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Today the automotive world lost one of its greatests (if not the greatest) legends in car design – Signor Marcello Gandini. Know affectionately as the “Maestro”, his career and achievements aren’t defined by corporate titles, but by the remarkable legacy he leaves behind. Generations have been inspired by his work and will continue to be for many years to come. His extensive portfolio of iconic cars is the stuff every designer dreams of, yet very would ever achieve in a lifetime…
It is merely impossible, nor practical to showcase all of his incredible work in a single post. It will take a lot of writing and images to upload. Therfore, please excuse me, if I haven’t included all of his creations in this single post. However, I am going to do another post looking at his amazing book Marcello Gandini: Maestro of Car Design by Gautan Sen.
Thank you for being such an inspiration. Rest in peace, Maestro!
In the month of October 2023 myself and my dear friend Deyan Denkov had the pleasure to offer one week workshop for the master students in the Bulgarian Academy of Arts in Sofia, Bulgaria.
New Land Rover Defender – sketch examples from the one week workshop for the Master Design Students at the Bulgarian National Academy, Sofia. October 2023
The workshop lasted one week and was organised with the help of, Rangel Chivep, an industrial design professor at the Bulgarian Academy of Arts and open everyone – subject to application. Its primary objective was to enhance the skills of master students through hands-on guidance in car sketching techniques. We delved into fundamental principles such as the essence of volumes and proportions that constitute a compelling car design sketch, emphasizing the significance of developing a strong design theme in order to with a project within the design studio. Students were challenged to propose designs as if they were tasked with reimagining a renowned British icon for Jaguar Land Rover.
Furthermore, we shared invaluable insights gained from our long experience within the Automotive Design industry, shedding light on the operational dynamics of design studios. Through discussions, we shared anecdotes from various projects, elucidating the challenges encountered by designers in the course of a typical day in a Car Design Studio.
I would like to take this opportunity to thank all students who joined the workshop class and especially Rangel Chipev without who this won’t be possible.
From the archives – Jaguar F-Type GT3 proposal. Back when I was part of Jaguarβs Design Team (SVO to be more precise), I worked on everything from mainstream production cars and facelifts to limited-run series (most of which never saw the light of day) – and even wilder projects, like proposing a WEC contender based on the F-Type. Namely the Jaguar F-Type GT3. While not every car designer is a petrolhead, for those of us that are, it was a chance, and an opportunity to help reignite Jaguarβs fading sports car legacy. Especially with the upcoming top of the range F-Type SVR.
These renderings are from a quick 3D model my colleague and I created and visualized in Alias Showcase (for those ones old enough to remember). To pay homage to Jaguar Racingβs last great success, we wrapped the proposal in a Castrol livery inspired by the iconic Jaguar XJR-9. The livery was tricky – it had to be projected as curves on the surface in Alias, since UV texturing in the visualization software was, wellβ¦ beyond my patience at the time.
Design departments are usually the creative driving force in any automotive company and projects often get blocked or cancelled in boardrooms or at the highest levels. This time, though, internal politics within the design studio kept the idea from gaining traction. It never got the support needed to advance further from the design studio – not even as a concept, let alone a full racing program.
Following up my previous post about the Porsche 911 (964) restomod sketches and ideas and still in the mood of celebrating Porsche’s 75th anniversary, here is another shot but this time it’s the legendary and unbeatable Porsche 917K. It would be interesting to see what a street-legal 917K (if such a thing can even be considered in one’s wildest dreams) would look like. Perhaps that’s an idea to go back to? Anyway, I hope you enjoy the Porsche 917K sketches below π
In thisΒ car designer career interview, I reflect on my journey from design student to working with brands like Ferrari and Bentleyβcovering the philosophies, challenges, and lessons learned along the way
Q: After a successful career in some of the biggest automotive companies, you now have your own design studio. Who are your customers? What projects are you working on? Could you please tell us briefly about the most interesting projects of recent years?
A: When I worked as a car designer in the studios of the big automotive companies, I often felt like another cog in the big machine, whose contribution to the final product was minimal for a number of reasons. Itβs different now; my clients include companies and individuals, some not even in the automotive business. In the several years since I have been completely independent, Iβve had the pleasure and rare opportunity to work on projects ranging from concept cars, go-karts, electric scooters, lighting fixtures, limited edition boutique cars, high-performance sports cars, bodykits, restomods, electric cars, medical furniture, and nanosatellites. The work is varied, with each project posing its own unique challenges. Unfortunately, as with major studios, not every promising project sees the light of day. One of the most interesting projects was for the Bulgarian company EnduroSat, a world leader in nanosatellite technology. I never imagined that I would be working on a product destined for space, but it turned out that even in this industry, dictated entirely by space science and engineering, there is room to contribute.
Q: What moment in your life and what event was decisive for your future successful career as an automotive designer?
