When Bill Mitchell retired, GM Design Staff’s in-house magazine published a special edition saluting his career. The issue can be downloaded in Acrobat (.pdf) format by clicking on this link. It’s a very interesting article that includes his biography, his take on several subjects, and many photos.

I started at Art Center College in the fall of 1967, when the psychedelic era and flower power were in full bloom (heh-heh). I was 21, and it was an exciting time to be in Los Angeles. Art Center required an extreme level of discipline, so any involvement in the general activities of the day, including hair length and dress, was not an option. As a Transportation Design major, our first Transportation class began in the second semester. Some of the students already had professional design experience, and were attending to get a formal graduate degree for better career opportunities. Don Wyatt was in our class, and had been a Tech Designer at General Motors Design Staff. He was familiar with the sketch and design techniques in use by GM designers, and he could hold his own with many of them. I was “blown away” by his technique skills at Art Center, as he exhibited his work for critique every week in each class. Gaylord Eckles was a Product Design major from San Francisco, and he was an incredible talent. From the simplest sketch to the most detailed design models, his work was truly exquisite and always delightful. Eckles later became an award-winning instructor at Art Center, and I am sure he was a tremendous inspiration to many fortunate enough to have had the benefit of his knowledge and design wisdom.

Our instructor for the first Transportation Design class was Hugh Jorgensen (click here to read an interview with Hugh Jorgensen). In my opinion, he was the best possible choice for our introduction to the very challenging and competitive world of professional automotive design. Jorgensen was always optimistic, motivational,positive and supportive in his critique of our work. He was never negative or derogatory, and he inspired much-needed confidence.

For our second Transportation Design class in third semester, our instructor was Strother MacMinn. ”Mac” was a legend at Art Center and in automotive design centers and related publications all over the world. He has had more influence on the careers of more automotive designers than any other single individual—ever. Unlike Hugh Jorgensen, Mac could be brutal and scathing in his student critiques. It was high praise, indeed, to receive any compliment from Mac!

Fifth semester was the beginning of Advanced Transportation Design classes for two days each week, and Mac was the instructor. For this semester, we were required to first design and then construct one-fifth scale, high-density urethane foam models of our final selected sketch theme directions. Mac normally was the instructor for the two day sixth semester Trans classes. Two new instructors were brought in for our sixth semester, because Mac was taking a sabbatical in Detroit during this time in 1969. The two instructors were Harry Bradley for one day and renowned Shelby designer Pete Brock for the second day! Harry and Pete were only scheduled to teach this one semester, but Harry Bradley stayed on for many years after. What a fantastic experience having Bradley and Brock as our sixth semester Advanced Transportation Design instructors.

General Motors, Ford, and sometimes Chrysler would come out to Art Center every other semester to assign a design project for which they would provide a final critique for each Trans students presentation. I was honored to participate in a General Motors Design Seminar for my seventh semester. The GM design team was represented by the legendary Dave Holls. Our final presentation included finished renderings, design development sketches, and a package component layout illustration. Also included was a space buck skeleton framework in scale to accurately illustrate in three-dimensional form the placement of seating and drivetrain components within equally spaced sections, indicating the outer body shell surface contours. Complimenting the space buck was a detailed clay model.

Our GM design assignment was the end of an era, as it turned out. We were to design a close-coupled front wheel drive 455 V8 personal luxury coupe for the mid-seventies. I selected Buick for my proposal, and created the “Centuro” name as a contemporary variation of Buick’s famous Century and Centurion nameplates. My design theme incorporated “applied form” raised rib forms over the front wheel openings and “sub windows”. Sub windows were smaller, fixed window areas that later became more well known as opera windows, as seen on the 1971 Cadillac Eldorado. The Centuro also included alloy wheels and a reverse “Z” line as a variation of Buick’s familiar “Sweepspear” on the body side with urethane body color front and rear bumper surfaces as pioneered by Pontiac’s GTO in 1968.

Send Dean’s Garage your interesting, scary, awe-inspiring, eye-opening, and funny stories from design school!

Some examples of Dick Nesbitt’s student work from Art Center.

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The Art Center Bandsaw.

Late nighters or all nighters were the norm. It didn’t start out that way. When the semester first starts, you promise yourself that you’ll work on the class assignment that night. But after a couple of weeks you find yourself scrambling to get tomorrow’s assignment done. I fell asleep briefly standing up during a critique once. But that is another story.

