John Berkey Paints a Cadillac

A few years ago on this blog I wondered if John Berkey was the best illustrator of space ships. Along with science-fiction book covers, Berkey also did more conventional illustration. A skimpy Wikipedia entry is here and a website devoted to his art is here.

Not long ago I was mousing through the web and came across two studies by Berkey that were up for sale. They looked oddly familiar, and then I realized that they were preliminary art for the cover of a 1976 book I've owned for nearly 40 years. Since the cover art wasn't of a space ship, I never connected it with Berkey. But I flipped to the back flap and, sure enough, John Berkey was listed as the artist.

The subject is a 1930 or 1931 Cadillac V-16 Town Brougham by Fleetwood shown sitting in front of the Plaza Hotel in New York City.

Below are Berkey's studies along with a scan I made of the cover. To enlarge, click on the images.

Gallery

This seems to be an earlier study. It's fairly sketchy.

This study is closer to the final version. The car has reversed its direction and now includes a chauffeur as well as greater detail of other elements.

Scan of the book cover.

The Cadillac Tailfins Legend, Updated

The most successful styling gimmick for American cars was probably the tailfins that appeared on 1948 Cadillacs. They were controversial at Cadillac before the 1948s reached dealer showrooms, but the fins proved to be wildly popular. For a few years, cheap copies could be purchased at auto accessory stores and screwed onto fenders of other makes of cars. Cadillac continued use of tailfins of various sizes and shapes through the 1964 model year. And Chrysler famously added fins to its entire automobile line for 1956 and made them the strongest styling element on its redesigned 1957 models.

A legend of sorts deals with the origin of the 1948 Cadillac tailfins; here is one version, and I have read other accounts over the years. The story goes that GM styling chief Harley Earl learned of the then-futuristic Lockheed P-38 Lightning fighter and took some members of his styling staff to see an example. Most accounts mention that the P-38 was top-secret at the time. That last item is not true, which is the point of this post.

Edson Armi's book on automobile design (Amazon link here) has the following account on page 76 of the hardcopy edition:
* * * * *At GM the wartime preoccupation with the monocoque fuselage had been reinforced by Earl's personal fascination with the P-38 Lockheed Fighter.... In 1941 Earl and a group led by [Bill] Mitchell visited the still-secret fighter.  As Mitchell tells it: 'We absorbed all details of [its] lines. Every facet of the twin tails and booms stretching out behind the engine enclosure was recorded mentally. After returning to the studios, Mr. Earl immediately put designers to work adopting the ideas to automobiles.  Small models of automobiles embodying the P-38's characteristics were made.' Earl impressed upon his men the significance of the bulky pontoon shape of the P-38 and encouraged them, as he later wrote, to 'soak up the lines of the twin booms and twin tails.' The fishtail, he said, 'helped give some graceful bulk to the automobile.'
* * * * *The Wikipedia entry on the P-38 is here, mentioning that the prototype P-38 first flew early in 1939 and that the first production models entered service in September of 1941. A service-test batch of YP-38s appeared between September of 1940 and June of 1941.  The aircraft that Earl and his crew examined was surely at the Selfridge Field Army Air Corps base located not far northeast of Detroit.  Selfridge hosted P-38s in 1941, and Earl knew about them, not because he had special connections with the Army Air Corps, but instead because the P-38 was not in itself "top secret" and examples were flying around the Detroit area.

Furthermore, images of the P-38 had been publicly seen for at least two years previously, so the plane's appearance would have been known to Earl and the stylists before they made their Selfridge Field visit. That visit probably served to create a greater visual impact for team members than photos would have yielded.

Gallery

XP-38 prototype - early 1939

Model Airplane News magazine cover - May, 1939

1948 Cadillac brochure page

Cross-posted at the Car Style Critic blog.

If Salvador Dali Had Styled Cars

A comparatively easy way to increase fuel efficiency in the wake of the gasoline shortages on the 1970s was to improve the streamlining of cars.  Ford was one of the first American manufacturers to do this in the early-to-mid 1980s, the best-known example being the Taurus line.  These early wind tunnel tested Fords tended to have windows featuring large-radius corners.  This was something in the spirit of 1936 vintage models from General Motors, Chrysler and others introducing all-steel bodies in those days when metal stamping technology could not easily accommodate tight surface curves.

