An Interview With Eric Black

An Interview With Eric Black

When I was a kid, my dad had a Bill Mitchell penned concept of the 1963 Corvette hanging on his office wall. I think that was the start of my fascination with automotive concept art. I can vividly remember cutting concept sketches out of magazines like Road & Track and Car & Driver and then impatiently waiting for those cars to be introduced at the Detroit Auto Show only to be disappointed when they didn’t come out as low or as sleek as the concept portrayed.

And that’s the thing right? Concept art simulates a car in a perfect world with no manufacturing limitations and no concern for budgets. They are simply a snap shot of a dream… and really, that’s why I love them so much. They represent perfection.

These days, I don’t pay much attention to modern concept art. What I’m really into are the small independent “studios” that render concepts for the custom coach builders of our hot rod industry. Guys like Chip Foose and Thom Taylor create more than just a rendering of an old car. They blend the modern with the old and create real art. It’s a discipline that requires not only an incredible amount of talent with a pencil, but an encyclopedia like knowledge of just about every car to ever come out of a manufacturing plant.

Mixing, matching, profiles, lines… These guys seemingly know it all.

And I think my favorite guy doing this at the moment is Eric Black. I’ve watched his art (he calls it “pragmatic design work”) from a far for quite a while now and a few weeks ago, I gathered enough courage to ask him if he would be willing to do an interview. He obliged and the following is the result:

TJJ: Where did you grow up? 

Eric: I grew up in central Wyoming. Maybe one of the most isolated places in the lower 48 relative to car culture… My parents weren’t car people and hated the idea of travel. As you might imagine, this didn’t lend itself to a proper automotive education or to exposure of it. I’m not bitter or anything….

TJJ: In highschool, what group did you hang with? Were you the artistic skater kid, the jock, the quiet type, the mingler, or?

I was a pretty confused kid in high school. I was still trying to figure things out and bounced around a bit. We had some gear heads in school but we were all scattered in different groups. We all kind of pulled together during our senior year and relied on some of the older gear heads to help us figure it all out. Man, I wish I would have done that differently… asking more, listening more, learning more.

TJJ: On a list of car guy dream jobs and talent aside, I would think that “Automotive Designer” would be pretty high up. And amongst Automotive Designers, I would think your particular brand of illustration (one without production bounds) would be near the top as well. How in the hell did you get into this?

I was pretty ignorant to what the possibilities were. Growing up in Wyoming, I lived through the pages of Hot Rod and Street Rodder. What I was reading about seemed a million miles away. I always had a fascination with cars and I guess held a fascination with design as well, but I wasn’t at all interested in new vehicle design and it didn’t dawn on me that I could actually take an alternative path in automotive design – a path being carved by the likes of Bradley, Taylor, and the best, Stanford. And although I was heavily influenced by their work, achieving what they had done just didn’t seem possible to a kid in the middle of nowhere.

As my technical skills improved I started doing the automotive fine art thing. Works in acrylic and oil on board. I did this in the latter part of high school and a few years beyond. After a while, I was invited to a few car shows that had art shows/auctions. After an all Packard event in ’94 I built up a commission list of Packard pieces that kept me busy for a year. The pieces were accurate, believable works, but looking back they weren’t art in my opinion. They were just carefully conjured images of existing cars. I didn’t enjoy the work, both in process and product.

But because I could draw and paint, I tried to talk myself into being an artist. It’s just that I lacked a sense of imagination that lends itself to a good work of art. An easy comparison is the mind of Weesner.  That is art. I guess what I’m getting at is that I slowly realized that I have a much more pragmatic mind – one that doesn’t work so well in the art world. BUT, one that works quite well in the world of design.

What I didn’t realize about this “Packard Year” is that I was getting my first real education on automotive design, sort of as case study, learning why things work visually and experientially. And again, I was ignorant to the possibilities and although the thought of an Art Center education crossed my mind, the thought of working in the OEM world just wasn’t my thing – plus I didn’t have the money. Instead, I chose architecture and put cars on the back burner while I earned my degree and worked through my first couple years in the field – a very grueling process.

Automotive work sort of crept back in around ’03 as I got my own garage and realized how much I missed the hobby. At the same time, I was growing more and more disenchanted with architecture in the real world. I just started drawing on the side as a creative outlet for my frustrations with architecture. I didn’t have a specific goal in mind, other than to try and get involved with cars that were actually being built. I think that came directly from my negativity toward architecture – I designed many many projects that either didn’t get built or had the very life squeezed out of them through the process of building. As an absolutist in design that is like having your soul ripped from you.

