If this isn't the best start for a street racer, what is? 'Put a Hemi in it and head to the "Drive-In" and troll for 'pink slips'
The story continues: https://driventowrite.com/2025/08/05/never-a-dull-moment-part-20/#more-130789 Never A Dull Moment — Part 20 What is it that you do all day? GM Design Chief Designer: finally. Time to get serious. But what exactly did all this mean? Or as I would sometimes say: “Now what?” In the early 1990’s, GM Design was still under the influence of Harley Earl and Bill Mitchell. For over 50 years, their influence and presence continued to resonate in how the design business was run and managed. Every division;Cadillac, Pontiac, Oldsmobile, Buick, Chevrolet and GMC continued to have separate studios. Each studio retained its autonomy and for better or worse functioned as a family of + – twenty creative types; Designers, Clay Modelers and Studio Engineers all working towards the common goal of delivering the most creative, cost effective, most appropriate product that customers desired. In an upcoming chapter I’ll discuss what happened at GM Design during the 1980’s — 1990’s when they were, in my opinion, no longer the pre-eminent global design organization, but for now we’ll discuss how the design process was supposed to work. Depending on the size and scale of the division, each had a dedicated Design team who knew exactly what the brand was about and how the brand was defined by its design. Chevrolet had three Exterior Production Studios along with an Interior Studio, Pontiac had two Exterior Studios plus an Interior Studio, Olds and Buick had two Exterior Production Studios, along with respective Interior Studios and Cadillac had one Production Exterior Studio along with an Interior Studio. Also an Exterior and Interior Truck Studio for Chevrolet and GMC trucks. Supporting the Production Studios were Advanced Design Studios. Initially there was a dedicated Advanced Design studio for each Division, but that changed to just Advanced Studios which allowed them to work on whatever was necessary given varying workloads and schedules. Every program was unique and yet the same, meaning that schedules, manpower and the ability to come up with the proper solutions, dictated how things would be aligned. Image Unavailable, Please Login Sourced via Pinterest The thinking was the Advanced Studios would develop a basic design direction/theme for the Divisional Studios, and once approved, the clay would transition to the Production Studio to get ‘productionized’ for manufacturing. While it all sounded great and looked good on paper, to quote boxer Mike Tyson, “Everyone has a plan until they get punched in the face.” The reality was, and remains as simple and as complicated as this: creativity is not an exact science.Some Advanced Studios would hit a home run right off the bat and come up with a great design quickly. Others might struggle to arrive at a proper design as the clock would be ticking and huge amounts of money were being spent, while the Engineering/ Manufacturing teams eagerly await something to engineer. Generally, there was a three-four year gestation period from start to a production ready car, but those timelines in some cases have contracted to two years or less in recent times. Some very spectacular cars were developed in the Advanced area, with the Olds Toronado being just one example. The problem however, was the age old dilemma of, “I didn’t invent it, so it can’t be any good” syndrome, or just plain NIH. By that, one might imagine a Production Studio receiving a clay that was slated to be the ‘official’ design theme and of course human nature being what it is: “I can do better than that” or “they approved THAT?”, and so on. Creativity, by definition created great competition between different studios to see who could produce the winner. And pride, along with egos ruled the day. One of my ‘pet peeves’ was when one of the design executives would drag us to another studio to look at their work as an example of what we SHOULD be doing. I HATED THAT! Getting my nose rubbed into someone else’s design was never a fun adventure. Image Unavailable, Please Login GM Design Choosing the right design to go into production is a monumental task and we believed there were two critical elements for ensuring a successful design: Judgement and Execution. Judgement meaning, was the correct solution chosen? And Execution; was the design executed in the most professional manner possible? Did it look great? Design management would decide which designs would move forward for further development and ultimately be shown to Corporate management. Billions of dollars would be riding on these decisions and they were never taken lightly. Ever. As the Chief Designer of the Pontiac 1 Exterior Studio, the time had arrived to step up and shoulder the immense responsibility which lay before me. In 1990,Grand Am was selling 197,000 cars/year, Grand Prix 128,100/yr, Sunbird 144,900/yr, Trans Sport 29,800/yr. The boss whispered in my ear. . . . “don’t screw this up, Manoogian!” One of the things I was always