But when the aerodynamic Fords appeared, stamping technology didn't force large-radius window corners; stylists apparently chose strong rounding as a means of emphasizing the curved design theme derived from the wind tunnel testing.  At the time, I felt that all that curving wasn't really necessary and resulted in designs that seemed excessively soft looking; more crisp styling elements in the details would have been better.  And of course others came to the same conclusion, so today's aerodynamically efficient cars include many crisp elements along with the curves.

So why, when it came time for a complete 1996 redesign on the Taurus, did Jack Telnack and his crew decide to emphasize curves even more than they did for the original Taurus design?  I have no idea, other than they might have decided to zig while the rest of the industry zagged.  Or perhaps corporate management interfered.

In any case, while the Taurus design had some nice features (I like the subtle sculpting around the front of the hood and fenders), other parts of the car are simply odd -- especially the windows at or near the rear along with the instrument panel.

In fact, I now entertain the amusing thought that surrealist artist Salvador Dalí of drooping watches fame could have been on the Taurus styling team had he lived long enough.  This is especially true for the station wagon model, the subject of this post.

Gallery

Here is a general view of the 1996 Taurus station wagon showing the subtle front end styling and hinting at the window curves towards the rear.

This appears to be a factory photo showing the rear of the wagon.  It was taken from close to the ground, a view few people normally have of the car.

I found this image on the Internet.  The car is painted white, eliminating distracting highlights and allowing us a good view of the large, rounded, droopy looking window shapes around the rear.  The rear passenger door looks to be the same as that for the sedan, a cost-saving detail (no special door tooling for the station wagon version).  The problem, as I see it, is that the rear area window treatment is not integrated with the rest of the design.  In particular, the upper edge of the rear side windows fails to link to the upper edge curves of the other side windows, giving the window a tacked-on appearance.

This is the Taurus instrument panel where curves further abound.  To me, the problem area is the cluster in the oval at the center, just forward of the shifter lever.  Control buttons are strewn across it in a somewhat organic pattern, not in well organized (from an ergonomics standpoint) groupings.

Also posted at Car Style Critic

Ugly Car: Nissan Juke

The Nissan Juke, a vehicle occupying the cloudy space between sport-utility (SUV) and hatchback, was styled at the company's British design center and refined in Japan. Then Nissan styling supremo Shiro Nakamura must have signed off on it, for reasons I find hard to fathom.

Actually, I can imagine a likely justification from some of the younger folks in Nissan's marketing and product planning groups.  Expressed in American English, words such as "edgy," "funky," "provocative," "postmodern" and "countercultural" and others might have been bandied about conference tables or infested emails and memoranda.  For the Juke seems to have been slotted into a market segment of young buyers with just enough extra money to indulge themselves with a vehicle that makes a statement.

I'm note sure how large this market might be, world-wide, but Nissan hedged its bet by building the car on the Nissan B platform shared by a number of other Renault-controlled brands including the Nissan Leaf electricity powered car (which has a slightly longer wheelbase than the Juke).

Gallery

The Juke does not have much brightwork, yet nevertheless is a "busy" design due to the elaborate sheet metal bulges and creases, especially those on its stubby sides.  Such sculpting might be expected these days on standard-size cars, but everything is jammed onto the Juke.  This is not to say that the Juke's shaping had to be austere and bland; but a compromise such as having the fenderlines flow a little more might have helped.  The really off touches are the taillights and front turn-signal and auxiliary lighting fixtures set atop the fenders.  They enhance the stubby appearance and generally clash with the rest of the design, such as it is.  I find the use of round headlamps a nice touch, though their placement on the front strike-panel is both odd and risky.

This side view clearly shows the strange roofline.  It is nearly flat, which makes me wonder about its aerodynamic usefulness.  But its most serious defect is that it slopes to the rear, pinching off potential carrying capacity for objects placed in the trunk area.

A view of the lumpy rear.  The most interesting feature here is the wraparound backlight (rear window).

These views from above provide more detail as to how the body was shaped.  I would have placed the front auxiliary light ensembles right above the grille opening with the hood cut-lines as their inner edge.  But I suppose that wouldn't have been funky enough for the target market.