One day I was in the shop waiting for some tool at the tool crib window. Near where I standing was a pretty big band saw. Pushing something that needed to be shorter through the blade was a student with that glazed over “I’ve been up a few nights” look. The thing he was pushing was a chunk of hard wood with the table tilted about 30 degrees, so it was feeding fairly slowly. The student was concentrating hard on what he was doing. In his state of mind dealing with several factors at once was probably not much of an option. Not having any other distraction, I watched the action at the band saw. I soon noticed that the student’s thumb was strategically positioned to hold the wood to give the most stability to the endeavor. I also noticed that if he maintained that grip, both his thumb as well as the wood would soon be shorter.

The feeding was going slowly enough that I could wait and see if he moved his thumb. But he kept pushing—past the point where I would have adjusted my grip on the board as to not whack off any appendages. Still, there was still time for him to act. Not a lot of time mind you, but some. But he kept pushing, way past my comfort level, and his thumb moved precariously close to the blade. It wouldn’t do to watch him cut his thumb off. I left my place at the tool crib window, stepped over and grabbed the student’s arm.

“Hey! Be careful. You’re going to cut your thumb off!

His response? “What? Oh. Yeah. Thanks.”

—Gary Smith

Click on the photo to the left to open an Acrobat (.pdf) file of an interview with Bob Gurr scanned from Collectable Automobile, October, 1998. It’s great reading and offers a candid appraisal of what it was like working as a designer for Ford in the early ’50s under George Walker. Read about his great experiences at Disney. If you missed it, go through the illustrations in a previous post of Bob’s book, Automobile Design, published by Post Publications in 1955. Thanks to Geoff Hacker of Forgotten Fiberglass.

A few of the images from the Bob Gurr’s Collectable Automobile interview.

This was a proposal for the 1956 Lincoln Continental created while working under George Walker.

Student work at Art Center School in the early ’50s.

From Bob’s Art Center days.

Illustration published in Automobile Design.

As a kid I remember going to Disneyland year after year yearning to be tall enough to be able to drive the Autopia cars by myself. I also remember standing in long lines to get behind the wheel. When the ride was first installed, there was no center rail. So the cars had to be steered between the curbs. It was frustrating to be behind someone who couldn’t avoid constantly crashing into the curbs slowing all of the cars that followed. On the other hand, if nobody was in front of you, it was a great time going as fast as possible around the ride’s miniature freeway system. Coincidentally, that’s me on the right standing on the circle #5 in the plaid shirt. Not really.

Catamaran design

I received these images from Bo Zolland of Viztech of a catamaran model based on Bob Gurr’s yellow car design published in his book, Automobile Design.

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There are many photos in the book of production and styling show cars from various manufacturers, renderings by Strother MacMinn of many of these cars plus several pages of his own designs. This rare, out-of-print book was loaned to me by Richard Nesbitt. Strother died in 1998.

A Man of Wit and Genius

From Coachbuilt.com. As a young boy growing up in Pasadena, California, Strother MacMinn spent every spare moment drawing pictures of cars or pestering salesmen at car dealers to share their brochures and knowledge of the treasures in their showrooms. It was on one such occasion that a kindly gentleman at the Pierce-Arrow agency provided a turn of fate for Strother by disclosing the whereabouts of a service entrance into the Walter M. Murphy Studio, where he met and became friendly with Franklin Hershey.

Franklin Hershey, one of the best designers in that custom body shop, was so taken with young Strother’s sketches that he invited him into a whole new world by having him come to his office Saturday mornings where he showed him the basics of professional body design. This friendship and guidance continued after Hershey moved to Detroit to work at GM, and throughout Strothers’ prep school, summer classes at the Art Center School in Los Angeles and high school years. It eventually led to Strother’s first working job in 1936 in the Buick studio at General Motors Art & Colour Section with Franklin Hershey as his boss.

With corporate approval from GM’s German division, Harley Earl set up a new studio in 1937. Strother MacMinn, John Coleman and George Jergenson, with Frank Hershey in charge and Hans Mersheimer of Opel as design liaison officer, were given the assignment to style the upcoming 1938 Opel Kapitan. It was an exciting enterprise because of its new approach to international styling and included advanced ideas such as built-in headlights, stretch fenders and a clean body form. (That basic model, with face-lifts, remained in production into the early fifties.)

