View allAll Photos Tagged technical
Technic Citroën 2CV Charleston.
This is a heavy MOD of Nico71's version. I bought his instruction and started modding it so it resembles the real car better. Still not perfect :)
The roof line is just 1 stud wide and runs more smoothly.
HOG steering.
seats are different and the front seat have been moved 1 stud backwards and the back seat 2 studs backwards.
And a lot of detail modifications, like the bumpers, door color line.
Just like the original is has steering, ultra soft suspension and opening doors, hood and trunk.
A quick complete re-design / rebuild of my Ideas set done in one afternoon and night.
Now incorportates working steering again.
Reduced total height of front by 1 plate, having to remove all the forward technic chassis to allow for this. Initially reduced all height by 2 plates, but looking at reference and plans again, as this is now 1 stud longer than my original, 1 plate lower seemed to be proportionate.
Adjusted ride height of front axle / steering.
Closed rear arches together as per original design.
Shaped and strengthend nose cone.
Corrected bonnet vents and side vents.
Closed gap between bonnet and nose cone.
Re-worked headlight assemblies
Re-worked seats to stop being all black cockpit, added harnesses.
Repositioned / strengthend dash - windshield, altered handbrake to not be so chunky, reduced size of mirrors to be more proportionate.
Strengthend internal floor, removed all floor studs, filed gaps.
Re-worked rear tonneau cover slightly, removing the offset steps under it, smoothed out the rollbar supports. (Will re-work this so they attach to the body, allowing them to stay in place when tonneau removed...when I get more time!)
Added decals!!!..ya know I love em! ;)
See if you can spot anything else that I've forgotten!
I must add, that I absolutely love the standard set considering the limitations that TLG have to work to and this in no way is trying to address what the model should have been....its just not possible within their constraints.
I, however, am able to take it back and put my mark on it, to get it closer to my original designs.
I've tried to keep it more in line with the standard set, rather than just completely re-building it to one of my original concept designs with a yellow colour change....if that makes any sense?
I had to do it first!....not that I've had much time recently ;)
See this, along with the standard set and real Caterham Seven 620R at the Brickish STEAM museum show www.greatwesternbrickshow.com/ THIS coming weekend (1st -2nd Oct)
The set goes live for sale this weekend and I'll be doing box signings throughout, if you should so happen to want one....or not! ;)
LEGO Technic Porsche 911 GT3 RS has 2704 pieces, and will be available starting June 1 via LEGO.com and select LEGO stores in Germany and Austria. It will see wider release in retail stores beginning in August. It will retail for $299 USD.
All-digital this year (and for the foreseeable future), though I tried.
Backstory: As a war for the masks of power ravages the land of Okoto, a being of legend, Irei the Valkyrie, has appeared. Irei has one purpose, slay Diaa, the corrupt Predecessor of Light, and any who stand in her way.
Cursed with immortality by the Mask of Life when she was just a child, Irei . But with immortality only comes pain. Irei has died a thousand deaths only to be resurrected and has lived thousands of years alone. Irei hunts those that seek the mask’s life giving power and eliminates them so that they too will not be cursed by the mask. Irei carries weapons gathered from the various cultures and ages which she has visited. Her sword, Randgrid is one of only a few weapons that can destroy the Mask of Life, and Irei carries it in hopes that one day she will be able to destroy the mask and end the cycle of immortality. She just needs to find the entrance to the dark realm in which the mask is sealed.
Abilities and Tools: Irei uses various tools to aid her in battle. She uses Reginleif Levitation Gear to fly freely and seemingly defy gravity in combat. She wields Eir and Randgrid, her shield and sword. Eir can absorb any blow without breaking, and Randgrid can fire powerful lasers from its tip. Irei wears a mask of translation, allowing her to speak to anyone in any age. Irei has mysterious powers granted to her by the Mask of Life. While the full extent of her powers are unknown even to her, some of her known powers are enhanced speed, agility, and strength. Despite her delicate appearance, she is strong enough to wield her two-handed sword, Randgrid, with one hand. She seems to be able charge energy over time and use that energy to activate abilities such as teleporting short distances, healing, or releasing explosive shockwaves. Her most significant trait is her immortality given to her by the mask of life. While she is not invincible and she can “die”, she will always resurrect and heal when given enough time.
Two more photos of my last commissioned model : a classic style Technic tractor.
Instructions in my shop:
www.baronsat.net/baronshop/instructions-lego-technic-trac...
Designed specially for Moscow Technic Festival on Aug, 26, this Scania Topline truck is powered with a pair of large motors, servo steering, remote control and return-to-centre saddle for easier coupling. The manual functions are presented with openable doors and cab, as well as rear door of the trailer with locking mechanism.
The trailer itself is equipped with another receiver as well as 2 medium motors for coupling / decoupling and outriggers + brake system. Apart from own weight and batteries, the truck is capable to transport at least 1kg extra load, which was the requirement for Rig'n'Roll competition back at the festival.
Hopefully, the video of coupling and driving process (as well as the whole challenge with other contestants) will be published soon - there were enough people filming this whole thing :D
Release: Summer 2016
2,704 pieces
US $299.99 - CA $349.99 - DE 299.99€ - UK £249.99 - DK 2599.00 DKK
More information and pics up: THE BRICK TIME
Need bricks? Visit our stores:
and new
Technical information
The weight of the car:
1400 kg
Engine capacity :
3.2 litre
Power :
60 hp (45 kW).
Amount of cilinders :
6
Historie
Date of first admission : 1932
Date of first registration in the Netherlands 1992
Date of second of registration in the Nederlands: 2019
So, what is it different from a huge number of other aircraft tugs? To date, this is the first and only representative of the fourth generation because, of course, the best. When we first met, he immediately strike dimensions: length 14.5 m, width of 4.35 m and a height of 2.32 m (without exhaust system) weight of the truck is 70 tons. From him and breathes inside hidden power. And really – his eight-cylinder turbo diesel 12 liters develops immodest 1550 HP Thanks to this power and the latest double-circuit transmission MAT is able to move with a full load at a speed of 25 km/h. For comparison, the maximum speed of most existing tractors under load does not exceed 10 km/h Maximum speed without load is 60 km/h. Such a high rate (at standard tractors it is twice less) allows the machine to quickly and autonomously change their location, especially if to remember its weight and dimensions. Standard ground clearance of the machine is only 14 cm, but the developer is going to release sarojadevi off-road version. Despite the impressive size, the MAT has a high maneuverability thanks to its independent front and rear steering. The new system of smooth adjustment of the angle of the course allows us to reduce the load on the tires when maneuvering and significantly increase their service life. Speaking of tires – even this would not have happened without the revolutionary technologies! They are made from the latest super wear-resistant material – nitrofuranto. Its main feature is the nonlinear elasticity, so engineers were able to abandon the conventional hydraulic suspension and saved so much space and weight. In particular, a tank for hydraulic and, accordingly, oil consumption were reduced by 30%.
The MAT is equipped with two reeving winches, which are able to operate in tap mode in the presence of the outer boom. To ensure stability in the tap mode, and to simplify maintenance (try replacing the wheel with a diameter of 1.8 meters at a 70-ton machine), the machine is equipped with hydraulic full-lift jacks. The winch shafts structurally integrated into the carrying frame of the tractor, ensuring reliable operation and safety.
The MAT is freely extensible platform. In the front of the machine removed oil seals for hydraulic connections, and at the rear of additional mechanical drive. The manufacturer offers as attachments huge blade and the outer jib-crane. Dozer will be especially useful in winter, as the performance of such a machine an order of magnitude greater than that of conventional snow removal equipment. Because the blade is completely beyond the operator's line of sight, the cabin is equipped with hydraulic lifting devices.
Needless to say, the cab operators meet the most modern standards of ergonomics. The touch pad, robotic CAT, review FullHD camera, sound insulation, climate control – everything is done for the best possible experience. Controls the main and auxiliary cabins are fully duplicated, so that the control can be done from any location.