From the standpoint of the arts, I find the Juke interesting in that it strikes me as being yet another dreary symptom of self-indulgent, cultureless faux-creativity of this "postmodern" era that we must endure.

A slightly different version of this post can be found at Car Style Critic

Chrysler 300C: An Unexpected Preview

Some concept cars are intended to test public reaction to various styling ideas.  Others are thinly-disguised versions of cars scheduled for production within the next year or two.  The latter are often easily identifiable and commented upon in car buff magazines.  Readers are left to wonder which features are production-bound and which are camouflage.

It turns out that the show car conceptualizing Chrysler's iconic 2005 300C didn't have a speck of teasing to it.  People at Chrysler probably were mostly interested in exposing the public to a design that would take some getting used to, due the fact that it was a strong break from current Chrysler designs as well as from most other designs on the road.  I certainly thought the 300C was odd-looking when I saw the first photos of it.  Actually, it wasn't until I began seeing 300s on streets and highways that the design began to appeal to me; about a year later, I bought an entry-level 300.

What is odd is that the real disguised "teaser" concept car for the 300C came from Ford, not Chrysler.  Let's take a look.

Gallery

2003 Chrysler 300C Concept Car The concept 300C is virtually identical to the 2005 production version introduced in 2004.

2001 Dodge Super 8 Hemi Concept Car
This concept car from Dodge contains some hints regarding the future Chrysler 300C design.  Those hints include the general brick-shape of the lower body, the fender shape (forget the grooves on the doors) and the wheel housing treatment.  Inclusion of a 1954-vintange General Motors style wraparound windshield is a cute diversion.

2003 Ford 427 Concept Car
This makes one wonder if Ford and Chrysler stylists were hanging out at the same bar in the early 2000s.  In reality, probably not.  That's because Joseph Baker, the 427's designer, was working at Ford's Irvine California studio, whereas I'm pretty sure that the 300C was styled in Detroit.  But aside from the front and rear ends, the two cars closely resemble one another.  Could the Irvine facility staff have included one or two recently hired stylists from Chrysler?
Also posted at Car Style Critic.

The Astonishing Pegaso

Not many Pegaso automobiles were ever built during the period 1951-57 when the brand was active.  Cars were a minor activity of what was essentially a Barcelona based truck manufacturer described here.

There is also some Internet-based information regarding the Pegaso automobile line here and here. However, there is very little other than photographs having to do with the Pegaso that interests me the most.  In fact, there seems to be no agreement even as to its name other than it was one of the Z-102 series.  Besides Z-102, its name might have included "BS 2.5 Cúpola" or "Berlineta Cúpola" or just "Cúpola."

It is also unclear who styled it.  Some sources credit Italian coachbuilders, others suggest that Pegaso built it in-house.  I have been saying "it" having for years assumed that it was a one-off, but several sources indicate that two cars of the design were actually built.

What matters is that the Pegaso under discussion has a design that was astonishing when it first appeared more than 60 years ago and that continues to astonish (me, anyway) even now.  This is not to say the design is a great one, but it's a good one with the ability to fascinate as well as astonish.

Let's take a look.

Gallery

The original car was painted yellow, as shown here.  The most serious design defect was that the backlight (rear window) shape failed to blend with the roofline curve, as is evident in this side view.

After being introduced in Europe in 1952 it was displayed at the 1953 New York Auto Show, where this photo was taken.

Here is another early picture.  For a while a red (I think) stripe decorated the top of the car.

This is a fairly recent picture, probably taken at a concours d'élégance.  The paint is now silver, but it might be that second car whose original paint color is unknown to me.

Another view, this featuring the front end.  The wheel housings are mostly covered by the fenders, probably for aerodynamic reasons.  This implies a wide side overhang beyond the wheels which would give the Pegaso an awkward appearance (to our eyes in 2013) if seen from the rear.

This shows the Pegaso "opened up."  Well, not completely opened; the access panel covering the rear wheel remains closed.  Also note that the door windows do not roll down due to the extreme concave shape of the inner side of the door; instead, they swing out to open.