It was with skill and enthusiasm that MacMinn participated in the development of design proposals for GM’s inter-city bus client, Greyhound Lines, Frank Springs styling department at Hudson Motors, Ed Anderson’s Oldsmobile studio, and many others on his long list of credits.

But, according to MacMinn, the best job offer anyone ever had was his part-time teaching job in 1945 at the Art Center College in the Industrial Design department. MacMinn feels nothing can compare with the excitement and stimulation of sharing enthusiasm and knowledge with dedicated, professionally oriented young design students. Perhaps that is why he has been teaching part-time for the past 41 years.

In addition he has worked independently as a designer of: aircraft seats, household products, and fiberglass boats. And as a consultant in 1979, he helped to found the first Southern California advanced concept satellite auto design studio for the Toyota Motor corporation.

Since 1953 MacMinn has written and illustrated articles for Road & Track, Motor Trend, Automobile Quarterly, and Car Graphic magazines in addition to historical catalogue essays for the “Automobile and Culture” and “Detroit Style: Automotive form 1925-1950″ exhibits in Los Angeles and Detroit.

Strother MacMinn’s lifelong love of the automobile has led him to own a 1937 Cord 812 phaeton and a 1929 Rolls-Royce P-1 Derby phaeton. He kept and still drives the 1951 Jaguar XK-120 roadster that he bought for $2400 in 1953.

An excerpt from the Coachbuilt.com article about chrome

Chrome, too, can be a temptation. Cadillac introduced chrome plating in 1929 and it quickly spread throughout General Motors and then the industry. Nickel, with its lovely warm hue, had had a soft richness that was appealing, but when that super-hard blue-white of chromium came along, which needed little polishing and which seemed to last forever, nickel quickly became pass. Few owners chrome inappropriately on cars that predate 1929, but on later cars, there’s a tendancy to chrome everything, including parts such as water pipes and electrical conduits that weren’t chromed originally. Chrome wire wheels appear in such abundance today that one is tempted to think that all classic cars had plated wheels. Yes, chrome wire wheels were possible as the problems of embrittlement were solved, but they were rare.

The problem is compounded when owners add whitewalls to chrome-plated wheels. Such a combination again shouts “Look at Me” too readily. Strother MacMinn, who served as Chief Honorary Judge at Pebble Beach for twenty-five years, always maintained that a car could have chrome wheels or white sidewalls, but not both; he felt the eye was so drawn to the combination of whitewall and chrome wheel that the general line of a car, its balance as a whole, was distorted.

A great Concours d’Elegance automobile is a combination of beauty, accuracy of restoration, and an indefinable melange of “star” qualities. But above all, a car must reflect its own period, especially in matters of color and decoration. Strother MacMinn, a famous judge with strong artistic gifts, comments on taste: “Either choose chrome wire wheels or white sidewall tires but not both. Too gaudy.” He adds, “All classic cars were not red or cream!” (Two favorite colors of restorers which often show to advantage on a field). The best car may quietly state its own period with a delicate refinement, even with understated elegance, that, when new, would have reflected the buyer’s taste. Good judges will see this on the field.

Gallery of artwork from Sports Cars of the Future by Strother MacMinn

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My father, Ted Youngkin, was something of a legend to a generation of students at Art Center College of Design. For many of these young and aspiring designers, illustrators, and painters his class was their first experience at the college, and possibly the most terrifying. He demanded nothing less than their absolute best. He challenged them, taught them to think, and made them work harder than they had ever had before to achieve more than they ever thought they could. He was absolutely and ferociously dedicated to honing their skills and drawing out their talent. But as scary as “Mr. Youngkin” might have been, it’s pretty hard to argue with his results. The students who passed through his classroom are the absolute best at what they do. It was a great source of pride for him that his students are in charge of the design future of major car companies in nearly all industrial nations. And not just the automotive industry—he was fond of saying that most of the products we use in modern life have probably had his students working on them as part of a design team that made the product come to life. He loved that.

I had a privileged view of my father’s teaching, as I was born just a few years after he started to teach, and was always a regular visitor to his classes. My father was a talented artist and designer in his own right—his own contributions to the design world are significant. But it was always obvious that his greatest joy and gift was teaching and developing the talents of others. As hard as his students had to work for him, he worked just as hard for them. I’m enormously proud of him and his legacy.

