The Ninth Annual
Custom Clinic Photo Contest
A mixture of exuberance and restraint
by Mark S. Gustavson

It's hard to imagine that this contest started almost a decade ago as an idea to encourage original model car auto design. Mating applause with good-hearted critiques seemed like a good idea to me, and this approach has succeeded in ways that have surprised me. I had no idea, at the time, that the contest would survive its early years when the audience came to understand that the critiques weren't personal criticisms but rather were strictly aimed at discussing good design.

Hundreds of dedicated craftspeople have presented, boldly and without apology, their individual visions of what automobile design should be like. Some entries have been truly magnificent and others have needed more work, but all have expressed the enthusiasm and hard work of their creators.

This year's contest is no different in some obvious ways, but strikes out on new territory as two themes have emerged in ways not previously so obvious. First, some of our entrants have labored diligently to create lithe and sensible designs that could be produced by an interested manufacturer. Second, another group seems less concerned with ergonomic considerations in preference to vaulting – if unrealistic -- design. At the same time, our Junior entrants continue to improve their offerings with aggressive body work matched to sensible design. Each of these groups have invigorated this ninth contest in ways that will stimulate our audience for years to come. The same time, a satisfying number of entrants have written thoughtful epistles about their design considerations and a few – still, too few – have written about their critiques of their own work.

This contest marks another milestone: For the first time, the top adult position is shared between two largely undisciplined designs that, nevertheless, are wonderfully adventurous needing only a bit of discipline to bring into focus.

A final note: I want to acknowledge the passing of my friend and long-term custom clinic photo contestant Bill Taylor. Bill entered for many years, and won to the top nod in the Fourth Custom Clinic Photo Contest. Less known are Bill's many years of excellent work for the International Model Car Builders' Museum. Go here to check out some of Bill's work: www.themodelcarmuseum.org/Projects/Clone/Dixie_Bee/dixie_bee.html

Our entrants this year come from ____ states and __ countries outside the United States. We'll do this contest again for next year, so start your models! In the meantime, let's walk through this year's winners.

First Place (Shared)

 Steve Boutte and Bruce Owen. Though the origins of these models spans nearly a quarter of a century (Bruce's model was a top winner in the old MPC series), they share both a common carefree exuberance and some of the same styling difficulties. Each present what the other doesn't feature: Steve's curvaceous truck celebrates organic, almost feminine dimensions that flow from one voluptuous curve to another. The top fender lines are seductive, and the Atlanta-esque door opening evoke decades old custom designs. The sharply canted backlight just adds to the excitement. On the other hand, Bruce'smagnum opus anticipates the angularity of Ford's GT 90 with its crisp lines that bounce the eyes along the muscular flanks of the sharply-pinched body. The yellow coupe evokes masculine aggressiveness that leaves few observers uncertain about their reaction to it.

Styling Analysis: Where Bruce's entry presents an almost harsh vision of a full sports custom, Steve preferred a fluid design that risks losing its appreciative audience in shapes that almost overwhelm the overall presentation. Steve's rear fender design also suppresses the rear wheel design that includes front fenders that are too wide for the lithe but too-little cab. Squint a bit and imagine the fenders on Steve's entry narrowed by a third, and raised a bit at the bottom of the lower rear fender line to relieve some of the heavy appearance and improve ramp angles, and enlarged to unshroud the beautiful wheels! Better headlights could be added (the intersecting Mercedes ovals come to mind). Just imagine what Steve's design would be like if put on a diet. While Bruce intended to create a flowing shape by dramatically up-cutting the center of his body, the goal is overwhelmed by a too-large and long front clip and wide rear fenders (why is the rear wheel well shape almost squared off?) that resolve too quickly into the door area. Both models ably present the painting trends of their respective eras, and neither coatings help the basically good designs: Steve's polychromatic paint is scaled for a full size vehicle, and the well-rendered ribbons that decorate the horizontal surfaces of Bruce's effort distract the eye from enjoying his dramatic styling. Whew! Having said all of this, the pronounced contrast between these two entries calls out a major styling change for aggressive full customs that has emerged since the Seventies. Both models represent the top of the fanciful styling game, and each succeeds wildly.