This article is also posted on Car Style Critic

A Neat Hanomag

I don't have any data to prove this (alas, and me a numbers guy!) but my impression is that very few low-price and mid-price European cars were imported to the United States in the 1930s. Those that were, were probably mostly occasional instances of personal cars purchased overseas and shipped home. And there might have been a few British cars that trickled over the border from Canada. That's why I have no recollection of seeing pre-World War 2 cars of that type driving around Seattle's streets when I was young. I would imagine that others didn't notice many or any either.

One result of this is that even American car buffs might be ignorant of lesser Europeans brands that faded before the post-war import boom. Which is unfortunate, because a number of those unknown (to Americans) brands had interesting styling.

One such make was Germany's Hanomag, briefly described here. To me, the most interestingly styled Hanomag was its 1.3 Litre car introduced in 1939. There are few images of that car on the Internet, but I did manage to find a useful trove here, three of which are shown below.

Gallery

The Hanomag 1.3 Litre was a low-priced car intended to compete at the high side of Volkswagen (at the time, called KdF-Wagen after Hitler's Strength Through Joy movement) that had not yet entered regular production.

The (likely) publicity photo at the bottom shows the scale of the car -- quite small. Yet the stylists were able to craft a trim fastback with nicely integrated 30s style teardrop profile fenders. Note that there is no exterior running board, a touch just being introduced in the USA at the time. A more archaic feature is the split rear window ("backlight" in stylist-speak).  But that feature is justifiable because the splitter is an extension of the central wind split extending from the center bar of the grille over the hood, between the windshield panes and over the top.  For some reason, I'm a sucker for wind splits, so this gimmick is okay by me. Oh, and it adds visual interest without quite becoming clutter.

In summary, a neat design for a small car. And maybe some day I'll finally have the pleasure of seeing a Hanomag 1.3 in person.

A cross-post from Car Style Critic.

Lincoln Grilles : Dip Into the Parts Bin

For a couple of decades, we in North America have become used to seeing Lincoln automobile grilles that looked like these shown below.

These are Lincoln Town Cars, a model recently dropped after many years in production. The upper photo is of a 2002 model, the lower shows a Town Car from around 2011. Their shield-like grille shape dates from the 1993 Lincoln Mark VIII, though rectangular grilles with wide chrome frames and thin, vertical bars continued on some models until the 2002 model year.

Changes in grille design rapidly accelerated by 2007 as Lincoln sales continued to dwindle from the 1989-90 peak. 2013 models have faces such as on the new MKZ model shown here.

I don't like this latest grille design. But I do find it interesting how Lincolns stylists raided the marque's historical parts bin, so to speak, in a search for a different theme from of 1993-2007 and the 20-odd years before that.

Consider the Lincoln Navigator SUV (sport-utility vehicle). The upper photo is of a 2003 model, the lower one shows the 2007 Navigator with a different grille theme. Where might that theme have come from?

Probably from the design Lincolns sported for the 1946-1948 model years. Shown here is a Lincoln Continental Cabriolet.

Then there is the grille on the 2013 Lincoln MKX crossover SUV. It has been around for a few model years and is similar in spirit to the MKZ shown above except that the grille bars are heavy and are aligned vertically rather than horizontally. And where might this have come from?

Once source was probably this 1995 concept car called the Sentinel. But we can push the idea even farther back to...

...the 1939-1941 model Lincoln Zephyrs and Continentals (above is a 1941 model Continental).

In the midst of this stylistic thrashing about, he find the...

...2007 Lincoln MKX (upper) whose grille reminds one of the of the 1964 Lincoln Continental (lower photo).

Where else might Lincoln stylist care to dig for traditionally based grille themes? I suggest these as starters:

The upper image is of a 1942 Lincoln Continental Cabriolet, the lower shows the grille used on 1949 Lincolns.

Separated at Birth: Hudson Step-Down and Jaguar XJ

My e-book on automobile styling argues that there hasn't been much evolution in the appearance of sedans since about 1950. Yes, technology has improved in terms of metal stamping, autoglass forming, headlamp structure and other fields related to how cars look. And there has been increased attention since the early 1980s regarding improved aerodynamic efficiency as a means of reducing fuel consumption. But the dominant factor is fashion. Automobile styling fashions come, go, and occasionally return.

A case regarding the return of a style is the design of the current Jaguar XJ model. It took me a while to make the connection, but it finally dawned on me that the XJ can be considered a modern version of the "step-down" Hudson of the 1948-1954 model years.