My father passed away last year, at the age of 88. In keeping with how he lived the rest of his life, he died quickly, quietly, and without fanfare—almost matter of factly. He was never sick a day in his life. In the months since then, our family has heard from many of his students, sharing their sympathy, memories and incredible stories. It’s meant so much to us, and it is such a tribute to him. So thank you to all of daddy’s students. You’re all an essential part of his remarkable biography.

—Heidi Youngkin

I have very fond memories of Ted Youngkin from my student days at the Art Center College of Design (1969–73). I remember he ordered a new blue Chevy pickup, and when it was delivered he realized that the instrument cluster had a blank where a gage could have been. He called it his humility gage, because it reminded him he didn’t have everything.

He also had some opinions about colors and textures. He said that wood is a great material if you are making a tree, but it doesn’t belong on the inside of an automobile. Same thing about the color green. Makes for great grass, but don’t paint a product that color.

I was thinking about another memory from ACCD. One day Ted brought in a sample of his design and illustration work, I assume for a product design client. It was a gorgeous chalk rendering of a plastic… port-a-potty. In my world high-end design only included cool stuff like sports cars. That was an eye-opener to me. That so much thought and expertise went into designing and improving the more mundane things in life. That every project was worthy of the best you can give it.

I remember in class one day he saw some airplane cartoons I had done, and told me I wouldn’t graduate unless I gave him a portfolio of the cartoons. That made a big impression on me, that he would take the time and the interest to want to keep some of my work. A designer’s world is one where nothing is ever good enough, but those simple drawings were something that your dad thought was good enough. It meant a great deal of encouragement to a struggling student. Recently, Heidi contacted me and returned the portfolio that her dad had kept all of those years.

There is an excellent photo essay about visiting Ted at his home on the Gurney Journey blog entitled Ted Younkin in Perspective.

—Gary

Click on the first thumbnail in the gallery to view all eight pages in order.

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The Career of Richard Nesbitt, Part One

Of the many and varied professional opportunities available in the automotive industry, the role of the designer (or stylist) has probably captured the imagination of more young men and auto enthusiasts around the world than any other. Yet, as in a professional sports career, only a comparatively small number of people actually become successful automotive designers. The following is my background and experience in the pursuit of an automotive design career.

I was born in Cincinnati, Ohio, on April 18, 1946. We moved around quite a bit, as my father was a radio sportscaster then, and he would receive better opportunities from time to time in other major markets around the country. From New York City and then Chicago, we moved first to St. Paul, and later Minneapolis, Minnesota, where my father became very successful as a television sportscaster.

I was 11 years old in 1957, and by then, my interest was almost totally dominated by things automotive. I had a consuming desire to draw cars wherever and whenever possible including, of course, any class time I could get away with. And I collected car dealer “promo” models and built every plastic model car kit available. New car showroom literature was highly prized and treasured, especially for the wonderful rendered illustration techniques. As the new car magazines appeared each month, I would conceal my copies in notebooks at school and dream up variations and “improvements” of the various new cars featured in each issue.

From my 11 year old point of view in 1957, car styling fell into just a few basic categories. Anything with a “wraparound” or “panoramic” windshield (basically 1955 and up) was a modern car. Curved one-piece non-wraparound windshield models were older cars, and anything with a center divided windshield and flat glass was positively ancient. Although my father had told me otherwise, I was convinced that anything made before World War II couldn’t possibly have ever been a “new” car. I was sure these vehicles came into the world looking as forlorn and worn out as they appeared in the world of 1957.

At 12 years old, I was able to draw cars well in perspective, much to the amazement of many classmates, and I could draw most recent production cars from memory. I had no idea that people were paid to illustrate and design cars for a living, and my father, a former pro-football player in the 1930′s with the Chicago Bears, and later a successful, well-known television sportscaster for KSTP Television in Minneapolis/St.Paul Minnesota, was very concerned I wasn’t giving enough thought to some form of “conventional” employment.

Very little was featured in car magazines about the automotive design profession, but when infrequent articles did appear in Motor Trend, Car Life, or Road and Track, they always made reference to a design college in Los Angeles, California called the Art Center School. The College was established specifically to prepare qualified individuals for acceptance and success in professional design, illustration, and advertising careers.