Second Place: Greg Plummer Mustang Mach IIIB

This entry snaps us back into the real world after the wild indulgences of our First Place tie winners. Greg's fastback Mustang marks a return to user-friendly but still graceful styling that could be produced and driven in the real world. Greg desired to tone down some of the excessive styling cues of Ford's concept car and he succeeded. Grafting on a roof from the Revell Super Stallion kit, our entrant fashioned gracefully curving transitions between the hood and the to permit a smooth transition from the roof to the bodywork, and both the lower windshield and backlight terminate at the adjacent panel lines thereby sidestepping the contemporary penchant for the promiscuous proliferation of panel lines. Greg has presented a thoughtful cab-back concept car that relieves us from reliving just another Chrysler-esque "plant the driver nearly over the front wheel design." As well, the angle-forward of the rear quarter window nicely resolves into the angle scoop in the panel forward of the rear wheel at the same time that the compound curves that mark the transition from the roof to the trunk is also very nicely done. The understated teal paint nicely contrasts with the multi-hued tan/chamois colored interior. A particularly enjoyable aspect of Greg's entry was his self-critique of the model he entered. Styling Analysis: A few glitches lightly burden an otherwise excellent design study: the squared-off Datsun Z-car front valence is uncomfortably at odds with the sharp rear valence and taillight design, and the four scoops inside and down from the headlights add useless visual detail. An enlarged single grille opening between the headlights, matched with a deletion of the hood scoops, would have been a better choice. Nevertheless, this is an insightful and intelligent combination of design elements that have produced a very pleasing design.

Third Place: Ron Fuehrer's '49 Ford.

 You know, it's very hard to present any new styling ideas for Ford's universally appreciated shoebox Ford. Starting with the Revell-Pactra I contest through today, nearly every modeler has taken a run at improving the design, and few have succeeded as well as Ron. Starting with removing a 4" scale section to trim some of the ponderous bulk from the body, our entrant chopped the top just the right amount and not only angled the B pillars but laid the backlight forward a bit. With that as a basis, Ron must have had a stylistic epiphany when he grated a '95 Mustang taillight/trunk shape to the back of the Ford. The wraparound Mustang light gently mimics the Ford windsplit, and the modestly protruding rear valence balances out the back of the design. The hood was pancaked to permit the installation of a Mustang front valence.

Styling Analysis: While there is much to admire about this entry, a small handful of styling hiccups mar the design: the headlights should have been frenched to delete the annoying chrome bezels, the trunk-mounted spoiler is really out of place and mars the smooth transition between the tulip panel and the insert licence plate. The wheel well openings would benefit from a slight flare around just the upper half of the radius. A modest horizontal rocker panel incut between the two wheel wells would help relieve the still side-slab shape of the body. The hood, even if pancaked, could have been extended forward to avoid a bit of the bottle-nosed appearance, and the harsh forward hood line is out of character with the rest of the model. Having said all of this, Ron is really onto something with this insightful design!

Fourth Place: Ferby Miguels '40 Ford.

 Another favorite topic of the customizers in all scales, the '40 Ford has been treated over the years to a lot of different restyling tricks. Picking up on very traditional customizing cues, some from the venerable Westergaard, Ferby has done a nice job with another run at a memorable car. Starting with sectioning the body more in the rear than in the front, and matching that with a pancaked hood and chopped top (with gracefully laid back A pillars and deleted B pillars), our entrant also extended the front fenders rearward, extended the rear deck, removed the B pillars, reshaped the door lines and thinned out the C pillars. With the bodywork finished, a smooth tuxedo black finish completes the vintage look that Ferby has ably captured. As with several other entrants, Ferby submitted a thoughtful narrative of his thoughts about why he styled his model as he did.

Styling Analysis: When the radical customizing was underway, the bullnose hood might have been blunted by extending the grille upward a bit and fashioning a grille with fewer horizontal bars that wrap around into the adjacent panels a bit more. The side windows are too low, and the backlight too small – imagine a cut down '60 Rambler rear window in place to relieve up the ponderous roof-to-tuplip panel transition. More prominent taillights, perhaps set vertically and using the '41 Studebaker design, would have lightened up the extended rear fenders and promoted better visibility. The inset license plate is too low – how about placing it low on the trunk lid and behind a curved/flush glass cover? Still, Ferby has well captured the first era of American customizing with a beautiful piece.