A: There are moments in a personβs life when decisive choices are made, and sometimes itβs impossible to know whether those choices will lead to success β this clarity often comes after years. Back in 1997, at the age of 13, I decided to turn my passion into a profession, and everything seemed unattainable, let alone a successful end. In those years and specific circumstances (considering that at that time, a monthly salary in Bulgaria was 100-200 Euros, and overseas exotic jobs seemed not only a daydream but extremely naΓ―ve and impractical), considering my qualities and skills, the only realistic option for realization seemed to be architecture. But my late elementary school drawing teacher, Stoyan Dichev, could not accept that path for me. He believed I had too much talent to be fully utilized as an architect. He argued that one should follow their dreams and not waste their God-given gift β in my case, my talent β but use it for its intended purpose. He took a small group of us to the Art School in Kazanlak, where the basics of industrial design are studied β for me, it was one step closer to my still absurd dream. Years later, I realized his pivotal role in my life and how his refusal to let me waste my talent charted my path. Everything afterward was the struggle of a child from Yambol to achieve his dream. The road was difficult and unclear, but the direction was set. I am deeply grateful to him and will pass on this precious life lesson to the next generation.
Q: How do design teams work at major automotive companies? Do they have big teams with lots of designers? Is there competition between designers? Who decides which proposal is to be the winning design? How long does it take to develop a new model?
A: Most car manufacturers have their own design studios, and some even more than one. The need for more than one studio comes from developing products for the local and specific market as well as competing with other studios within the company to win a project. Teams vary greatly in terms of organization, number of people, and even activity. Letβs say a studio of 100 people is average in size and there are no more than 20 designers in it. The rest of the team are clay modelers, 3D CAD modelers and visualisers, engineers, modelers and some administration. But there are also large studios with over 200-300 people working together in one building or several buildings.
Yes, competition is not only there, but it is ruthless. Letβs not forget that we, who come from countries where such professions are not practiced, have to compete not only locally (England, Italy, France, Germany, USA, Japan, etc.) but globally, with everyone who aspires to prove themselves or join a particular company.
Iβd love to say that the best solutions are chosen based on the merits of the design itself or whatβs best for the product/company, but unfortunately, thatβs not always the case. In theory, several designers compete for their proposal to be selected and developed by the team, but this is rarely the reality. As anywhere else, internal politics and intrigues play a significant role in deciding whose design moves forward. Ultimately, the design director of a studio is responsible for the studioβs output and its success. Itβs also their responsibility to defend their teamβs work to the companyβs management. Iβve witnessed many instances where design directors yielded to pressure from senior management, resulting in products with numerous compromises that the company later regretted. The larger the company, the more convoluted these decisions become
The development time for a model varies depending on whether itβs a concept car, a facelift, or a new model. A concept car can take an average of 6-12 months, while a production car typically takes around 18-36 months. Every new model you see on the road was completed at least a year earlier, and its first sketch was made at least 3 years prior!
Q: How are consumer trends and opinions researched?
A: It is crucial for manufacturing companies to thoroughly understand and position their products in the market. Often, company objectives do not align with reality, leading to products that lack competitiveness, regardless of the marketing investment. Each project and design process should start with understanding the target consumers and the productβs function, emphasizing the importance of market research. Human psychology shows that asking 1000 people will yield 1000 opinions, and car design does not adhere to this approach. During certain stages of design development, car companies conduct βclinicsβ where individuals matching the target customer profile review multiple solutions and provide feedback. I personally doubt the effectiveness of this process, and an industry joke comes to mind: βWhat is a camel? Answer: a horse designed by a committee.β Designers are forward-thinking innovators; therefore, studies and statistics are based on existing knowledge or whatβs known to people.
What is the most important feature when designing a new car today, in the 21st century?
A: I wish I could provide a single-word answer, but due to the productβs complexity and its indispensable role in our daily lives, itβs challenging to offer a concise response. Certainly, a modern car must be reliable, technologically advanced, environmentally friendly, and aligned with consumersβ lifestyles. However, itβs crucial to remember that cars in the 21st century are still used by humans. For instance, an interior solely featuring a tablet in the vehicleβs center is not only sterile but also impractical and lacks ergonomic design.
How do new technologies affect car design?
A: Regarding their influence on the work process, I can say that things have become more fast-paced. New technologies donβt inherently make us better designers; in fact, examining cars from the golden era of design in the 60s and 70s illustrates this point clearly.
However, when considering their impact on the final product, itβs a different story. Although new technologies sometimes interfere and create limitations (such as sensors, safety regulations, and more complex hardpoints), the advantages outweigh the drawbacks. A closer look at modern automotive headlights reveals how much technology shapes the end result. Similarly, in interiors, advancements in infotainment systems and CMF (colors, materials & finishes) have made significant strides in less than a decade. Simultaneously, the rise of electric cars and their construction, notably the skateboard platform, introduce possibilities that were previously non-existent
Q: What is more important for the success of a new vehicle model β impressive technical parameters or the emotional impact of the design?
