very popular.
Alex Tremulis patented
his “flying saucer” hood
ornament.
Flight Hood Ornament
Animal Hood Ornament
Ports

180
Chevrons
Grilles
Female Figure Hood
Ornament
Phallic Hood
Ornament
Phallic Hood Ornament
Exhaust Ports, Script, Chrome
Spear
Mythic Face Hood
Ornament
Human Face
Hood Ornament

181
1 Chamberlain, Gary; “New Design Battleground: Auto Interiors”, Design News, 1/22/1990, pp. 56-64.
2 Ibid, Trevor Creed, Chrysler Head of Interior Design.
3 Ibid, Stephan A. Hood, VP of Marketing & Planning, Sheller-Globe Corporation.
“The notion that a car’s interior ought to be as exciting as its
exterior is transforming automotive design. The change reflects
the market’s competiveness, with car companies squaring off in
almost every area.”1
“What’s happening on the inside is the (consequence of what)
happened on the outside with aerodynamics.”2
“Most car exteriors are esthetically similar. As the number of
externally similar automobiles increases, manufacturers will
focus on developing unique interiors to help define a point of
marketing differentiation among (sic) cars.”3

182
Interior design is often a
specialty; the interior design
group has to work closely with
the exterior design group so that
the overall ambiance of the
vehicle (sporty, luxury, economy,
etc.) is maintained.
Early interior designs
attempted to be merely
pleasant and functional,
but soon the effort
became one of “Wow!”

183
An interior can be so highly styled
that it adds substantially to the
excitement and appeal of the
automobile
Even just the
addition of custom
seats can spice up a
dull interior

184
Unfortunately, interior styling often
impedes ergonomics, which often
even adversely affects safety…

185
(Bϋhrer, Werner; “Automobile Instruments, Part One: Evolution of Round Instruments, 1900-1979”, Road &
Track, November 1979, pp. 104-105.)

186
(Bϋhrer, Werner; “Automobile Instruments, Part One: Evolution of Round Instruments, 1900-1979”, Road
& Track, November 1979, pp. 104-105.)

187
(Bϋhrer, Werner; “Automobile Instruments, Part One: Evolution of Round Instruments, 1900-1979”, Road &
Track, November 1979, pp. 104-105.)

188
(Bϋhrer, Werner; “Automobile Instruments, Part One: Evolution of Round Instruments, 1900-1979”, Road
& Track, November 1979, pp. 104-105.)

189
(Vinay, S.; “Automotive Design with Respect to Ergonomics”, Presentation, SAMMIE CAD Ltd.,
Loughborough, UK, 2008.)

190

191

192
1960’s Steering Wheel Styling Studies

193
SUGGESTED READING FOR FURTHER STUDY:
Edsall, Larry; Concept Cars, From the 1930’s to the Present, Fall River Press,
NY, NY, 2009.
Georgano, Nick; Art of the American Automobile, The Greatest Stylists and
Their Work, Smithmark Publishers Inc., NY, NY, 1995.
Fetherston, David, and Tony Thacker; Chrysler Concept Cars 1940-1970, Car
Tech, North Branch, MN, 2007.
Frank, Len; “Style by Design”, Motor Trend, pp. 140-150.
SOFTWARE FOR DESIGN:
SAMMIE (System for Aiding Man-Machine Interaction Evaluation) is a 3D human
modeling, computer-aided design system that is used for ergonomic design at the
concept stage to ensure that operators/passengers are accommodated comfortably
and can work efficiently and safely. SAMMIE CAD Ltd, Loughborough, UK.

9- AUTOMOTIVE DESIGN (styling, schools, process)

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