Fifth Place: Robert Burns Mercedes Benz C-500.

 Always willing to take risky styling steps, Robert returns with this very subtle and equally interesting styling exercise. Happening, one day, upon the similarities in dimensions between the MB 500 and C5 Corvette hardtop, our contestant decided to drop the 'Vette's roof unit (including the door sills and trunk deck) into a gap created by carefully removing a corresponding amount of material from the Mercedes body. Fitted with the Corvette interior and chassis, the flat trunk area of the MB were preserved. Benefitting from a subtle coat or two of Gunmetal metallic grey, this model arrests an observant viewer to see what was done. Again, Robert submitted some insightful self-critiques of the model demonstrating that good styling involves evaluation and suggested improvements.

Styling Analysis: In profile, the thing that attracted Robert is also the principal weakness of the new design: the B pillars pinch in so dramatically (in plan view) that the rear deck just overwhelms the backlight. Consider this: what if some elements of the '67 GTO flying buttress rear roof shape were grafted to the C5 forward roof mated to a side-to-side flush backlight that would have extended rearward, parallel to the character lines atop the rear fenders? The flow of the roof could have been maintained but, when viewed from the rear, a full backlight would have helped to fill the tulip panel. Also, the lowest shape on the front valence should be deleted to visually lighten the front clip of car. All in all, Robert has created a fresh design that is lithe and pleasing!

Sixth Place: Miguel Murillo's '60 Desoto

Returning to the venue of traditional customizing, Miguel's rare subject matter strikes on fresh territory by deftly combining a few styling elements into a generally refreshing design. After attempting to chop the Desoto roof, Miguel wisely gave up on that effort and mated a section of a modestly chopped '60 Starliner roof and windshield to the Adventurer backlight. A rolled rear pan, siting beneath '53 'Vette light set into the original fins. In the front, a set of '66 T-bird headlights sit on either side of a scratch built bar grille which are installed above a '64 Fairlane front bumper. A light pearl blue roof nicely offsets the dark candy blue body.

Styling Analysis: The use of the Starliner roof and windshield are a pleasant addition to the Desoto body and are an improvement over the factory shapes. What isn't so neatly explained is the absence of a chrome bumper at the rear to match the front bumper – even a double-height Stingray rear bumper set would have work here without interrupting Miguel's rear pan which, otherwise, is so massive that it upsets the balance of this design. Further, the chrome panel down either side of the roof is too ponderous and could be lightened – how about deleting the Starliner's raised panel, and just chrome the drip rail? Though popular these days, the wheels are significantly too large. Having said all of this, our builder has ventured onto virgin ground here with good results.

Seventh Place: Mike Sarris' '62 Impala Convertible.

This is another of those very interesting customizing efforts that takes a couple of close looks to fully appreciate. Mike took fused a '97 Camaro windshield, convertible boot, lengthened convertible up-top, tulip panel and most of a trunk, and a hood that was fused to the Impala hood, and a full range of Camaro interior parts onto the early Sixties Chev. With the top in place, this model almost takes on the appearance of a factory concept car. Styling Analysis: The Camaro convertible top is interesting, but the angle of the 'return' on the side of the soft top is too shallow – Squint a bit and visualize a top with nearly parallel angles on the profile of the roof. The chrome rocker molding is too heavy, and appears to angle upward as it proceeds to the rear wheel well. The lower edge of the rear quarter panels are a bit too high, and would benefit if a slight strip of material were removed. The Camaro hood scoops are out of place, and the car could be lowered modestly in the rear so that the model doesn't have a rake. Even with these styling stumbles, this is an exceptionally interesting take on a vintage Impala convertible.