I made a couple connections in the magazine world and after pitching a few ideas, was contracted for a year with VolksWorld magazine to produce design drawings to be used as the center spread. Looking back this was a great opportunity to ease into this type of work. I didn’t need the work as it was basically a hobby that paid every now and then. But yet again I was very ignorant. I think I have a good eye for what makes something work visually, but I lacked an understanding of the history of things.  At that same time I was turned onto this weird Internet forum called the HAMB?  It was there that I sort of found what interested me.  Not anything specific – the look, the feel, the idea. I also met a couple people in Portland that in turn introduced me to some very influential souls. On top of the history lesson I was getting, I was also developing my own design process.

Remember when I said I’m a fairly pragmatic person? While that isn’t the best brain for true art, it does work quite well in the world of design. I started to understand how I could be useful in the industry by helping builders visualize and test ideas, all while bringing my own sense of design to the table. This was a slowly evolving process as I was losing my love for the architecture profession. It worked out great because I was able to build my technical skills over time.

TJJ: Who was your first real paying client?

As far as a first design job goes, I did a couple sponsorship graphic proposals for the Hool brothers in Wyoming when I was in high school.  They were a young NHRA funny car team trying to get in the big leagues in the early ’90s. They’re still racing. Tough business.

But maybe more to the point, my first real car design gig (actual car being built) was for a client of Donn Lowe in ’05.  He had seen a couple pieces that I had done for Rod & Custom thanks to Tim Bernsau. The first project was a ’39 Chevy delivery. It didn’t go so well. His client stiffed me, and bailed on the project. That failure however led to an introduction to Donn and an opportunity to work on a ’40 Ford that was to be heavily customized – later named The Futurama ’40 by the owner. I just stumbled into it again, with ignorance.

I received one hell of an education from Donn on this ’40. In our first meeting he showed me a profile paste up (photograph) of what he planned to do. From there I worked up profile drawings that allowed us to test the various modifications he wanted to make. Being a local project allowed me to have a better understanding of the build process. I learned a ton on that project and quickly realized I have a whole lot more to learn.

TJJ: What’s your favorite finished illustration? 

One of the things I’ve learned is that I’m not married to the drawings. I don’t consider them to be art or illustrations. By considering them simply as design drawings, I am always thinking of the end product, the car being built.

TJJ: I know you can’t answer who your favorite client has been, but what has been your favorite project from start to finish?

I am really drawn to the Mulholland Speedster (Packard roadster) underway at Hollywood Hot Rods for several reasons. Troy Ladd and I have built a very strong relationship over the years. He’s the first builder to really see the value that I bring to the table and has a lot of respect for what I do. The Mulholland car is a tangible example of what can be done if an entire team is on the same page. The car came about in such a laid back organic way and is probably the best example of what I think good design can be. It’s also very well executed. A running joke (with a lot of truth) in the architecture biz is that the biggest part of the job is trying to remind your client why they hired you.  I never feel that way with what I do now.  It’s an empowering feeling.

The Packard Roadster rendered for Hollywood Hot Rods.

TJJ: I can’t imagine how it must feel to see a car in your head, have the talent to illustrate it, and then have the pleasure of seeing it come to life by the hands of some of the best builders in the country. I literally can’t imagine that. What is THAT like specifically? Do you ever take it for granted… Or has it ever just become “work�??

I get to live vicariously through the owners and builders of these cars. It’s a very special thing to get the chance to be involved in projects that I don’t have the skills to build or the money to own. It’s like having a constant backstage pass. I know my role in the process and know its an important role, but I am always aware of how lucky I am to be involved with such talent.

TJJ: Although you do work in all different kinds of genres, you seem to be drawn to the traditional stuff personally. Do you have a project in your head? A dream project?

I always say I’m not a Ford guy, yet that’s all I own. I guess that’s sort of how my design sense works as well. I don’t consider myself to be only a traditionalist, but that is certainly where my sensibilities are. I’ve just always liked old things.

I like to be pushed out of that comfort zone as well and will take on a non traditional project if it appeals to me and if I think I can add value. I’m getting better at saying no to projects that aren’t challenging in that way.I have a million projects dancing around in my head.