Now, when I talked a bit about the original (photos, unfortunately, are not), you can go to my model. Scale 1:19, just under tech-figure. Accordingly, the following model dimensions: length without attachment – 76,5 cm, width (without/with mirrors) – 23/26 cm, height (without/with exhaust pipes) – 13/15 cm, weight – 4,45 kg. On creation took about a month and a half.
The VFW-614, of which only 19 were ever produced, and only a handful survive. This example resides at Kemble Airfield / Cotswold Airport where it is used for aeronautical engineering training at Lufthansa Technik.
SR-30 Spectre
Spyrius ground assault vehicle with jet engines that allow it to reach supersonic speeds. It has 4-wheel drive, 4-wheel steering, V6 engine and dual-sided suspension on both the top and bottom. Inspired by the racing games Grip and Rollcage, it can flip over and drive upside down on a tunnel ceiling.
Are you ready to burn some rubber, fellow Lego motorbike lovers? If your answer is Yes, buckle up and get ready to rock the highway on the new BMW.
Okay, but I must warn you: This café racer is ready for intense throttle twisting .
Inspiration: BMW R75/5 DS
Features including front and rear suspension,a two speed gearbox (with neutral first and second speed), cardan shaft, working steering, a BMW style boxer engine with moving pistons, and a kickstand as well as other smaller details: a big fuel tank, exhaust, a seat, headlight, etc.
Laois County Fire and Rescue service ford Transit Technical Rescue Unit World Rescue Challenge Fire Service College 2014
WEEK 44 – Wolfchase Sears Closing, Set X (UL)
Happy College GameDay, Memphis! I say this not as a sports fan (since I’m not one) but rather as a proud area citizen, who is happy Memphis got to enjoy the privilege of having College GameDay hosted on Beale Street today. Of course, the show’s probably already over by the time I’m even posting these pictures, but I’m writing the description you’re reading on Wednesday night (i.e. three days ago), so all in all it’s probably a wash :P And speaking of washes – whaddya know, here’s a shot of what was left of the bath department at the now-closed Wolfchase Sears as of my December 10th, 2018, visit! Terrible segue, I know XD But don’t worry, I can make it even worse: looks like all the merchandise had *washed away* when I took this pic! (Sorry not sorry…)
(c) 2019 Retail Retell
These places are public so these photos are too, but just as I tell where they came from, I'd appreciate if you'd say who :)
Distance - and sunshine - lends enchantment
View from the front of the school [ first floor ] towards Easton Street.
Drawing is a form of visual art in which a person uses various drawing instruments to mark paper or another two-dimensional medium. Instruments include graphite pencils, pen and ink, inked brushes, wax color pencils, crayons, charcoal, chalk, pastels, various kinds of erasers, markers, styluses, various metals (such as silverpoint) and electronic drawing.
A drawing instrument releases small amount of material onto a surface, leaving a visible mark. The most common support for drawing is paper, although other materials, such as cardboard, plastic, leather, canvas, and board, may be used. Temporary drawings may be made on a blackboard or whiteboard or indeed almost anything. The medium has been a popular and fundamental means of public expression throughout human history. It is one of the simplest and most efficient means of communicating visual ideas.[1] The wide availability of drawing instruments makes drawing one of the most common artistic activities.
In addition to its more artistic forms, drawing is frequently used in commercial illustration, animation, architecture, engineering and technical drawing. A quick, freehand drawing, usually not intended as a finished work, is sometimes called a sketch. An artist who practices or works in technical drawing may be called a drafter, draftsman or a draughtsman.[2]
Drawing is one of the major forms of expression within the visual arts. It is generally concerned with the marking of lines and areas of tone onto paper/other material, where the accurate representation of the visual world is expressed upon a plane surface.[3] Traditional drawings were monochrome, or at least had little colour,[4] while modern colored-pencil drawings may approach or cross a boundary between drawing and painting. In Western terminology, drawing is distinct from painting, even though similar media often are employed in both tasks. Dry media, normally associated with drawing, such as chalk, may be used in pastel paintings. Drawing may be done with a liquid medium, applied with brushes or pens. Similar supports likewise can serve both: painting generally involves the application of liquid paint onto prepared canvas or panels, but sometimes an underdrawing is drawn first on that same support.
Madame Palmyre with Her Dog, 1897. Henri de Toulouse-Lautrec
Galileo Galilei. Phases of the Moon. 1616.
Drawing is often exploratory, with considerable emphasis on observation, problem-solving and composition. Drawing is also regularly used in preparation for a painting, further obfuscating their distinction. Drawings created for these purposes are called studies.
There are several categories of drawing, including figure drawing, cartooning, doodling, free hand and shading. There are also many drawing methods, such as line drawing, stippling, shading, the surrealist method of entopic graphomania (in which dots are made at the sites of impurities in a blank sheet of paper, and lines are then made between the dots), and tracing (drawing on a translucent paper, such as tracing paper, around the outline of preexisting shapes that show through the paper).
A quick, unrefined drawing may be called a sketch.
In fields outside art, technical drawings or plans of buildings, machinery, circuitry and other things are often called "drawings" even when they have been transferred to another medium by printing.
History[edit]
Drawing as a Form of Communication Drawing is one of the oldest forms of human expression, with evidence for its existence preceding that of written communication.[5] It is believed that drawing was used as a specialised form of communication before the invent of the written language,[5][6] demonstrated by the production of cave and rock paintings created by Homo sapiens sapiens around 30,000 years ago.[7] These drawings, known as pictograms, depicted objects and abstract concepts.[8] The sketches and paintings produced in prehistoric times were eventually stylised and simplified, leading to the development of the written language as we know it today.
Drawing in the Arts Drawing is used to express one's creativity, and therefore has been prominent in the world of art. Throughout much of history, drawing was regarded as the foundation for artistic practise.[9] Initially, artists used and reused wooden tablets for the production of their drawings.[10] Following the widespread availability of paper in the 14th century, the use of drawing in the arts increased. At this point, drawing was commonly used as a tool for thought and investigation, acting as a study medium whilst artists were preparing for their final pieces of work.[11][12] In a period of artistic flourish, the Renaissance brought about drawings exhibiting realistic representational qualities,[13] where there was a lot of influence from geometry and philosophy.[14]
The invention of the first widely available form of photography led to a shift in the use of drawing in the arts.[15] Photography took over from drawing as a more superior method for accurately representing visual phenomena, and artists began to abandon traditional drawing practises.[16] Modernism in the arts encouraged "imaginative originality"[17] and artists' approach to drawing became more abstract.
Drawing Outside the Arts Although the use of drawing is extensive in the arts, its practice is not confined purely to this field. Before the widespread availability of paper, 12th century monks in European monasteries used intricate drawings to prepare illustrated, illuminated manuscripts on vellum and parchment. Drawing has also been used extensively in the field of science, as a method of discovery, understanding and explanation. In 1616, astronomer Galileo Galilei explained the changing phases of the moon through his observational telescopic drawings.[16] Additionally, in 1924, geophysicist Alfred Wegener used illustrations to visually demonstrate the origin of the continents.The medium is the means by which ink, pigment or color are delivered onto the drawing surface. Most drawing media are either dry (e.g. graphite, charcoal, pastels, Conté, silverpoint), or use a fluid solvent or carrier (marker, pen and ink). Watercolor pencils can be used dry like ordinary pencils, then moistened with a wet brush to get various painterly effects. Very rarely, artists have drawn with (usually decoded) invisible ink. Metalpoint drawing usually employs either of two metals: silver or lead.[20] More rarely used are gold, platinum, copper, brass, bronze, and tinpoint.
Paper comes in a variety of different sizes and qualities, ranging from newspaper grade up to high quality and relatively expensive paper sold as individual sheets.[21] Papers can vary in texture, hue, acidity, and strength when wet. Smooth paper is good for rendering fine detail, but a more "toothy" paper holds the drawing material better. Thus a coarser material is useful for producing deeper contrast.
