Tom Daniel Unreal Roller AND Groovy Grader 1/24 Scale Model Kit Build Review Vintage Retro 70s

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IF YOU WERE an avid model car builder in the 1960s and ’70s, names like Budd An- derson, George Barris, Ed “Big Daddy”
Roth, Don Emmons, and Tom Daniel are
familiar to you. All of these men were important figures in the hobby. Barris and Roth
were full-size custom car builders who
worked as consultants for the model companies. Budd Anderson, the “Kat from AMT,”
worked on kit development
and promotion at AMT
before he moved to IMC and
later MPC. Don Emmons
was the writer and model
builder who taught many of
us how to model.
Tom Daniel was the artist.
He came up with wild concept designs for the “real car”
magazines like Hot Rod, Car
Craft, and Rod & Custom.
His ideas showed up on several 1:1 custom show cars
like the Barris Surf Woody,
and TV cars like the
Munsters’ Coach and
Dragula, and more than 70 model kits.

While Revell carried many foreign cars and AMT and MPC handled the promo markets (and so moved forward with mostly American car brands), Monogram's emphasis was on aircraft and military vehicles. In the 1970s, however, Monogram started to focus more on hot rods and customs and, in 1961, was the first company to hire a well-known automobile stylist, when Darryl Starbird was brought on board.[8] Similarly, AMT hired customizers George Barris, the Alexander Brothers, and Bill Cushenbery, and MPC had Dean Jeffries. In 1968, Monogram then hired stylist Tom Daniel who designed more than 80 fantastical vehicles, not always based on real cars.[9]

When the company was bought by Mattel in 1968, custom vehicles designed by Daniel and others were seen in both small and large sizes in Hot Wheels diecast - and then in Monogram kit form. Examples seen in both Hot Wheels and Monogram venues were the Ice-T, the Red Baron, the Paddy Wagon, the S'cool Bus, the Sand Crab, and the T'rantula (even made by Mattel subsidiary Mebetoys of Italy).[10] Some of the handsomest vehicles were the simpler rods, like the "Son of Ford" '32 Ford rod and the "Boss 'A' Bone", a rodded '29 Model A pickup. Models of later vehicles were also common in this series, like the sleek "Street Fighter", a Daniel-designed '60 Chevy panel truck powered by a Camaro Z/28 engine (Quicksilver was another variation of the same kit), and the 1955 Chevrolet Bad Man gasser.[10] By around 1970, many of these models were molded in bright reds and oranges and did not require painting.

Monogram offered a variety of more official race cars as well, again often leaving foreign vehicles to Revell which had established a Germany subsidiary. Monogram examples were Tom McEwan's Duster funny car, and its rival the Plymouth Barracuda driven by Don Prudhomme. Of course, both were offered by Mattel as Hot Wheels.

THE EARLY YEARS. Tom started drawing
early. His exposure to the Southern California
car culture in the 1940s and ’50s was a constant source of inspiration. “I was always that kid who got in trouble for drawing cars in
class when I should have been doing schoolwork,” Tom says.
An enlightened high school art teacher
encouraged Tom, and arranged for a field
trip during Tom’s junior year to the Art
Center College of Design in Pasadena, Calif.,
the premier school for automotive designers.
“I was just blown away by the work I saw
there,” Daniel recalls. “I thought it would be so neat
to design cars for General Motors, so I really
started working on building a portfolio. When
I graduated, I applied for admission.”
At the time, the Art Center required two
years of junior college for admission. Fresh
out of high school, Tom didn’t have much
hope of getting in, but he was invited to apply
and was accepted after instructors at the
school reviewed his work and saw his talent.
In 1958, Tom was finishing his studies
when Lynn Wineland, then editor of Rod &
Custom, contacted him about doing custom
car concept sketches for the magazine.
“Lynn Wineland actually came up with
the ‘Sketchpad’ idea,” Daniel said, “and did
some of the first sketchpad articles himself.”
Together they worked up concept ideas and
Tom submitted drawings. The idea was an
immediate success, and Tom began doing
work for other Petersen magazines as well. “I
got 50 bucks a page,” Tom laughs. “It doesn’t
seem like much, but it sure helped with school
expenses.”