I guess right now my dream project is this little T roadster I’m building with my good friend Dave Lyon. It’s just an old hot rod, but that’s just it… an old hot rod is just what I want. The ability to build the car with such a close friend is the best feeling there is. That’s a pretty good dream car, yes?

TJJ: What do you drive recreationally as far as old cars go? Seems like I remember a very bitchin roadster and maybe a unibody Ford?

My daily driver is my ’61 Unibody – 300 six, 5-speed.  Nothing special.  I also have a bone stock 47k mile ’57 Country Sedan for family outings. My ’29 roadster was built by Dave Lyon in Oregon back in the ’80s when I was in Wyoming thumbing through those car magazines which is crazy to think about! He’s changed it over the years and has put well over 100k miles on it. It’s a special car to me because Dave means so much to me. It’s nothing special, but I truly feel lucky to own it. Plus it drives SO well! I’ve made a couple changes to it to get it the look that I want, but its still his car in my mind.

TJJ: In your opinion, what’s the most beautiful design to come out of Detroit? No restrictions on year or model.

I can’t really target a specific vehicle, because they have all had their place in time. I love transition cars, the in-betweeners mainly because they didn’t have everything figured out and they provide opportunity. They were trying fresh ideas while at the same time holding on to pieces of past success. A good example is the ’35/6 Fords. The last year for standbys such as free standing headlights, but a clear lean toward the fat fendered era. And don’t get me started about the fender placement relative to the passenger cell. Clearly some quirks that didn’t get figured out by the production run, but those are areas that allow for some design.

I also love the mid 1960’s Riviera. Such a bold design statement wrapped in restraint. I would have loved to be in the room when ideas like that were formed. If I had to pick a car purely based on design though, I would choose the ’34 Packard – specifically, the LeBaron coach work. The car has a lightness to it not normally seen in other Packards of the time. I’m biased because I have spent considerable time studying the Packard, but owe a lot of my own design sensibilities to these cars, again an education.

TJJ: In your opinion, what’s really the most beautiful motor? It’s the Flathead isn’t it?

Ford 300 six… Kidding!!!  Again, I can’t say there is any one engine that I’m drawn to, but rather I tend to think of engine/car combos. I have had the chance to drive hot rods with different motors. I’m a huge fan of early Cad overheads, as well as Nailheads. I’ve never been a W-engine guy, but now have this ’29 with the 348/tri power. What amazes me is how many people are drawn to the engine in this car – sometimes just random people on the street, and because of this I am much more aware of the connection between the car and it’s engine.I think from pure aesthetic standpoint the Offys are it. They just tell the story of what’s going on inside in such a simple elegant no BS way. I love mechanical pieces that tell a story.

I’m also very impressed with builders that can take a modern engine and put incredible effort to redefine it visually. The Dave Simard built AMBR contender (not my design) comes to mind. If I remember it’s a late model Ford engine, just beautifully detailed. Not for every car, but I do like the idea and design possibilities.

Modern double overhead cam motor using v-belts, a Power Gen, and mechanical looking injection.

TJJ: Put aside cars and art for a moment. What’s your other passion? What else are you into?

I really haven’t done much since diving back into the car world. I also realize that’s not healthy, so I’m starting to step back and look at my life as a whole with the goal of having some balance. I can finally start to appreciate (good) architecture again as the sting of 10 years in the business has started to numb. I look to all things as influence on design, pulling ideas from other realms (furniture, industrial, art, film etc.). I feel like my projects deserve that approach. I am really trying to figure out how to weave travel into my work and family life that makes sense. Speaking of family, we all love to go camping.

TJJ: So you are a family man then?

Yes!  I’ve been married to Shawna 19 years ( holy moly).  Two awesome little girls (Eleanor is 9, Audrey is 4).  They all embrace what I do, even if they don’t quite get it. I recently started selling merchandise as a way to help teach Eleanor (eventually Audrey) the basics of business. Sort of a mini company within the company. I try to involve them as much as possible.

TJJ: Close with a quote about where you want to go and where you want this thing of ours to head in the future. You know… do my job for me.

As mentioned before I tend to stumble into things with a fair amount of ignorance. I’m trying to shape my future with a bit more strategy these days. This comes from (finally!) having a confidence that what I do adds value to the build process and end product. My goal is to simply design the best cars being built, with the best builders, for the best clients regardless of high or low budget, and in the process open some eyes to what is possible in the hands of the talented craftsmen (craftspeople?) that we are lucky to have in our industry.

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