Eighth Place: Fred McKee's '40 Ford convertible

This is a really subtle model that champions careful and understated, but aggressive, work. Fred dropped in the tonneau and seat shape from a Mustang Mach III kit, which triggered a reshaped windshield frame, reshaped hood, frenched headlights, molded fenders, reshaped lower body edge, enlarged wheel wells and a page full of additional changes. The pearl orange finish nicely works with this design.

Styling Analysis: This model just cries out for a modest body section (with an angle cut on the leading edge of the hood/front assembly to drop the battleship prow) just below the factory character line: a thinner body would work better with the insightful tonneau cover and would sidestep the awkward flat area above the cool grille. The annoying slightly elliptical front wheel wells should have been opened up to match the rear wheel openings, and the headlights could be leaned rearward to avoid the nearly vertical profile of the front fender. How about oval headlights, laid back at 20 degrees and let's drop the sharp, ground-scraping angle under the front grille. The nearly invisible taillights should have been deep-sixed; why not treat taillights as a styling element rather than a necessary afterthought that can't be seen most of the time? In sum, this is a slick reinterpretation of a classic shape that improves on the original.

Ninth Place: Dan Thornton'49 Mercury

Returning to an original customizing theme, Dan has taken a hoary subject and produced an attractive model. Using the venerable AMT '49 Mercury, Dan whacked the top off and added some side trim reminiscent of the side chrome from a '56 Pontiac. Unlike most that have tried this trick, Dan went one better and continued the trim around down and over the factory side reveal. Headlights were frenched, skirts were treated to twin chrome strips, and the taillights – inexplicably in the shape of twin musical half-notes – were cut into the rear fenders. A nicely shaped convertible top – more like the work of Gaylord than Carson – sits atop the revamped body.

Styling Analysis: The A pillars, vent windows and the surrounding area should have been reshaped to permit the convertible top to overlay the windshield. The horizontal chrome trim, just below the window sills, ought to have been deleted because it just ends where the trunk begins; the angled chrome trim could have been extended to the top of the door. The model wears thin dual front bumpers, but anomalously retains the heavy factory chrome rear bumper. What if the windshield had been converted to the one-piece style found on the '53 Ford – the Victoria kit could have been raided for the part.

Tenth Place: Morgan Barclay's 1937 Divco Van

 Okay, I know that vans aren't a likely canvas for the customizer's brush, but Morgan has offered up an interesting take on a vintage van. Starting with a metal toy, and aiming to mimic the styling cues of Group 5 sedans, our entrant extensively restyled this metal by chopping the top, relocated the headlights, re-contoured the front grille and added a chin spoiler, moved the fenders outward to better accommodate the Ferrari chassis and running gear, fashioned a tapered side skirt to mate the front and rear wheel flares, added a full width taillight, and added the "P"-shaped door windows. The pearl pink over plum paint adds strong motion to the body.

Styling Analysis: On one level, you have to take a subject like this and suspend traditional styling analysis. On another level, give Morgan's fine interpretation of an odd subject, some thoughts come to mind: It would be cool to section this model below the belt line. The front spoiler is too much like a tray and could be pulled closer to the body. The top chop left a too-small windshield, and it would have been more interesting to move the fenders upward to un-shroud the wheels. While the spoiler is consistent with our builders' goal, it (and most other spoilers) are so annoying. Still, this is a wonderful run at the most unlikely subject ever presented in this contest.

Eleventh Place: Steve Hinson's '39 Chevy

Another unusual subject for the customizer's plastic torch is this late Thirties Chevy. In stock form, the '39 Chevy was a real lump, having lost much of the charming styling elements found on the '37 Coupe. Steve has carried out some very strong customizing techniques here, including chopping the A and B pillars leaving the back of the roof alone. This produced a strong taper leading the eye to the heavy front end work which included a molded hood, flush-mounted oval hidden headlights, and a twin-scooped hood. A molded grille, relieved styled radiator openings, nicely compliments the front end. The rear fenders were widened considerably, and the taillights dropped into the rear bumper.