happy about, was from one day to the next, it was always different. No two days were ever the same, and that was the appeal for me. While planning and anticipating ruled the day, one never knew what each day would bring and I loved it. Doing something you believed in, was my mantra, and doing it to the best of my ability was the motivator. There were four full-size clay stations in our studio and each was occupied with a program. Overflow would be placed on the floor next to the clay rails. As part of our team I had an Assistant Chief Designer, along with two or three additional designers depending on workload. Generally there were eight–to- ten clay sculptors, along with three-to-five Studio Engineers. The numbers would vary depending on workflow, illnesses, vacations and program timing. We hit the ground running each and every day. Generally my 30 minute drive to the Tech Center would be mentally planning out the day and thinking about everything that needed attention; meetings and dealing with personnel issues, in addition to designing a vehicle. As I said, it was like a family and I was so proud of my team and would defend them for whatever was necessary. We were like a finely tuned machine and everyone knew what they had to do, along with their role and got to it. Our work ethic was held to a very high standard. Creating something from nothing with our brains and hands was a great satisfaction. I still miss it. All the sketches and the clay flying along with the smell of the clay. “Smells like victory”, quoting Robert Duvall’s famous “Napalm in the morning” declaration from the film ‘Apocalypse Now’. As discussed previously, we played hard as well, and food was a great stimuli. Breakfast could be a pizza, bagels, donuts or some other high calorie sustenance. On a whim, we would bring out the mini basketball, or the football (American) and just let off steam and there were days where I might question my sanity as to our process of getting the job done; but we made things happen and had a good time doing it. It could be stressful along with exhilarating. I was one of those odd people that couldn’t wait to get to work in the morning. The creation of a car from a 2D sketch into sheet-metal was what I lived for. We strived to be the best designers on the planet (our opinion of course). Personally, watching a sketch transition into a scale model or a full-size model was such a rush. That creative process made all the my education and lumps on the head worth it. We were creating industrial objects that we wanted people to spend their hard earned money on and be proud to have parked in their garages and driveways. The love affair between driver and car was not over as far as we were concerned. And I was committed to delivering cars that people loved. No more Cimarrons for me.
2025 Buick Electra Orbit Concept | DailyRevs Buick Electra Orbit Concept previews Buick’s new Electra EV design language, blending retro themes with futuristic surfaces. The concept uses dramatic proportions—almost six metres long, over two metres wide—with 24″ wheels and scissor doors. Built by GM China’s design studio, it suggests future flagship EV direction rather than a mass‑market volume model. Image Unavailable, Please Login https://www.dailyrevs.com/cars/2025-buick-electra-orbit-concept?fbclid=IwY2xjawL-z1pleHRuA2FlbQIxMABicmlkETFXSWV2QnlkaDk1RkQyakg2AR6Cu3O3PIj3cFguRbBwJouRMN7cYRZJA1Mu5p-QWZ1OdWij9OLNiyjD-y9irA_aem_zoa2H4nn8bnOAnOE7jI8kQ
Nice face... interesting clam shell lines but I like the rear design sketch the most. Image Unavailable, Please Login
From Cardesignnews.com Colour focus August focus: colour and finish Freddie HolmesDEPUTY EDITOR PUBLISHED 5 August 2025 - 17:22MODIFIED 6 August 2025 - 14:07 Del på FacebookDel på TwitterDel på e-post Image Unavailable, Please Login Mazda's Soul Red Crystal retains a three-layer structure, but adds thin, high-luminance aluminium flakes This August, Car Design News will be placing exterior colour and finish under the spotlight For each month in 2025, the team at Car Design News has focussed on a different topic to explore areas we feel are in flux, growing in importance, or are simply under-discussed within the industry. For August, the focus is on exterior colour and finish. Colour plays a crucial role and can make or break a first impression. Certain colours will make the surfacing of a car pop, others will hide its curves or geometries. Just bought a car? You can bet the follow up question to "what is it" will be "nice, what colour is it?" Colour is also a chance for the driver to reflect some of their own personality; the most obvious form of 'personalisation.' Paintwork must also work in tandem with contrast sections and accents, typically the black cladding found around the base of the car and wheel arches, but also the treatment to the door pillars, roof or elements of the bumpers. Image Unavailable, Please Login Pops of yellow on the Jeep x North Face Avenger 4xe Paint finishes remain as vast as ever and, despite an affordable gloss white proving the default for many new