Newsprint and typing paper may be useful for practice and rough sketches. Tracing paper is used to experiment over a half-finished drawing, and to transfer a design from one sheet to another. Cartridge paper is the basic type of drawing paper sold in pads. Bristol board and even heavier acid-free boards, frequently with smooth finishes, are used for drawing fine detail and do not distort when wet media (ink, washes) are applied. Vellum is extremely smooth and suitable for very fine detail. Coldpressed watercolor paper may be favored for ink drawing due to its texture.
Acid-free, archival quality paper keeps its color and texture far longer than wood pulp based paper such as newsprint, which turns yellow and become brittle much sooner.
The basic tools are a drawing board or table, pencil sharpener and eraser, and for ink drawing, blotting paper. Other tools used are circle compass, ruler, and set square. Fixative is used to prevent pencil and crayon marks from smudging. Drafting tape is used to secure paper to drawing surface, and also to mask an area to keep it free of accidental marks sprayed or spattered materials and washes. An easel or slanted table is used to keep the drawing surface in a suitable position, which is generally more horizontal than the position used in painting.
Technique[edit]
Raphael, study for what became the Alba Madonna, with other sketches
Almost all draftsmen use their hands and fingers to apply the media, with the exception of some handicapped individuals who draw with their mouth or feet.[22]
Prior to working on an image, the artist typically explores how various media work. They may try different drawing implements on practice sheets to determine value and texture, and how to apply the implement to produce various effects.
The artist's choice of drawing strokes affects the appearance of the image. Pen and ink drawings often use hatching—groups of parallel lines.[23] Cross-hatching uses hatching in two or more different directions to create a darker tone. Broken hatching, or lines with intermittent breaks, form lighter tones—and controlling the density of the breaks achieves a gradation of tone. Stippling, uses dots to produce tone, texture or shade. Different textures can be achieved depending on the method used to build tone.[24]
Drawings in dry media often use similar techniques, though pencils and drawing sticks can achieve continuous variations in tone. Typically a drawing is filled in based on which hand the artist favors. A right-handed artist draws from left to right to avoid smearing the image. Erasers can remove unwanted lines, lighten tones, and clean up stray marks. In a sketch or outline drawing, lines drawn often follow the contour of the subject, creating depth by looking like shadows cast from a light in the artist's position.
Sometimes the artist leaves a section of the image untouched while filling in the remainder. The shape of the area to preserve can be painted with masking fluid or cut out of a frisket and applied to the drawing surface, protecting the surface from stray marks until the mask is removed.
Another method to preserve a section of the image is to apply a spray-on fixative to the surface. This holds loose material more firmly to the sheet and prevents it from smearing. However the fixative spray typically uses chemicals that can harm the respiratory system, so it should be employed in a well-ventilated area such as outdoors.
Another technique is subtractive drawing in which the drawing surface is covered with graphite or charcoal and then erased to make the image.[25]
Tone[edit]
Line drawing in sanguine by Leonardo da Vinci
Shading is the technique of varying the tonal values on the paper to represent the shade of the material as well as the placement of the shadows. Careful attention to reflected light, shadows and highlights can result in a very realistic rendition of the image.
Blending uses an implement to soften or spread the original drawing strokes. Blending is most easily done with a medium that does not immediately fix itself, such as graphite, chalk, or charcoal, although freshly applied ink can be smudged, wet or dry, for some effects. For shading and blending, the artist can use a blending stump, tissue, a kneaded eraser, a fingertip, or any combination of them. A piece of chamois is useful for creating smooth textures, and for removing material to lighten the tone. Continuous tone can be achieved with graphite on a smooth surface without blending, but the technique is laborious, involving small circular or oval strokes with a somewhat blunt point.
Shading techniques that also introduce texture to the drawing include hatching and stippling. A number of other methods produce texture. In addition to the choice of paper, drawing material and technique affect texture. Texture can be made to appear more realistic when it is drawn next to a contrasting texture; a coarse texture is more obvious when placed next to a smoothly blended area. A similar effect can be achieved by drawing different tones close together. A light edge next to a dark background stands out to the eye, and almost appears to float above the surface.
Form and proportion[edit]
Pencil portrait by Ingres
Measuring the dimensions of a subject while blocking in the drawing is an important step in producing a realistic rendition of the subject. Tools such as a compass can be used to measure the angles of different sides. These angles can be reproduced on the drawing surface and then rechecked to make sure they are accurate. Another form of measurement is to compare the relative sizes of different parts of the subject with each other. A finger placed at a point along the drawing implement can be used to compare that dimension with other parts of the image. A ruler can be used both as a straightedge and a device to compute proportions.
When attempting to draw a complicated shape such as a human figure, it is helpful at first to represent the form with a set of primitive volumes. Almost any form can be represented by some combination of the cube, sphere, cylinder, and cone. Once these basic volumes have been assembled into a likeness, then the drawing can be refined into a more accurate and polished form. The lines of the primitive volumes are removed and replaced by the final likeness. Drawing the underlying construction is a fundamental skill for representational art, and is taught in many books and schools. Its correct application resolves most uncertainties about smaller details, and makes the final image look consistent.[26]
A more refined art of figure drawing relies upon the artist possessing a deep understanding of anatomy and the human proportions. A trained artist is familiar with the skeleton structure, joint location, muscle placement, tendon movement, and how the different parts work together during movement. This allows the artist to render more natural poses that do not appear artificially stiff. The artist is also familiar with how the proportions vary depending on the age of the subject, particularly when drawing a portrait.
Perspective[edit]
Linear perspective is a method of portraying objects on a flat surface so that the dimensions shrink with distance. Each set of parallel, straight edges of any object, whether a building or a table, follows lines that eventually converge at a vanishing point. Typically this convergence point is somewhere along the horizon, as buildings are built level with the flat surface. When multiple structures are aligned with each other, such as buildings along a street, the horizontal tops and bottoms of the structures typically converge at a vanishing point.
Two-point perspective drawing
When both the fronts and sides of a building are drawn, then the parallel lines forming a side converge at a second point along the horizon (which may be off the drawing paper.) This is a two-point perspective.[27] Converging the vertical lines to a third point above or below the horizon then produces a three-point perspective.
Depth can also be portrayed by several techniques in addition to the perspective approach above. Objects of similar size should appear ever smaller the further they are from the viewer. Thus the back wheel of a cart appears slightly smaller than the front wheel. Depth can be portrayed through the use of texture. As the texture of an object gets further away it becomes more compressed and busy, taking on an entirely different character than if it was close. Depth can also be portrayed by reducing the contrast in more distant objects, and by making their colors less saturated. This reproduces the effect of atmospheric haze, and cause the eye to focus primarily on objects drawn in the foreground.
Artistry[edit]
Chiaroscuro study drawing by William-Adolphe Bouguereau
The composition of the image is an important element in producing an interesting work of artistic merit. The artist plans element placement in the art to communicate ideas and feelings with the viewer. The composition can determine the focus of the art, and result in a harmonious whole that is aesthetically appealing and stimulating.
The illumination of the subject is also a key element in creating an artistic piece, and the interplay of light and shadow is a valuable method in the artist's toolbox. The placement of the light sources can make a considerable difference in the type of message that is being presented. Multiple light sources can wash out any wrinkles in a person's face, for instance, and give a more youthful appearance. In contrast, a single light source, such as harsh daylight, can serve to highlight any texture or interesting features.
When drawing an object or figure, the skilled artist pays attention to both the area within the silhouette and what lies outside. The exterior is termed the negative space, and can be as important in the representation as the figure. Objects placed in the background of the figure should appear properly placed wherever they can be viewed.