Styling Analysis: It's hard to do anything to the awful '39 Chevy, but Steve has ploughed some fresh ground here. The twin scoop hood is mimicked in the front grille, and the smoothed body helps a great deal. The chop, though, might have been better if the back of the top had been lowered too with the backlight enlarged and leaned forward a bit. The overbearing roof could have been lightened a bit if the windshield had been opened up vertically. The widened rear fenders might be less out of place at their leading edge if they were wider at the back than at the front – imagine a bit of the rear wheels opened up at the leading edge of the rear wheel well? These comments aside, Steve has created a clean, interesting interpretation here that is quite pleasing.

Twelfth Place: Phil Dauphinee's '59 Chevy.

The '59 and '60 Chevies were common fodder for the customizer forty years ago. A number of radical and more mild versions were built, and Phil's offering for this year neatly taps into the mild custom style pioneered by Gene Winfield for his patron Richard Zoochi. Our entrant has wisely shaved the body sides of the gratuitous factory trim, and removed the baroque ornamentation on the hood and trunk, also. Tat Gotanda-style taillights were installed, and staggered frenched headlights substitute for the bizarre factory units. A subtle fade away paint job adds to the sleek elegance of this model which is emphasized by the minimalist bumpers. Styling Analysis: Phil's work here just emphasizes the serious problems faced by a customizer of this body style: the heavy hood overbite matched to the too-strong character line on the sides of the front fenders really burdens these cars. There might be a radical solution: section the body, at different vertical elevations on the front and rear fenders, move the front fender character upward on the front fenders, and link that character line with the fin line. This would require extending the fin line forward and outward as it transverses the door. Without something like that much work, and opened up wheel wells, neither a stock or custom version of this car is ultimately satisfying.

Thirteenth Place: 1949 Mercury by Ferby Miguel

Ferby's perspective on a traditional custom Mercury presents some interesting style cues, especially the graceful sweep of the chopped top onto the tulip panel. Our builder lowered the top more in the rear than the front and removed the B pillars, reshaped the hood with Hirohata-details, straightened the character line down the side of the body. To introduce some motion to the body, the door lines were rescribed and the lower rear quarter panels were angled upward. '53 Buick-style side trim was added which, at the leading edge, moves the eye toward the reshaped front wheel wells. Though the two-tone paint distracts more than pleases, Ferby's take on a traditional subject is fresh and generally pleasing. And Ferby's self-critique was insightful and well presented.

Styling Analysis: Almost all chopped Mercs are principally characterized by the heavy overhang of the side of the roof, as if small windows and a sleek roof are stylistically parasitic. Why not enlarge the side windows by removing a bit of the roof sides? And why is the windshield so short? Do we have to maintain the hoary backlight shape? The side trim is too heavy and would accomplish as much if just the raised upper lip on the trim were presented. This Merc has a lot to offer: the skirts (which are generally detestable) work really well here and are sensitively shaped. The sweep of the roof is lovely though the heavy rear bumper might have been dispatched in favor of a thinner version. And the reshaped doors are genuinely insightful.

Fourteenth Place: Phil Legg's Custom Truck.

Starting with the Chrysler body, Phil presents an intriguing model. He removed the kit roof and replaced it with a combination of a '57 Chevy backlight (now doing duty as the windshield) and a '53 Ford pick up backlight laid forward. The effect is startling. The side mounted exhaust are fashioned from '40 Ford headlight buckets, and '53 Chevy taillights adorn fenders molded onto a filled tailgate. The front grille was lifted from a '53 Ford.

Styling Analysis: The most dominant custom feature – the new roof – is out of proportion to the body. When viewed from the front, the Chevy window is intriguing but when viewed from the side, but the curvature of the roof, at the A pillar, substantially interferes with visibility. To reduce the heavy body shape, the cab and bed could be sectioned, with another strip removed from the bottom of the fenders, cab and rear fenders. The leading edge of the front clip might benefit from the elimination of the sharp character line, with taller headlights better balancing the massive grille work. It might also be interesting to imagine the tailgate leaned forward to mimic the angle of the back of the cab.

Fifteenth Place: Ira Dahm's Hybrid Chevy.