Harley Earl, creator of General Motors’ Art & Colour Section, took an early interest in Art Center College as an excellent potential source of talented future car designers. Earl worked closely with the College in the 1930s to develop a specific automotive design education program within the school’s industrial design department. Art Center became the prime, almost singular contributor of qualified graduate auto designers from the 1930s on, and is now located in a beautiful facility in Pasadena, California. I decided I wanted to attend Art Center College during my senior year in high school. Three years later, I submitted my application to the College, now officially the Art Center College of Design, and received a notice of acceptance for admission beginning in the fall of 1967.

I bought a red and white 1958 Buick Special “Estate Wagon” (really!) for $250.00, loaded up my  belongings, and then headed for Route 66 west to Los Angeles. This was the psychedelic era of “Flower Power” and the “Summer of Love”, and at long last, now 21, I was finally on my way!

The College was then located in an older section of Los Angeles called Hancock Park and did not have dormitory or student housing facilities. Most of the houses in the immediate area were large English Tudor or Spanish style mansions, many with separate chauffeur’s quarters. I was able to rent a chauffeur’s quarters adjoining a garage for $35.00 a month.

It soon became apparent why Art Center didn’t generally take students right out of high school. To say the full-time program was rigorous would be the height of understatement. When I first walked into the College, I was overwhelmed by the quality of the upper semester student’s work from various majors on display in the lobby/gallery area. I was convinced I had made a serious mistake as I was sure I wasn’t capable of the superb ability demonstrated by the upperclassmen. The pace, quality, and amount of work required was phenomenal and I was constantly working on projects until 2:00 or 3:00 in the morning seven days a week. Having grown up in the conservative midwest, I had always heard anything could happen in California, and my experience came during the first semester at school.

I had moved to a larger chauffeur’s quarters closer to the College on January 1, 1968, located on McCadden Street, just a block and a half behind Art Center, and within easy walking distance. The elderly lady owner of the house passed on a few months later, and the mansion was taken over by her son. The family was very wealthy, and put the property up for sale through a real estate agency they owned on Wilshire Boulevard. I was asked to stay on as a caretaker until the house sold, so I had complete use of the Spanish style mansion rent-free and all to myself for a year and a half until new owners were found.

The residence had been built in the 1920s and had been left very much as it was, in immaculate condition inside and out during the early 1940s and on by the last owners. The asking price for the 14 room mansion through 1968 was $100,000. It didn’t sell during the year and a half I was there for that amount, and was finally sold in 1969 for $90,000. The same property on today’s super-inflated California real estate market would  bring several million dollars!

By the third semester, I had covered a lot of ground. It was also the first chance during third semester that a student would be considered for a scholarship application through the school. Only a few scholarships were granted and it was a significant honor to receive one. A friend talked me into submitting a portfolio for scholarship consideration and it was the thrill of a lifetime when I was notified I had been awarded a full-tuition scholarship sponsored by the Ford Motor Company for my remaining five semesters.

I believe Art Center’s strength was founded in both the eminence of the automotive design instructors like Strother MacMinn and the incredible quality of student talent the college attracted. Detroit auto design leaders such as Bill Mitchell, Gene Bordinat, Elwood Engle, and Dick Teague visited Art Center often, and were always recruiting new designers from each graduating class.

I received a Bachelor of Science Degree in industrial design and graduated with honors in May of 1970. In 1971 I was hired by the Ford Motor Company and started work at the Ford Design Center in Dearborn, Michigan.

Lincoln-Mercury

My first assignment in 1971 as a new-hire designer in a Lincoln-Mercury production studio, was, not surprisingly, an ornamentation job. My assignment was to create a very refined jewel-like stand-up hood ornament for the new Montego based 1974 Cougar to enhance its upscale luxury image. This area of design was a new experience to me, so I thought long and hard for various sources of inspiration. One that came to me was in the form of an 1880s vintage Elgin pocket watch my father had given me when I was 11 years old. This watch had a thick, crowned outer ring shape with a series of fine ribbed serrations surrounding the dial lens face area. Of the many concept illustrations I did for this project during November 1971, the proposal most like my treasured pocket watch was selected as the final design and was produced as I had designed it for three years from 1974, 1975 and 1976. I incorporated a clear lens effect, much like the watch lens, and designed a floating cougar figure into the clear area. I was very surprised to learn that my hood ornament design played an important part in the marketing strategy for the direction of Cougar’s new image for 1974, and this is the first time it’s true origin has ever been revealed!