Drawing process in the Academic Study of a Male Torso by Jean-Auguste-Dominique Ingres (1801, National Museum, Warsaw)
A study is a draft drawing that is made in preparation for a planned final image. Studies can be used to determine the appearances of specific parts of the completed image, or for experimenting with the best approach for accomplishing the end goal. However a well-crafted study can be a piece of art in its own right, and many hours of careful work can go into completing a study.
Process[edit]
Individuals display differences in their ability to produce visually accurate drawings.[28] A visually accurate drawing is described as being "recognized as a particular object at a particular time and in a particular space, rendered with little addition of visual detail that can not be seen in the object represented or with little deletion of visual detail”.[29]
Investigative studies have aimed to explain the reasons why some individuals draw better than others. One study posited four key abilities in the drawing process: perception of objects being drawn, ability to make good representational decisions, motor skills required for mark-making and the drawer's own perception of their drawing.[29] Following this hypothesis, several studies have sought to conclude which of these processes are most significant in affecting the accuracy of drawings.
Motor function Motor function is an important physical component in the 'Production Phase' of the drawing process.[30] It has been suggested that motor function plays a role in drawing ability, though its effects are not significant.[29]
Perception It has been suggested that an individual's ability to perceive an object they are drawing is the most important stage in the drawing process.[29] This suggestion is supported by the discovery of a robust relationship between perception and drawing ability.[31]
This evidence acted as the basis of Betty Edwards' how-to drawing book, Drawing on the Right Side of the Brain.[32] Edwards aimed to teach her readers how to draw, based on the development of the reader's perceptual abilities.
Furthermore, the influential artist and art critic John Ruskin emphasised the importance of perception in the drawing process in his book The Elements of Drawing.[33] He stated that "For I am nearly convinced, that once we see keenly enough, there is very little difficult in drawing what we see".
Visual memory has also been shown to influence one's ability to create visually accurate drawings. Short-term memory plays an important part in drawing as one’s gaze shifts between the object they are drawing and the drawing itself.[34]
My inspiration for this image came from the “I Love Lucy” episode where Lucy gets a little behind on some bills and Ricky decides to get a business manager for her. After taking money to pay all of the essential bills, the manager leaves Lucy with just $5 to spend on food and other extras for herself. Obviously, Lucy schemed to get around this budget, and wound up with a huge bill to the grocery store at the end of the month…but, it got me thinking. Could she really have made $5 stretch as a food budget that month? Not quite, but close…was the answer I gleaned from a quick Google search. In the 50’s a gallon of milk was, on average, only 82 cents, a loaf of bread only 14 cents, and a gallon of gas…get this…only 20 cents! Today you can’t even put together a single meal with that same $5.
An animated gif of the edit as well as more photos from the shoot are on my blog: www.lauracolephoto.com/creative-pet-photography-no-8-in-f...
Technically, these are rings, but this image is actually a continuation of this series: flic.kr/p/T6Nahv
Hasselblad SWC
Kodak Ektachrome 100
Taking on this new technic challenge, futuristic motorcycle. After STEM Fest this weekend its back to figure making with Sentinel and Lockdown
Screenshot showing SF Contest No. of entries before voting commences (technical issue)
See the text "There are 308 entries in this contest". Also note that the contest is "now closed for voting" - that's because this screenshot was captured before it officially opened for voting - at which time there were 292 entries in the contest. Presumably the others were tossed out before it opened, for whatever reason.
[SF Contest No]
Motorized Lego Technic APC with 2 PF Motor M (Steering and drive), 1 PF LED lights, 1 PF IR Sensor and 1 Lithium Battery
I should have given the film a bit more speed or a bit longer in the second developer bath. But you know I'm okay with this dark moody look and feel. I took a bit of work in post processing to get some details out, but overall, it looks like Tech Pan!
Minolta Maxxum 9 - Minolta Maxxum AF 20mm 1:2.8 - Kodak Technical Pan @ ASA-80
Diafine (Stock) 3:00 + 0:45 @ 20C
Scanner: Epson V700 + Silverfast 9 SE
Editor: Adobe Photoshop CC
The Cadillac Eldorado is a personal luxury car that was manufactured and marketed by Cadillac from 1953 to 2002 over ten generations. Competitors and similar vehicles included the Lincoln Mark series, Buick Riviera, Oldsmobile Toronado and Chrysler's Imperial Coupe.
The Eldorado was at or near the top of the Cadillac line during early model years. The original 1953 Eldorado convertible and the Eldorado Brougham models of 1957–1960 were the most expensive models that Cadillac offered those years, and the Eldorado was never less than second in price after the Cadillac Series 75 until 1966. Eldorados carried the Fleetwood designation from 1965 through 1972.
NAME
The nameplate Eldorado is a contraction of two Spanish words that translate as "the gilded (i.e., golden) one" — and also refers to El Dorado, the mythical South American "Lost City of Gold" that fascinated Spanish explorers.
Chosen in an internal competition for a 1952 concept vehicle celebrating the company's golden anniversary, the name Eldorado was proposed by Mary-Ann Marini (née Zukosky), a secretary in Cadillac's merchandising department — and was subsequently adopted for a limited-edition convertible for model year 1953.
Palm Springs Life magazine incorrectly attributes the name to the Eldorado Country Club in Indian Wells, California, a favorite resort of General Motors executives in the Coachella Valley — though the resort opened in 1957, five years after Cadillac's own naming competition.
Cadillac began using the nameplates 'Eldorado Seville' and 'Eldorado Biarritz' to distinguish between the hardtop and convertible models (respectively) while both were offered, from 1956 through 1960 inclusively. The 'Seville' name was dropped when the hardtop was initially discontinued (1961), but the Biarritz name continued through 1964. Beginning 1965, the Eldorado became the 'Fleetwood Eldorado'. 'Biarritz' returned as an up level trim package for the Eldorado for 1977.
FIRST GENERATION (1953)
The Cadillac Series 62 Eldorado joined the Oldsmobile 98 Fiesta and Buick Roadmaster Skylark as top-of-the-line, limited-production specialty convertibles introduced in 1953 by General Motors to promote its design leadership. A special-bodied, low-production convertible (532 units in total), it was the production version of the 1952 El Dorado "Golden Anniversary" concept car. Along with borrowing bumper bullets (aka dagmars) from the 1951 GM Le Sabre show car, it featured a full assortment of deluxe accessories and introduced the wraparound windshield and a cut-down beltline to Cadillac standard production.
The expansive frontal glass and distinctive dip in the sheetmetal at the bottom of the side windows (featured on one or both of GM's other 1953 specialty convertibles) were especially beloved by General Motors' styling chief Harley Earl and subsequently widely copied by other marques. Available in four unique colors (Aztec red, Alpine white, azure blue and artisan ochre — the last is a yellow hue, although it was shown erroneously as black in the color folder issued on this rare model). Convertible tops were available in either black or white Orlon. AC was an option, as were wire wheels. The car carried no special badging other than a gold-colored "Eldorado" nameplate in the center of the dash. A hard tonneau cover, flush with the rear deck, hid the convertible top in the open car version.
Although technically a subseries of the Cadillac Series 62 based on the regular Series 62 convertible, sharing its engine, it was nearly twice as expensive at US$7,750. The 5,610 mm long, 2,030 mm wide vehicle came with such standard features as windshield washers, a signal seeking radio, power windows, and a heater. The Eldorado comprised only 5% of Cadillac's sales in 1953.
SECOND GENERATION (1954–1956)
In 1954, Eldorado lost its unique sheet metal and shared its basic body shell with standard Cadillacs. Distinguished now mainly by trim pieces, this allowed GM to lower the price and see a substantial increase in sales. The Eldorados had golden identifying crests centered directly behind the air-slot fenderbreaks and wide fluted beauty panels to decorate the lower rear bodysides. These panels were made of extruded aluminum and also appeared on a unique one of a kind Eldorado coupé built for the Reynolds Aluminum Corporation. Also included in the production Eldorado convertible were monogram plates on the doors, wire wheels, and custom interior trimmings with the Cadillac crest embossed on the seat bolsters. Two thousand one hundred and fifty Eldorados were sold, nearly four times as many as in 1953.