Deftly combining styling elements from a '57 and '67 Chevy, Ira's offering presents some fascinating ideas. The '57 rear quarter panels emerge from the upswept character line of the later Chevy, and proceed nicely to the tips of the vintage panels. Sagaciously, the trunk drops dramatically downward between the upswept fins, avoiding the heavy bustle look found on early Fifties Oldsmobiles. The inset license plate, just above the molded bumper, is a nice touch and sidesteps the contemporary penchant of manufacturers of uselessly widening the license plate area. The hood picks up the '57 blisters that flank the factory bulge. The deep pearl red finish is a nice touch, and is accentuated by the inset black panel.

Styling Analysis: If this model were just about the cowl and rearward, it would be a nearly unqualified success. However, the front grille area doesn't work. The molded '57 front bumper requires the fenders to drop down too fast, leaving only a heavy, rounded overhang. Visualize '56 Oldsmobile or late model Cordoba headlights sitting just to the outside of the two dagmars. There is also a bit too much clutter on the hood – the factory gunsights could be deleted. The lower chrome trim could be reduced in width by half. Even with these hiccups, this is a very interesting design.

Sixteenth Place: Takahiko Nakakoji's New-Gen Riviera

Takahiko's model is truly outrageous. From the cantilevered roof spine to the Cad Evoque-esque front grille, this sleek '66 Riv certainly proceeds onto fresh territory. The egg-crate grille, planted between extended and angle front fenders, is vaguely evocative of some of Barris' work for Hollywood starlets in the Sixties and is, for that reason, an open invitation to damage and an enemy to ramp angles. However, the incut reveal lines transversing the front fenders, door and descending on the rear quarter panels is great, with the round holes, revealing the rear wheels, evokes some elements of Buggati design from the Thirties. Styling Analysis: Understanding that this model is the visual equivalent of a tone poem, the roof spine remains a distraction and doesn't serve a styling or functional purpose, especially because there is no support structure around the windshield. Additionally, the molded continental kit at the back breaks up the sweep of the trunk and the horizontal taillights; except for the '41 Lincoln (and perhaps not even then), protruding tire housing are a visual jolt. Though there are some styling excesses here, the sweep down down the side of the body, and the extended front and rear fenders (when viewed in profile) are a nice touch.

Seventeenth Place: Rudy DuBord's '68 Cadillac

With a roof lifted from Chezoom kit, our builder dropped the entire assembly onto a Cadillac body relieved of most emblems, door handles and other distracting factory adornments, creating a sleek custom. A white pearl finish, both in and out, adds much to the appeal of this model. The retention of the horizontal side trim is a good move, and the factory front and rear bumpers anchor the identity of this model.

Styling Analysis: Of late, there has been a strong trend to create customs with nouveau art, angular roofs that are too low for the bodies on top of which they perch. On one analysis, this top is too low, way too low. However, let's see what could be done and keep the roof at its present height. First, how about raising the side of the roof so that the line traces the crown of the roof? Second, what about shortening the rear quarter panels, aft of the wheels, by about 25%? Third, let's shorten the front fenders in two places: just forward of the smoothed cowl, and in front of the leading edge of the front wheel well. With those changes, proportions might be established that would get everything back in line with the short, sport roof. Even with these suggested changes, Rudy's slick Cadillac is slick and evocative.

Eighteenth Place: John Mahaffey's '57 Ford

John has sensed a couple of times that the front and rear clips from the Predicta model and a '57 Ford naturally fit together. Taking a real chance this year, our entrant presents a weathered custom suggesting a fate that befalls too many modified cars. There is a graceful sweep to this car, and it's refreshing to see someone taking a chance with their entry.

Styling Analysis: Let's pursue John's vision here a bit: first, let's drop the separate rear grille surround, thereby shortening the rear quarter panels that are too long. Then, let's undercut the back bottom grille shell extension just a bit, and install a twin half-round taillights that would flank three rectangular grille bars. The stock-height roof is a good move, but the heavy roof side molding could be deleted (pick up the simple style of the '57 Club Victoria). About the front clip: perhaps installing canted quad headlights from the Styline version of this Ford kit would work, and permit the deletion of the too-complicated shape above the current grille (Starbird originally considered installing vertical headlights on the Predicta). Final thought: how about a narrowed '60 Starliner back light?