models, there are plenty of metallic, satin, matte and even some pearlescent options from factory. Innovation in this area may be hidden to the naked eye, with suppliers offering less harmful and more sustainable base components to those paints and clear coats. Doing so while retaining durability and repeatability at mass scale will be key. Far less common now than it ever has been, the two-tone finish was popular during the 1950s and '60s and was employed on anything from a humble work truck to a shapely limousine or sportscar. At that time, two-tone generally referred to a defined line on the body side, sometimes straight, oftentimes angled to emphasise certain curves or features. While some models today employ a similar approach — such as the ID. Buzz — most two-tone paint jobs refer to a split body and roof colour, and occasionally the bonnet. Two-tone also made an appearance on the latest Corvette concept. Image Unavailable, Please Login Two-tone and Dakar livery? A rare combo. Decals and side graphics are even rarer today, having enjoyed a period of popularity during the '80s, '90s and early noughties. These would typically come through special editions, but also as stock. The Toyota Land Cruiser is a solid example. In fact, Toyota was reasonably prolific in this context, so too Jeep and AMC. Is there a place for side graphics in 2026 and beyond? For special editions, it certainly seems so. What about no paint at all? We did in one specific case study see a return of the 'bare metal' finish via the Cybertruck. However divisive the design itself may be (although top design bosses did rank it second in Car Design Review 7) the decision to forego paint altogether and run a stainless steel exterior should be applauded, even if only for its outlandishness. Image Unavailable, Please Login "Where we are going, you won't need paint" In partnership with Ultrafabrics, we surveyed the industry earlier this year to gauge where colour trends (among other things) might be headed. The majority of respondents believe earthy tones to be the next big thing, perhaps already identified by launches like the new Santa Fe last year and more recently the Bentley EXP 15 concept. 'Earthy' might also be reasonably applied to the Lynk & Co 08's copper finish and the Renault Savanne's green and brown combo. CDN's survey found achromatic hues were in close second, perhaps obvious given the proclivity toward affordable, inoffensive colours for casual drivers - a trend that links back to early vehicles from a century ago. Image Unavailable, Please Login Art Deco meets Barbiecore Pastels were also raised as a potential trend and that has certainly married up with what we have seen with the Jaguar Type 00 concept and the light purple interior of Chery's recent concept. Sage green remains a fan favourite on the whole, a trend we flagged a couple of years ago, and backed up by independent forecasting by Callum this year. (Aqua Mist is a combination of both trends: a pastel sage green!). For now, these are musings that will flow through to dedicated conversations with designers across the industry, with the aim of shedding some light on where things are going. Look out for interviews and features to follow, and make sure you sign up for our newsletter for more inspiration via the Flashback section.
Image Unavailable, Please Login Image Unavailable, Please Login Image Unavailable, Please Login Image Unavailable, Please Login Image Unavailable, Please Login But wait....there's yet another Hypercar/Supercar
Oilstain Garage: original iteration was all rough aluminum; not this - Image Unavailable, Please Login
Designing wingtip to wingtip and the lead guy wipes out? Figure at least they run cool (unless the grille's fake?) - what's old is new ...? Image Unavailable, Please Login
Some day I'll tell the story about the Buick Lucerne ports and the CTS Fender air extractor. Image Unavailable, Please Login Image Unavailable, Please Login
The Brouillard (which is based on the Mistral) is the first car created by Bugatti's Programme Solitaire division (one off's). BUILD it, ... and they will PAY! .
ArtCenter College of Design Yesterday at 11:46 AM · ArtCenter’s pulling up to Monterey Car Week with a hypercar born to break the mold. Meet the HF-11 by @oilstainlab—designed by alumni/associate professors Iliya & Nikita Bridan. It’s unapologetically weird. Purposefully wild. And it’s parked right in front of our tent at The Quail. If their motto—“Maniacs Wanted. Start Fires. Chase bad ideas at redline.”—sounds familiar, it’s because that kind of bold, off-center thinking is in ArtCenter’s DNA. Image Unavailable, Please Login Catch us: Image Unavailable, Please Login The Quail – Fri, Aug 15 Image Unavailable, Please Login Exotics on Broadway – Sat, Aug 16 Image Unavailable, Please Login Alumni Gathering – Monterey Plaza Hotel w/ President Karen Hofmann Image Unavailable, Please Login Pebble Beach Concours – Sun, Aug 17 (our award-winners never miss) Image Unavailable, Please Login Stop by the tent. Meet the minds behind the madness. Witness design with no brakes.