For 1955, the Eldorado's body gained its own rear end styling with high, slender, pointed tailfins. These contrasted with the rather thick, bulbous fins which were common at the time and were an example of the Eldorado once again pointing the way forward. The Eldorado sport convertible featured extras such as wide chrome body belt moldings and twin round taillights halfway up the fenders. Sales nearly doubled to 3,950.
For 1956, a two-door hardtop coupé version appeared, called the Eldorado Seville at which point the convertible was named the "Eldorado Biarritz". An Eldorado script finally appeared with fender crest on the car which was further distinguished by twin hood ornaments. An extra feature on the Eldorado convertible was a ribbed chrome saddle molding extending from the windshield to the rear window pillar along the beltline. With the addition of the Seville, sales rose yet again to 6,050 of which 2,150 were Sevilles. Eldorados accounted for nearly 4% of all Cadillacs sold.
THIRD GENERATION (1957-1960)
1957 saw the Eldorado (in both convertible and Seville hardtop bodystyles) with a revised rear-end design featuring a low, downswept fenderline capped by a pointed, in-board fin. The rear fenders were commonly referred to as "chipmunk cheeks". This concept was used for two years, but did not spawn any imitators. Series 62 Eldorados (as distinct from the Series 70 Eldorado Brougham) were further distinguished by the model name above a V-shaped rear deck ornament and on the front fenders. The rear fender and deck contour was trimmed with broad, sculptured stainless steel beauty panels. Also seen were "shark" style fins pointing towards the back of the cars. A three section built in front bumper was another exclusive trait of the Series 62 Eldorados, which came with a long list of standard features. Four specially-built 4-door hardtop Eldorado Sedan Sevilles were also built in 1957.
1957 was chiefly notable for the introduction of one of GM's most memorable designs, the Series 70 Eldorado Brougham. Announced in December 1956 and released around March 1957, the Eldorado Brougham was a hand-built, limited car derived from the Park Avenue and Orleans show cars of 1953-54. Designed by Ed Glowacke, it featured the first appearance of quad headlights and totally unique trim. The exterior ornamentation included wide, ribbed lower rear quarter beauty panels extending along the rocker sills and rectangularly sculptured side body "cove" highlighted with five horizontal windsplits on the rear doors. Tail styling treatments followed the Eldorado pattern. This four-door hardtop with rear-hinged rear doors was an ultra-luxury car that cost an astonishing $13,074 — twice the price of any other 1957 Eldorado and more than the Rolls-Royce Silver Cloud of the same year. It featured a stainless steel roof, self leveling air suspension, the first automatic two-position "memory" power seats, a dual four-barrel V-8, low-profile tires with thin white-walls, automatic trunk opener, cruise control, high-pressure cooling system, polarized sun visors, electric antenna, automatic-release parking brake, electric door locks, dual heating system, silver magnetized glovebox, drink tumblers, cigarette and tissue dispensers, lipstick and cologne, ladies' compact with powder puff, mirror and matching leather notebook, comb and mirror, Arpège atomizer with Lanvin perfume, automatic starter with restart function, Autronic Eye, drum-type electric clock, power windows, forged aluminum wheels and air conditioning. Buyers of Broughams had a choice of 44 full-leather interior and trim combinations and could select such items as Mouton, Karakul or lambskin carpeting.
There were serious difficulties with the air suspension, which proved troublesome in practice. Some owners found it cheaper to have it replaced with conventional coil springs.
The 1957 Eldorado Brougham joined the Sixty Special and the Series 75 as the only Cadillac models with Fleetwood bodies although Fleetwood script or crests did not appear anywhere on the exterior of the car, and so this would also mark the first time in 20 years that a Fleetwood-bodied car was paired with the Brougham name. The 1957-58 Eldorado Brougham also marked the return of the Cadillac Series 70, if only briefly. Only 400 Eldorado Broughams were sold in 1957.
An all-transistor signal-seeking car radio was produced by GM's Delco Radio and was first available for the 1957 Eldorado Brougham models, which was standard equipment and used 13 transistors in its circuitry.
For 1958, GM was promoting their fiftieth year of production, and introduced Anniversary models for each brand; Cadillac, Buick, Oldsmobile, Pontiac, and Chevrolet. The 1958 models shared a common appearance on the top models for each brand; Cadillac Eldorado Seville, Buick Roadmaster Riviera, Oldsmobile Holiday 88, Pontiac Bonneville Catalina, and the all-new Chevrolet Bel-Air Impala.
On 1958 2-door Eldorados, a V-shaped ornament and model identification script were mounted to the deck lid. Two-door Eldorados also had ten vertical chevron slashes ahead of the open rear wheel housings and crest medallions on the flank of the tailfins. Broad, sculptured beauty panels decorated the lower rear quarters on all Series 62 Eldorados and extended around the wheel opening to stretch along the body sills. All-new was a special-order Series 62 Eldorado Seville, of which only one was actually built.
The major changes to the Eldorado Brougham in 1958 were seen inside the car. The interior upper door panels were finished in leather instead of the metal finish used in 1957. New wheel covers also appeared. Forty-four trim combinations were available, along with 15 special monotone paint colors. A total of 304 Eldorado Broughams were sold in 1958. 1958 was the last year for the domestic production of the handbuilt Brougham at Cadillac's Detroit factory, as future manufacturing of the special bodies was transferred to Pininfarina of Turin, Italy.
The 1959 Cadillac is remembered for its huge sharp tailfins with dual bullet tail lights, two distinctive rooflines and roof pillar configurations, new jewel-like grille patterns and matching deck lid beauty panels. In 1959 the Series 62 became the Series 6200. De Villes and 2-door Eldorados were moved from the Series 62 to their own series, the Series 6300 and Series 6400 respectively, though they all, including the 4-door Eldorado Brougham (which was moved from the Series 70 to Series 6900), shared the same 3,302 mm wheelbase. New mechanical items were a "scientifically engineered" drainage system and new shock absorbers. All Eldorados were characterized by a three-deck, jeweled, rear grille insert, but other trim and equipment features varied. The Seville and Biarritz models had the Eldorado name spelled out behind the front wheel opening and featured broad, full-length body sill highlights that curved over the rear fender profile and back along the upper beltline region. Engine output was an even 345 hp (257 kW) from the 6.4 L engine. Standard equipment included power brakes, power steering, automatic transmission, back-up lamps, windshield wipers, two-speed wipers, wheel discs, outside rearview mirror, vanity mirror, oil filter, power windows, six way power seats, heater, fog lamps, remote control deck lid, radio and antenna with rear speaker, power vent windows, air suspension, electric door locks and license frames. The Eldorado Brougham also came with Air conditioning, automatic headlight dimmer, acruise control standard over the Seville and Biarritz trim lines.
The 1960 Cadillacs had smoother, more restrained styling. General changes included a full-width grille, the elimination of pointed front bumper guards, increased restraint in the application of chrome trim, lower tailfins with oval shaped nacelles and front fender mounted directional indicator lamps. External variations on the Seville two-door hardtop and Biarritz convertible took the form of bright body sill highlights that extended across the lower edge of fender skirts and Eldorado lettering on the sides of the front fenders, just behind the headlamps. Standard equipment included power brakes, power steering, automatic transmission, dual back-up lamps, windshield wipers, two-speed wipers, wheel discs, outside rearview mirror, vanity mirror, oil filter, power windows, six-way power seats, heater, fog lamps, Eldorado engine, remote control trunk lock, radio with antenna and rear speaker, power vent windows, air suspension, electric door locks, license frames, and five whitewall tires. Technical highlights were finned rear drums and an X-frame construction. Interiors were done in Chadwick cloth or optional Cambray cloth and leather combinations. The last Eldorado Seville was built in 1960.