Nineteenth Place: Vern Overby's '64 Ranchero

If there was ever a strange duckling in the Ford line, it was the Falcon-based Ranchero. Vern's version combines an eclectic amalgam of parts to create an interesting, if incongruous, custom version of the small pickup. Combining the rear quarters from a '58 Plymouth, a Sonoma pickup, 911 Porsche and a Cobra roadster, this custom is an oddly engaging piece of work.

Styling Analysis: The rear quarters need to be better integrated into the body – the tips of the fins could have been brought forward to just behind the back of the cab. Or how about shortening the rear quarter panels? The painted panel between the back of the bed and the imported trunk virtually eliminates any utilitarian use to this design. The front valence is too heavy, and drops too low. The flared wheel wells accomplish a lot by relieving the slab sides, and the chrome on the cab is too heavy. Even with these things in mind, there is a certain liveliness about this design.

Twentieth Place: Rod Gorman's '57/'60 Chevy truck.

The creativity exhibited in phantom bodywork continues to intrigue, and is helped along with this interesting proposal. Rod drafted the front and rear clips from the passenger car and installed them onto the truck cab and narrowed bed. The transition between the different shapes has been handled deftly.

Styling Analysis: This is a terrific idea that is hampered by a body that is too tall. Though it would be a lot of work, and require the construction of fresh rear quarter side trim, imagine this with a 3-scale inch section removed from the bulbous body. The front fenders, also, could be a just a bit longer, and what about installing passenger car A pillars and windshield? The rear bumper could be tucked into the bodywork a bit more, too, and, as our builder concedes, dropping the bodywork on a passenger car frame would eliminate the too-high stance. Finally, drop the rear skirts – they're out of place here.

Honorable Mention:

Felton Burton Jr. 1949 Mercury and 1959 Cadillac

Mike Dill: 1999 Silverado Lowrider

Kenan Mark Harper: 1949 Ford

Andy Kellock : '40 Ford Phaeton

Richard Perez: '56 Ford Flam Rod

Derek Redman: '33 Cadillac Towncar

Andy Swindlehurst: 1958 Plymouth

Craig Torgerson: Silverado Limo

Over the Top Category:

We had a few, very wildly styled interesting entries this year that defied classification. Filled with neat, if unrestrained ideas, our contestants are here to inform, amuse and enlighten us with these models.

Kenan Mark Harper: '55 Chevy Belair "Nomad"

Easily the most radical custom ever presented in this contest, Kenan's entry almost defies description. From its unique windscreen to a mid engine design to a buttress-like taillight panel, our entrant has certainly succeeded in creating a swoopy design that pleases and amuses.

Styling Analysis: This is just outrageous. You couldn't see out of the windshield, the bubble roof would make the car undriveable, and the near factory '55 Chevy hood is out of place with the rest of the design, and we could go on. But this entry contains so many really interesting individual styling cues that might be successfully used in another venue that Kenan's work commands respect.

Derek Redman: 1955 Chevy Convertible

Derek combined a Mercedes SLR200 front clip with the back half of a '55 Chevy. Our builder worked hard to reconcile the disparate styling elements by introducing a chrome front chin spoiler and grille.

Styling Analysis: The presentation of a sleek front end and a contemporary spoiler perched above a vintage continental kit is an interesting but confusing. This effort might be aided by a same height rocker panel and a sectioned rear clip. And lose the continental kit and trunk spoiler! Still.... Chevy recently tried a revival of the first Tri-Y Chevy with a retro-concept car (it was just awful) and wasn't nearly as successful as Derek has been.

Jim Stambaugh: 1953 Ford Convertible

Jim's erudite narrative reveals that he was working hard to create a fresh design not tried before. By extending the quad headlights into radical pods and matching that design with a sympathetic taillight design, Jim certainly reached his goal. Reminiscent of the work of John Hychko, this entry harkens back to the wild and woolley days of early Sixties east coast customizing. Styling Analysis: What can we say here? More a bold statement in fanciful design than anything else, Jim's model is certainly evocative. And, the difficult-to-render candy red paint job is first-rate.