A: It varies, sometimes both are essential. Consider Tesla as an example where, to put it mildly, design takes a backseat. In this market segment, weβre dealing with products featuring groundbreaking technologies that hold a specific purpose and market position, yet emotional purchase considerations, particularly with Tesla, are notably absent. Conversely, boutique sports car manufacturers prioritize factors like acceleration from 0-100km/h or horsepower, but these arenβt the sole drivers behind a customerβs decision β emotional elements play a significant role as well.
Q: How do you see the vehicles of the future being developed?
A: The evolution of cars as products and their application directly correlates with peopleβs lives, and these dynamics are subject to the global situation. Weβre currently witnessing substantial geopolitical shifts and alterations in the world order, significantly impacting energy sources and subsequently altering our lifestyle. This will inevitably shape the automotive sector and determine the future of cars. Despite the European Unionβs autocratic pressure for a complete shift to electric cars, EVs alone donβt provide the sole and ultimate solution for addressing pollution and CO2 emissions. Numerous promising technologies, such as hydrogen or synthetic fuels, hold tremendous potential. While vehicles will always be necessary, the choice of energy source will be pivotal. Equally critical is whether people will embrace change in their vehicle preferences, considering factors like living conditions, the need for autonomous driving, infrastructure availability, and more. We live in a highly dynamic world, making it immensely challenging to predict the exact form and features of future cars. However, one certainty remains: personal transportation will persist, though the extent and form it will take are uncertain
Q: How would you complete the sentence: βGood design isβ¦β
A: Itβs an amalgamation of numerous solutions, tasks, and challenges crafted into an aesthetically pleasing form for the end consumer. Unlike art, where the goal is often self-satisfaction, design involves creating a product that fulfills diverse requirementsβ¦ and ideally contribute with something of yourself.
Q: How do you perceive the future of design?
A: Speaking realistically, our profession emerged during the industrial revolution, driven by the need to enhance and innovate the products surrounding us. Presently, design pervades a significant part of our daily lives, even reaching those unrelated to the field on a subconscious level. Design has become an integral aspect of modern life, and irrespective of future directions, it will hold a central position in various forms and dimensions of our lives.
Charge Cars reimagined the 1967 Ford Mustang Fastback into a modern luxury EV, blending vintage allure with cutting-edge technology.
Let’s talk about the exterior design of the Charge Cars EV. n 2019, I was brought in to provide design services to the London based start-up company for their ambitious EV project: the 1967 Fastback Mustang, or also know as the ’67. Collaborating closely with the Design Director, I assumed a pivotal role in managing various aspects of the design development process. Utilizing my considerable expertise, I played a key part in shaping the direction of Charge Cars’ design studio, ensuring alignment with the project’s objectives and the company’s overarching vision.
Charge Cars ’67 EV, Image Credits: Charge Cars
At the heart of the project was the company owner Denis Sverdlov’s ultimate vision: to modernize the iconic muscle car while preserving its authentic charm eternally. This required a delicate balance between innovation and tradition, with a focus on minimal exterior changes. During the initial sketch phase the Charge Cars EV, we proposed various changes to the car’s exterior, but Mr. Sverdlov’s brief was clear: create a modern interpretation of the iconic muscle car while preserving its original essence. This meant minimal exterior alterations, prioritizing execution and attention to detail. It wasn’t an easy task believe me!
During the process several bodies of the donor car were scanned and utilized partial reverse engineering techniques to optimize the vehicle’s exterior. Carbon fiber panels were strategically incorporated to enhance both aesthetics and performance, while modern features such as flush door handles and bespoke LED lights added a touch of contemporary flair. Notably, the innovative integration of the charging port into the side intake showcased our commitment to seamless design integration. The introduction of a new front grille proudly displaying the Charge logo further emphasized the brand’s identity, while modern wheels and wide tires underscored the vehicle’s formidable presence on the road.
More information about the Charge Cars EV and my involvement in the project you find on my website.
Charge Cars ’67 EV rear end, Image Credits: Charge Cars
My first “proper” iPad Pro sketches. After having it for some years, I never got around to using it for my design work – I usually stick to Wacom Intuos Pro and Photoshop. I must admit I struggle with it and find ProCreate extremely frustrating and fiddly software to work with. The brush settings are eithet too hard or too soft, never right. For something that’s meanth to be a simple app for the iPad – i.e. replace the computer software I find it too bloated with useless settings and. One of the sketches is actually done on Autodesk Sketchbook, which seems more adequate and fit for purpose.
If you want to see more examples of my sketches digital or analogue, please loot at my sketchbook page.