A different Eldorado Brougham was sold for 1959 and 1960. These cars were not quite so extravagantly styled but were very unusual pieces in themselves. Priced at $13,075, they cost $1 more, each, than their older siblings. The company contracted out the assembly to Pininfarina of Italy, with whom the division has had a long-running relationship, and these Eldorados were essentially hand-built in Italy. Ironically only now did it acquire Fleetwood wheel discs and doorsill moldings, presumably because the design work and final touches were still being done by Fleetwood. Discreet, narrow taillights integrated into modest tailfins, and a squared-off rear roof line with rear ventiplanes caused the Italian-built Brougham to contrast sharply to the rounded roof lines, and especially the new "rocketship" taillights and flamboyant fins of the standard 1959 Cadillacs, which are a feature only of that year. A vertical crest medallion with Brougham script plate appeared on the front fenders and a single, thin molding ran from the front to rear along the mid-sides of the body. It did not sport Eldorado front fender letters or body sill headlights. A fin-like crest, or "skeg," ran from behind the front wheel opening to the rear of the car on the lower bodysides and there were special crest medallions on the trailing edge of the rear fenders. The Brougham's styling cues would prove to indicate where standard Cadillac styling would head from 1960 through the early-mid-1960s. The standard equipment list was pared down to match those of other Eldorados, plus Cruise Control, Autronic Eye, air conditioning and E-Z Eye glass. The Brougham build-quality was not nearly to the standard of the Detroit hand-built 1957–1958 models, and thus the 1959–1960 Broughams did not sell as well as their forebears. However, collector interest and values for these cars remain high. The Eldorado Brougham was moved to its own unique Series 6900 for its remaining two years.
The 1960 Cadillac Eldorado Biarritz 6467E is featured as Maurice Minnifield's vehicle in the 1990s television series Northern Exposure.
FOURTH GENERATION (1961–1964)
Cadillac was restyled and re-engineered for 1961. The Eldorado Biarritz convertible was technically reclassified as a subseries of the De Ville (Series 6300), a status it would keep through 1964. An Eldorado convertible would remain in the Cadillac line through 1966, but its differences from the rest of the line would be generally more modest. The new grille slanted back towards both the bumper and the hood lip, along the horizontal plan, and sat between dual headlamps. New forward slanting front pillars with non-wraparound windshield glass were seen. The Eldorado Biarritz featured front series designation scripts and a lower body "skeg" trimmed with a thin three quarter length spear molding running from behind the front wheel opening to the rear of the car. Standard equipment included power brakes, power steering, automatic transmission, dual back up lights, windshield washer, dual speed wipers, wheel discs, plain fender skirts, outside rearview mirror, vanity mirror, oil filter, power windows, 6-way power bench seat or bucket seats, power vent windows, whitewall tires, and remote control trunk lock. Rubberized front and rear coil springs replaced the trouble prone air suspension system. Four-barrel induction systems were now the sole power choice and dual exhaust were no longer available. With the Seville and Brougham gone sales fell to 1,450.
A mild face lift characterized Cadillac styling trends for 1962. A flatter grille with a thicker horizontal center bar and more delicate cross-hatched insert appeared. Ribbed chrome trim panel, seen ahead of the front wheel housings in 1961, were now replaced with cornering lamps and front fender model and series identification badges were eliminated. More massive front bumper end pieces appeared and housed rectangular parking lamps. At the rear tail lamps were now housed in vertical nacelles designed with an angled peak at the center. A vertically ribbed rear beauty panel appeared on the deck lid latch panel. Cadillac script also appeared on the lower left side of the radiator grille. Standard equipment included all of last year’s equipment plus remote controlled outside rearview mirror, heater and defroster and front cornering lamps. Cadillac refined the ride and quietness, with more insulation in the floor and behind the firewall.
In 1963 Eldorado Biarritz joined the Cadillac Sixty Special and the Cadillac Series 75 as the only Cadillac models with Fleetwood bodies and immediately acquired Fleetwood crests on its rear quarters[26] and Fleetwood rocker panel moldings. The 1963 Eldorado was also the first Fleetwood bodied convertible since the Cadillac Series 75 stopped offering four- and two-door convertible body styles and production of the Cadillac Series 90 (V16) ceased in 1941. In overall terms the 1963 Cadillac was essentially the same as the previous year. Exterior changes imparted a bolder and longer look. Hoods and deck lids were redesigned. The front fenders projected 4.625 inches further forward than in 1962 while the tailfins were trimmed down somewhat to provide a lower profile. Body side sculpturing was entirely eliminated. The slightly V-shaped radiator grille was taller and now incorporated outer extensions that swept below the flush-fender dual headlamps. Smaller circular front parking lamps were mounted in those extensions. The Eldorado also had a rectangular grid pattern rear decorative grille. A total of 143 options including bucket seats with wool, leather or nylon upholstery fabrics and wood veneer facings on dash, doors and seatbacks, set an all-time record for interior appointment choices. Standard equipment was the same as the previous year. The engine was entirely changed, though the displacement and output remained the same, 6.4 l and 325 hp (242 kW).
It was time for another facelift in 1964 and really a minor one. The main visual cue indicating an Eldorado Biarritz was simply the lack of fender skirts. New up front was a bi-angular grille that formed a V-shape along both its vertical and horizontal planes. The main horizontal grille bar was now carried around the body sides. Outer grille extension panels again housed the parking and cornering lamps. It was the 17th consecutive year for the Cadillac tailfins with a new fine-blade design carrying on the tradition. Performance improvements including a larger V8 engine were the dominant changes for the model run. Equipment features were same as in 1963 for the most part. Comfort Control, a completely automatic heating and air conditioning system controlled by a dial thermostat on the instrument panel, was introduced as an industry first. The engine was bumped to 7 l, with 340 hp (253.5 kW) available. Performance gains from the new engine showed best in the lower range, at 30 to 80 km/h traffic driving speeds. A new technical feature was the Turbo-Hydramatic transmission, also used in the De Ville and the Sixty Special.
FITH GENERATION (1965–1966)
The Eldorado became a Fleetwood sub-series in 1965, although there was strictly speaking no separate Fleetwood series at this time. It was consequently marketed as the Cadillac Fleetwood Eldorado, in a similar fashion to the Cadillac Fleetwood Series 75 and the Cadillac Fleetwood Sixty Special. The Biarritz nomenclature was finally dropped from sales literature, probably because there was no need to distinguish the convertible from the long absent Seville and Brougham. This was the last generation to be installed with rear wheel drive.
In 1966 changes included a somewhat coarser mesh for the radiator grille insert, which was now divided by a thick, bright metal horizontal center bar housing rectangular parking lamps at the outer ends. Separate rectangular side marker lamps replaced the integral grille extension designs. There was generally less chrome on all Cadillac models this year. Cadillac crests and V-shaped moldings, front and rear, were identifiers. Cadillac "firsts" this season included variable ratio steering and optional front seats with carbon cloth heating pads built into the cushions and seatbacks. Comfort and convenience innovations were headrests, reclining seats and an AM/FM stereo system. Automatic level control was available. Engineering improvements made to the perimeter frame increased ride and handling ease. Newly designed piston and oil rings and a new engine mounting system and patented quiet exhaust were used.
SIXTH GENERATION (1967–1970)
The Eldorado was radically redesigned in 1967 to capitalize on the burgeoning era's personal luxury car market. Promoted as a "personal" Cadillac, it shared the E-body with the second-generation Buick Riviera and the Oldsmobile Toronado, which had been introduced the previous year. To enhance its distinctiveness, Cadillac adopted the Toronado's front-wheel drive Unified Powerplant Package, adapted to a standard Cadillac 429 V8 coupled to a Turbo-Hydramatic 425 automatic transmission. Based on the Turbo-Hydramatic 400, the THM425 placed the torque converter next to the planetary gearbox, which it drove through a metal, motorcycle-style roller chain. Disc brakes were optional, and new standard safety equipment included an energy absorbing steering column and generously padded instrument panel. The Unified Powerplant Package was later shared with the GMC Motorhome starting in 1972.