Let's take a look:

Here are the cars in profile, the XJ above, the Hudson below.

And here are rear 3/4 views that offer more information on the treatment of the "greenhouse" -- styling jargon for the glassed-in top part of a car.

Both designs might be called "almost-fastback," where the top gradually curves downward and meets the lower body slightly in front of the back of the car. Both designs use a "six-window" treatment, each door having a window plus a window placed to the rear of the rear door. (A "four-window" style has only door windows.)

True, there are differences in appearance. The XJ makes plenty of use of technological refinements and wind tunnel testing, but the most visible difference is that its rear wheels are exposed, whereas the Hudson's are skirted. Nevertheless, the cars separated by the Atlantic Ocean and 60 years are conceptually similar in terms of basic shape.

New Book: Automobile Styling

I've been busy of late, and apologize for not replying to comments. For one thing, I've been traveling a lot this winter season, my wife wanting to get away from gloomy Seattle.

Also, I was writing another book.

That's the cover, and it's an e-book that can be found here. It can be downloaded to an iPad, Kindles, and perhaps other devices.

My thesis is that after a period of rapid, focused change in appearance during the 1930s and 40s, what followed has been largely a case of changing styles or fashions that were influenced to some degree by outside forces such as technological changes and government regulations.

Here is an excerpt:

* * * * *Harley Earl’s legendary design taste seems to have failed him in his last few years as GM styling supremo.

The tepid public response to GM’s 1957 senior line resulted in a set of garish, panic-induced 1958 facelifts that a younger Earl likely would not have tolerated. My belief is that Earl’s success from the end of the 1920s to the mid-1950s was based on his ability to formulate a valid concept of styling evolution.

As noted, he strove to have cars seem long and low even if they physically were not. Indeed, automobiles did become longer and lower during his reign. He probably saw that car bodies would become integrated with passing attention given to aerodynamic streamlining and greater emphasis on visual streamlining. This too came to pass. Towards the end of the 1940s he must have considered jet planes and rocket ships as perhaps the next evolutionary direction, and for a time this seemed to work as well. And his judgment regarding styling trends might have remained acute enough that, by the mid-1950s, he perhaps realized that airplane and spaceship themes were not going to work well because they were impractical in terms of street and highway based everyday use. If this was his thought, he was correct yet again.

Earl’s real problem by 1956 or thereabouts was that he could not think of any valid new evolutionary styling path. And he could not do so because no such path existed. So he floundered, not being able to deal with a directionless styling environment.
* * * * *
Unlike my other e-book "Art Adrift," this book is richly illustrated because I was able to make use of advertising and other publicity material issued by the automobile companies.

I hope the car buff readers will enjoy it.

Automobile Facial Expressions

Because the front ends of most automobiles have two headlamps and an opening to send air to the radiator, they can be said to resemble a human face -- the headlamps as eyes, the grille opening as the mouth.

Ordinarily, the notion of a car having a face is simply a mental construct. But in some cases, front ends seem to be faces with expressions. At times, this might have been the intention of the stylist, in other instances it could have been accidental.

Let's take a look at some examples.

Gallery

1949 Lincoln Cosmopolitan
Although I missed it, a number of observers have pointed out the "sad" look on 1949 Lincolns. Indeed, the outside of the grille was squared off for the 1950 model year apparently because potential buyers were put off the the '49s expression.

1950 Buick Special
I've never encountered a consistent set of reactions to the 1950 Buick's grille (that too was quickly changed for the following model year). Mostly observers found it outrageous. As for analogies to human expressions, the notions of "buck teeth" or "drooling" might apply.

1956 Oldsmobile 98
Oldsmobile sported a grille theme that evolved from 1946 through 1958. The endpoint versions are considerably different, but if one looks at Oldsmobiles year-by-year between those dates, the progression is noticeable. For the 1956 model year the cars had a fish-faced look because grille opening resembled mouths of certain fish.

2010 Acura TSX
The facial expression of this Acura is ambivalent. Seen on the street from certain angles, it seems rather harsh and sinister. But in the view in the photo above it looks like there is an odd, angular sort of smile.

2010 Mazda 3
On the other hand, the Mazda 3's face is clearly smiling.