Mustang II

Shortly after the Cougar project, an unusual program for this studio was released. We were to participate in presenting a proposal for the all-new and considerably down-sized Mustang II ,with several other studios submitting proposals as well. Even though it was obvious there was no place for the ground-pounding Mach-1 Cobra Jet 428s and high-revving Boss 302s of the recent past, Iacocca still liked the idea of a strong performance image for some versions of the new Mustang II and he actively encouraged the development of my “Ram-Air Boss” sketch theme, as it came to be called by the studio staff. The final design our studio submitted was a fastback proposal created by staff designer Howard “Buck” Mook, and our design was selected by company President Lee Iacocca over all the other studio efforts.

This design went on to an extensive series of consumer “clinics” throughout the United States, and in San Francisco, many young women wanted a traditional coupe version. As a result, we received instructions at our L-M studio to create a notchback coupe version as soon as possible. One of my design themes was selected, and I was instructed to direct it’s development into a full-size clay model followed by a finished fiberglass model.

Later, I was assigned to the Pinto-Maverick-Mustang Interior Design Studio, where I developed several Mustang II “Ghia” trim proposals.

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Ford Carrousel

When I was assigned to the Light Truck and Tractor Studio , we received a product planning directive to develop a derivative of the upcoming new Ford Econoline Van, code named “Nantucket” and due for release in 1975. The derivative was code named “Carrousel” and was intended to attract  station wagon buyers with more car-like styling combined with the added appeal of van utility. From hundreds of concept sketches created by staff designers in this studio during 1972, one of mine was selected by Hal Sperlich, Director of Product Planning, and Lee Iacocca as the approved design direction. I directed the construction of a full-size clay model, and the vehicle received a great deal of interest from Henry Ford II. Unfortunately, the OPEC oil embargo of 1973 halted further development after a drivable, fabricated metal prototype had been built. The Carrousel was specifically designed as a “Garagable Family Van” alternative to the traditional station wagon market segment. This concept later became one of the most successful and enduring product innovations ever created when Hal Sperlich and Lee Iacocca launched the Plymouth Voyager/Dodge Caravan in 1984.

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Ford Bronco

Another program I participated in during this time in the Light Truck Studio was the development of a new “Bronco” based on the same format as the Chevrolet “Blazer” pickup truck derivative. This program was code named “Shorthorn.” Ford wanted to use the new “F” series truck doors without modification. This door combined the window frame area and the lower door as a one-piece formed part. Ford’s decision to use the complete door assembly required a permanently fixed steel roof for the driver/front passenger area, although it would have a removable top for the area behind the doors. I proposed a design sketch incorporating a “Targa” style roof band. The built-in roof band helped visually separate the permanent front roof area from the removable fiberglass rear roof section. This design feature became a Bronco “trademark” styling theme from 1978 to 1986. This Bronco was intended for introduction in 1974, but the OPEC oil embargo postponed the release date to 1978.

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Lincoln Continental

For most of the year 1973, I was assigned to the Lincoln Continental Advanced Design Studio. During mid-year 1973, I received an assignment to create a series of new “full-size/ down-size” Ford, Mercury, Continental, and Mark-V styling proposals to be reviewed by Henry Ford II and Lee Iacocca for a special presentation at the Ford Motor Company Strategy and Advanced Planning Conference in Boca Raton, Florida.

This presentation was later followed by the development of the “Panther” platform, launching the all-new Ford LTD and Mercury Marquis for 1979, and the Lincoln Continental/Mark VI for 1980. It was an honor to be selected for this assignment.

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Ford Fox Program

I received recognition for my contribution to the “full-size/down-size” program and a promotion to the International Special Vehicles Design Studio, where I was involved with several design projects coordinated with Ford’s Ghia studios in Italy and the presentation of concept illustrations for the initial “World Car” and FOX program. The ever-expanding FOX platform launched the Ford Fairmont/Mercury Zephyr in 1978, followed by the all-new Mustang/Capri in 1979 with many variations to follow.

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