The new Eldorado was a great departure from the previous generation, which had become little more than a dressed-up version of Cadillac's De Ville. Its crisp styling, initiated by GM styling chief Bill Mitchell, was distinctive and unique, more angular than the streamlined Riviera and Toronado. This was the only production Cadillac to be equipped with concealed headlights behind vacuum operated doors.
Performance was 0–60 mph (0–96 km/h) in less than nine seconds and a top speed of 120 mph (192 km/h). Roadability and handling were highly praised by contemporary reviews, and sales were excellent despite high list prices. Its sales of 17,930 units, nearly three times the previous Eldorado high, helped give Cadillac its best year ever.
In 1968, the Eldorado received Cadillac's new 375 hp (280 kW) (SAE gross) 7.7 L V8, and disc brakes became standard. Only slight exterior changes were made to comply with new federal safety legislation. Sales set another record at 24,528, with Eldorados accounting for nearly 11% of all Cadillacs sold.
In 1969 hidden headlamps were eliminated, and a halo vinyl roof was available as an option, joined later in the model year by a power sunroof.
In 1970 the Eldorado introduced the new 8.2 L V8 engine, the largest-ever production V8, rated SAE gross 400 hp (298 kW) and 550 lb·ft (746 N·m), which would remain exclusive until it became standard on all full size Cadillacs in the 1975 model year.
SEVENTH GENERATION (1971–1978)
The Eldorado underwent a substantial redesign in 1971, growing two inches in length but six in wheelbase. The result was a rounder, much heavier looking automobile, made even more rotund by the return of standard fender skirts. While Eldorado door glass remained frameless, the hardtop rear quarter windows were deleted, replaced by a fixed "opera window" in the widened "C" pillar. A convertible model rejoined the line-up. This 126.3-inch (3,210 mm) wheelbase version Eldorado would run through 1978, receiving facelifts in 1973 and 1975. Sales in 1971 set a new record at 27,368.
In 1972 sales rose to 40,074.
Performance was not competitive with contemporary premium personal luxury cars. However, none but the Lincoln were 6 passenger vehicles.
In 1973 the Eldorado was removed from the Fleetwood series and reestablished as its own series. The '73 models received a facelift featuring new front and rear bumpers, egg-crate grille, decklid, rear fenders and taillamps.
The Cadillac Eldorado was chosen as the pace car for the Indy 500 in 1973. Cadillac produced 566 of these special pace car convertibles. Thirty-three were used at the track during the race week, with the remainder distributed to U.S. Cadillac dealers one per dealership. Total sales soared to 51,451, over a sixth of all Cadillac sales.
1974 models featured a redesigned rear bumper, to meet the new 5 mile impact federal design regulation. Styling changes include horizontal taillamps, and a fine mesh grille. Inside, there was a new, redesigned instrument panel, marketed in sales literature as "space age" and shared with all 1974 Cadillacs.
For 1975, the Eldorado was given rectangular headlamps, full rear wheel openings sans fender skirts and crisper lines which resulted in a much sleeker appearance reminiscent of the 1967-70 models.
In 1976 GM heavily promoted the Eldorado convertibles as "the last American convertible". Some 14,000 would be sold, many purchased as investments. The final 200 were designated as "Bicentennial Edition" commemorating America's 200th birthday. These cars were white with a dual-color red/blue pinstripe along the upper bodyside. When GM reintroduced Eldorado convertibles for the 1984 model year, owners of 1976 Eldorados felt they had been deceived and launched an unsuccessful class action lawsuit.
In 1977 the Eldorado received a new grille with a finer crosshatch pattern. The convertible was dropped (although Custom Coach of Lima, Ohio converted a few new 1977 and 1978s Eldorados into coach convertibles using salvaged parts from earlier models). The 8.2L V8 of 1970-76 gave way to a new 7L V8 with 180 bhp (134 kW). For the first time in 1977 all GM E-body cars were front-wheel drive, as the Riviera underwent a two-year hiatus before joining them in 1979.
A new grille was the only major change in 1978. The Eldorado was totally redisigned for 1979.
ELDORADO BIARRITZ
Unlike the Cadillac Sixty Special and De Ville, Eldorado did not have a unique luxury package to provide it with a title change (such as the "d'Elegance" package). This was rectified in mid-year 1976 with the Biarritz package. A unique trim feature of Biarritz, a name that had not been used since the 1964 model year (although the Eldorado was Fleetwood bodied from the 1963 model year on, the Fleetwood designation was only applied to all Eldorados produced from the 1965 through 1972 model years) was a brushed stainless steel roof covering the front passenger compartment for model years 1979-1985. This was a styling cue reminiscent of the 1957/58 Eldorado Brougham. The rear half of the roof was covered with a heavily padded landau vinyl top accented with large "opera" lights. The interior featured "pillowed"-style, "tufted" velour or leather seating, with contrasting piping, along with an array of other options available.
The 1978 Biarritz option packages consisted of the Eldorado Custom Biarritz ($1,865.00); w/Astroroof ($2,946.00); w/Sunroof ($2,746.00) and Eldorado Custom Biarritz Classic ($2,466.00); w/Astroroof ($3,547.00); w/Sunroof ($3,347.00).
For the 1978 Eldorado model year only, 2,000 Eldorado Custom Biarritz Classics were produced in Two-Tone Arizona Beige/Demitasse Brown consisting of 1,499 with no Astroroofs or no Sunroofs; 475 with Astroroofs; 25 with Sunroofs and one (1) was produced with a Power Sliding T-Top. Only nine of the latter are known to have been retrofitted by the American Sunroof Company under the direction of General Motors' Cadillac Motor Division.
The Biarritz option stayed with the Eldorado through the 1991 model year. Some of the original styling cues vanished after the 1985 model year, such as the brushed stainless steel roofing and the interior seating designs, but the Biarritz remained unique just the same.
EIGHTH GENERATION (1979–1985)
A new, trimmer Eldorado was introduced for 1979, for the first time sharing its chassis with both the Buick Riviera and Oldsmobile Toronado. Smaller, more fuel efficient 350 and 368 in³ (5.7 and 6.0 L) V8's replaced the 500 and 425 in³ (8.2 and 7.0 L) engines. A diesel 350 was available as an option.
In 1980, the gas 350 was replaced with the 368 except in California, where the Oldsmobile 350 was used. In both the 1980 Seville and Eldorado (which shared frames) the 368s came with DEFI (later known as throttle body injection when it was later used with other GM corporate engines), whereas in the larger RWD Cadillacs it came only with a 4-barrel Quadrajet carburetor. Independent rear suspension was adopted, helping retain rear-seat and trunk room in the smaller body. The most notable styling touch was an extreme notchback roofline. The Eldorado Biarritz model resurrected the stainless-steel roof concept from the first Brougham. The Eldorado featured frameless door glass, and the rear quarter windows re-appeared as they did before 1971, without a thick "B" pillar. The cars were not true hardtops, as the rear quarter windows were fixed. Sales set a new record at 67,436.[citation needed]
For 1981, Cadillac offered the V8-6-4 variable displacement variant of the 368 engine, which was designed to deactivate some cylinders when full power was not needed, helping meet GM's government fuel economy ("CAFE") averages. It was a reduced bore version of the 1968 model-year 472, sharing that engine's stroke and also that of the model-year 1977–1979 425. The engine itself was extremely rugged and durable, but its complex electronics were the source of customer complaints.
Another engine was introduced for 1982. The 4.1 L HT-4100 was an in-house design that mated cast-iron heads to an aluminum block. Some HT-4100s were replaced under warranty.