Fastbacks from 'My Car Quest': The Beautiful Fastback AUGUST 11, 2025 BY MIKE GULETT LEAVE A COMMENT by Mike Gulett – I find it difficult to imagine a cool sports car that is not a fastback unless it is a convertible. The fastback is a distinctive car body style that combines function and style in a way that has captivated designers and enthusiasts for decades (like me). Its feature is a continuous slope from the roofline to the tail, creating a sleek, aerodynamic silhouette that suggests motion even when the car is not moving. The fastback has evolved through the years from early streamlined designs to muscle cars and modern electric sedans—leaving a mark on automotive history. 1930s–1940s The fastback concept emerged during the streamlining movement of the 1930s. This was a period of experimentation, influenced by aviation and industrial design trends that emphasized aerodynamic efficiency. American manufacturers like Chrysler, Hudson, and Lincoln introduced models with smooth, flowing lines. The 1933 Pierce-Arrow Silver Arrow and 1934 Chrysler Airflow were early examples that hinted at what would be called a fastback many years later. Image Unavailable, Please Login 1934 Chrysler Airflow – Mike Gulett While these cars were not yet called “fastbacks,” their shape set the stage for the style: a sloped rear roofline integrated with the trunk, reducing drag and adding a futuristic look. Image Unavailable, Please Login Stout Scarab – Michael Furman Image Unavailable, Please Login Tatra T87 – Mike Gulett 1940s–1950s Following World War II, automakers—especially in the U.S.—began to mass-produce fastback-styled cars. The Chevrolet Fleetline (1942–1952), Buick Sedanet, and Ford Custom Club Coupe all featured sloped rear rooflines that were aggressively styled, often called “torpedo backs” or “aero backs” at the time. These cars were fashionable and reflected America’s fascination with aircraft and speed. However, by the late 1950s, the styling trend shifted toward tailfins and formal rooflines. Fastbacks temporarily fell out of favor as squared-off sedans and convertibles became the new style. Image Unavailable, Please Login 1954 Bentley – Mike Gulett 1960s–1970s The fastback experienced a major resurgence during the 1960s with the rise of performance cars. The most iconic example is the 1965 Ford Mustang Fastback, which helped define the pony car segment. Its sweeping rear roofline gave it a purposeful, aggressive stance—perfect for a car that symbolized American youth and performance. Although Ford used the model name Sportback not fastback. The Mustang also came with a squared off “notchback” that does not look nearly as good as the fastback. Image Unavailable, Please Login 1965 Shelby GT350 Mustang – Mike Gulett Other notable fastbacks of this era include: Dodge Charger (1966–67): with its dramatic fastback design and recessed rear window. AMC Marlin (1965–67): a full-size fastback that predated many pony cars. Plymouth Barracuda (1964–69): with a massive rear glass hatch (in early versions). Chevrolet Camaro and Pontiac Firebird: fastback variants that competed directly with the Mustang. Image Unavailable, Please Login 1967 Dodge Charger – Dodge In Europe, fastbacks took on a more refined flavor, seen in cars like the Iso Grifo, Aston Martin DB6, Ferrari 365 GTB/4 Daytona and Bizzarrini GT 5300—all sleek grand tourers where the fastback profile indicated elegance and speed. Image Unavailable, Please Login 1966 Iso Grifo (top) and 1971 Lamborghini Espada (bottom) – Mike Gulett 1980s–1990s By the 1980s, hatchbacks and sedans with notchback designs were more common. Aerodynamic styling persisted, but the classic fastback form was rare outside of sports cars like the Porsche 911, Toyota Supra, and Mazda RX-7. Designers used the fastback profile for aerodynamic reasons, though marketing didn’t always call them fastbacks. 2000s–Present In the 21st century, the fastback has returned in both form and function. Many four-door “coupes”—like the Audi A7 and Mercedes-Benz CLS—revived the sloping roofline in a luxury context. While technically sedans or liftbacks, these cars borrow heavily from the fastback style. Contemporary muscle and sports cars also carry the fastback DNA: Ford Mustang (2005–present): returns to the classic fastback styling. Chevrolet Camaro (2010–present): evokes its 1969 predecessor’s fastback lines. Dodge Challenger: though more of a notchback, carries fastback-inspired cues. The rise of electric vehicles has also brought back smooth, aerodynamic fastback forms to reduce drag and maximize efficiency. Cars like the Lucid Air, Hyundai Ioniq 6, and Porsche Taycan use the fastback shape as a modern aerodynamic solution. Conclusion The fastback has never really disappeared—it has evolved with the times. From art deco streamliners and postwar coupes to muscle cars and modern EVs, its enduring appeal lies in its balance of performance, beauty, and aerodynamics. The fastback remains a powerful symbol of speed and style across many generations. The Ultimate Fastback? Perhaps the ultimate fastback implementation that takes advantage of both function (speed) and style (beauty) is the Bizzarrini GT 5300 from the 1960s, below. Image Unavailable, Please Login 1966 Bizzarrini GT 5300 Strada – Unknown Image Unavailable, Please Login Bizzarrini GT 5300 Strada – Mike Gulett Image Unavailable, Please Login Bizzarrini GT 5300 Strada – Mike Gulett Let us know what you think in the Comments. Image Unavailable, Please Login Ford Torino, a beautiful fastback – Mike Gulett Research and some text and by ChatGPT 40.
Look at the profile of that door! In future years, they will probably calling that a "Waterfall Door!" Image Unavailable, Please Login Image Unavailable, Please Login
Least we ever forget about the NASCAR-inspired 1987 Monte Carlo Aero Coupe. Close, but maybe not close enough for some: Image Unavailable, Please Login
There's no saving that P1 design... its base looks too anorexic to start with. The new GP1 looks to be an offspring of the following. Image Unavailable, Please Login
I dont know what its like to drive, but I saw one of these yesterday and its, imo, the best looking SUV on the market. Image Unavailable, Please Login
It's interesting how much it looks like a Honda and at the same time, how much it doesn't look like a Honda.