Junior Categories:

The Junior Division entries were especially gratifying this year, with a virtual outburst of careful customizing characterizing the entries. Let's take a careful look:

First Place: Joshua Alexander Olm, 1958 Chevy.

An erudite Joshua (16), from Australia, is our top Junior winner for this year. His Chevy hardtop was based upon some careful thinking evidenced by his two-page narrative. Josh removed the distracting roof scoop, the lower quarter panel gingerbread, emblems and door handles. The fins were reduced in height, and wrap around the rear panel to host hand-carved taillights set carefully into recessed openings. It's interesting to note that our young entrant retained the side chrome spear, especially after all window moldings were deleted. Finally, a nice shade of pearl teal compliments the subtle bodywork.

Styling Analysis: Generally, this is a really nice take on a difficult subject. Dropping the chrome trim did really cleaned up the body, though now the roof needs some definition to sidestep a kind of wet putty look. Imagine this car with '62 Pontiac GP side reveals, incut with a single very thin chrome strip. And about the taillights – nothing works in that odd space, but Josh has done as well as anyone, but consider: What if the fins, as they wrap inward around the taillights, continue across the rear panel and join up with the other one? Then, a late model Bonneville-esque taillight could be fashioned and frenched smooth just above the bumper. And what if a thin rear bumper, with slight upcut for a license plate, replaced the factory unit? Josh has done a nice job here.

Second Place: Jamie MacCall 1966 Riviera

Jamie (16) has produced a modest version of the venerable '66 Riviera. The front and rear bumpers were molded to the body, and side trim was removed. Factory headlights were removed, and replaced with round units. All seams were filled, a pancaked hood was fashioned, and a nice candy pearl finish was applied.

Styling Analysis: There's not much to critique here. The round headlights, while innovative, are out of place: perhaps the angle front grille shell could be expanded fender to fender, and some Marchal lights could be installed.

Third Place: Todd Tanselle '86 Chevy El Camino

This understated custom comes from Todd's workshop (he's 16) and is nicely done. All the side trim and window chrome was removed, and the front and rear bumpers were molded to the body. Open mesh grille screen, and two-piece taillights help flesh out a carefully rendered custom.

Styling Analysis: This is a slick piece, but a couple suggestions come to mind: the front valence is too heavy, dropping too closely to the ground. What if the front grille were taller (just drop it a bit beneath the character line). The factory quarter window is just bizarre: what if the windows were filled in and the door shortened (at the rear) just a bit? Still, Todd's offers a clean custom here.

Fourth Place: Daniel Costa 1957 Chevy

Daniel (13) has offered a kind of custom/street machine hybrid. Sagaciously, our young competitor dropped the lower rear quarter side trim, exterior trim and emblems, and permanently placed the forward edge of the hood between the front fenders. Dan also smoothed the top of the front fenders in a move seldom done, and the lights were moved from the fins to the bottom of the rear bumper. Finally, a nicely rendered deep metallic burgundy finish completes the bodywork.

Styling Analysis: Rather than painting all the bumpers in black, it would have been better to have left just a bit of the bright work (by taping off some areas) to balance out the chrome headlights. It's not often that a tubbed street machine shows off custom bodywork, and this version is nicely rendered.

Fifth Place: Mike Dill: '99 Silverado

Mike (17) has created an over the top hoppin' Chevy rig. From its top chopped extended cab, sectioned dash, smoothed front and rear bumpers and grilles, to the high-effort graphics laid over candy red, this is a tour de force from such a young contestant.

Styling Analysis: Though the style of this vehicle permits it, the body literally overwhelms the tire/wheel combo.

Sixth Place: Jim Rollins' '34 Ford

Jim (17) has created a wildly sculptured '34 Roadster that nearly defies description. From the heavily molded front end to the half windscreen, this white roadster sports a tonneau cover, spoke wheels and attitude.

Styling Analysis: The nearly graceful sweep of the headlight/grille area, as well as the curvaceous engine cutout, sweep the front end and should be matched by equally adventurous rear styling. Though more could have been done here, Jim has taken risks that few would engage thereby producing a deceptively engaging model.