From 1982 through 1985, Cadillac offered an 'Eldorado Touring Coupe', with heavier duty suspension, alloy wheels, blackwall tires, minimal exterior ornamentation and limited paint colors. These were marketed as 'driver's cars' and included bucket seats and a center console.
In 1984, Cadillac also introduced a convertible version of Eldorado Biarritz. It was 91 kg heavier featuring the same interior as other Biarritz versions. The model year of 1985 was the last year for the ASC, Inc., aftermarket conversion Eldorado convertible. Total sales set an all-time record of 77,806, accounting for about 26% of all Cadillacs sold.
Prior to the 'official' 1984 and 1985 Eldorado convertibles marketed by Cadillac, some 1979-83 Eldorados were made into coach convertibles by independent coachbuilders e.g. American Sunroof Corporation, Custom Coach (Lima, Ohio - this coachbuilder turned a few 1977 and 1978 Eldorados into convertibles), Hess & Eisenhardt. The same coachbuilders also converted the Oldsmobile Toronado and Buick Riviera into a ragtop.
Late in the 1985 model year, an optional 'Commemorative Edition' package was announced, in honor of the last year of production for this version of the Eldorado. Exclusive features included gold-tone script and tail-lamp emblems, specific sail panel badges, gold-background wheel center caps, and a "Commemorative Edition" badge on the steering wheel horn pad. Leather upholstery (available in Dark Blue or White, or a two-tone with Dark Blue and White) was included in the package, along with a Dark Blue dashboard and carpeting. Exterior colors were Cotillion White or Commodore Blue.
NINTH GENERATION (1986–1991)
The Eldorado was downsized again in 1986. In a fairly extreme makeover it lost about 16" in length and some 350 pounds in weight. Just like in previous generations, the Eldorado shared its chassis with the Oldsmobile Toronado and Buick Riviera, as well as Eldorado's four-door companion, the Cadillac Seville. However, the coupés from Buick and Oldsmobile both utilized Buick's 3.8 liter V6 engine, while Cadillac continued to use their exclusive 4.1 liter V8. The convertible bodystyle was ceded to the Cadillac Allanté roadster.
The $24,251 Eldorado was now the same size that GM's own compact cars had been only a few years earlier, and considerably smaller than Lincoln's competing Mark VII, and no similar offering from Chrysler as the Imperial coupe was discontinued in 1983. Its styling seemed uninspired and stubby, and in a final unfortunate flourish, for the first time the Eldorado abandoned its "hardtop" heritage and featured framed door glass. News reports later indicated that GM had been led astray by a consultant's prediction that gasoline would be at $3 per gallon in the U.S. by 1986, and that smaller luxury cars would be in demand. In fact, gasoline prices were less than half that. With a sales drop of 60%, seldom has any model experienced a more precipitous fall. Production was only about a fifth of what it had been just two years earlier.
Aside from a longer, 5 year/50,000 mile warranty, Eldorado received very few changes for 1987. A price drop, to $23,740, did not raise sales any, as only 17,775 were made this year (21,342 for 1986). The standard suspension, with new taller 75 series (previously 70) tires and hydro-elastic engine mounts, was slightly retuned for a softer ride, while the optional ($155) Touring Suspension, with deflected-disc strut valves and 15" alloy wheels, remained for those desiring a firmer ride. As part of a federal requirement to discourage "chop-shop" thieves, major body panels were etched with the VIN. Also new, a combination cashmere cloth with leather upholstery, and locking inertia seat belt reels for rear seat passengers, which allowed for child-seat installation in the outboard seating positions in back. The formal cabriolet roof was added this year. Available for $495 on the base Eldorado, it featured a padded covering over the rear half of the roof, and turned the rear side glass into smaller opera windows. One of Eldorado's most expensive singluar options was the Motorola cellular telephone mounted inside the locking center arm rest. Priced at $2,850, it had been reworked this year for easier operation, and featured a hidden microphone mounted between the sun visors for hands-free operation. Additionally, the telephone featured a clever radio mute control: activated when the telephone and radio were in use at the same time, it automatically decreased the rear speaker's audio volume, and over-rode the front music speakers to be used for the hands-free telephone. On an interesting note, the square marker lamp, located on the bumper extension molding just behind the rear wheel well on 1986 and '87 Eldorado models, would suddenly re-appear on the 1990 & '91 Seville (base models only) and Eldorado Touring Coupé.
1988 was met with an extensive restyle, and sales nearly doubled from the previous year, up to 33,210. While the wheelbase, doors, roof, and glass remained relatively unchanged, new body panels gave the 1988 model a more identifiable "Eldorado" appearance. Now available in just 17 exterior colors (previously 19), the new Eldorado was 3" longer than last year. Underneath the restyled hood was Cadillac's new 155 horsepower 4.5 liter V8. A comprehensive anti-lock braking system, developed by Teves, was newly available. Longer front fenders held "bladed" tips, and a new grille above the revamped front bumper. In back, new three-sided tail lamps - reminiscent of the 1987 Deville - appeared along with a new bumper and trunk lid. Bladed 14" aluminum wheels remained standard, while an optional 15" snowflake-pattern alloy wheel was included with the Touring Suspension option. The interior held wider front seat headrests and swing-away door pull handles (replacing the former door pull straps). New upholstery patterns, along with shoulder belts for outboard rear-seat passengers, appeared for both base and Biarritz models, with the latter bringing back the tufted-button design - last seen in the 1985 Eldorado Biarritz. A new vinyl roof option, covering the full roof top, featured a band of body color above the side door and windows - similar to the style used until 1978. This replaced the "cabriolet roof" option, which covered the rear half of the roof, introduced just a year earlier. With the Biarritz option package, the padded vinyl roof covered just the rear quarter of the roof top, behind the rear side windows. Biarritz also included slender vertical opera lamps, as in 1986 and '87, but now added a spear molding (similar to the style used on the 1976 - 1985 Eldorado Biarritz) that ran from the base of the roof top, continuing horizontally along the door, and down to the front fender tip. The standard power antenna was moved from the front passenger fender to the rear passenger fender. Pricing went up this year - to $24,891. This 1988 restyle would be the last, until the model was replaced by an all-new Eldorado for 1992.
TENTH GENERATION (1992–2002)
The 1992 Eldorado was all new, drawing both interior and exterior styling cues from the 1988 Cadillac Solitaire show car. It was significantly larger than its predecessor – approximately 11" longer, 3" wider, and substantially heavier. Window glass was once again frameless, and shortly after introduction Cadillac's new Northstar V8 became available in both 270 and 295 hp (220 kW) variants, replacing the 200 hp (150 kW) 4.9 L. Sales were up, though never again at record heights.
The Eldorado continued for the rest of the decade with incremental changes and tapering sales. A passenger side airbag was added as standard equipment in 1993. Styling was freshened in 1995, with updated bumpers front and rear, side cladding, and a new grille. In 1996, the interior received attention, with a new upholstery style, larger analog gauge cluster, relocated climate control system, updated stereo faces and standard daytime running lights. The ETC receives rain-sensing wipers called "Rainsense."
In 1997, the Integrated Chassis Control System was added. It involved microprocessor integration of engine, traction control, Stabilitrak electronic stability control, steering, and adaptive continuously variable road sensing suspension CVRSS, with the intent of improving responsiveness to driver input, performance, and overall safety. Similar to Toyota/Lexus Vehicle Dynamics Integrated Management VDIM.
In the wake of declining sales, circulating reports that the Eldorado would get a redesign for 1999 — similar to that which the Seville underwent for 1998 — would prove false as the car soldiered on largely unchanged into the new millennium, although it did get some upgrades from the 1999 Seville.
The car was sold under Cadillac ETC (Eldorado Touring Coupe) and ESC (Eldorado Sport Coupe) trim.
In 2001 GM announced that the Eldorado's 50th model year (2002) would be its last. To mark the end of the nameplate, a limited production run of 1,596 cars in red or white - the colors available on the original 1953 convertible - were produced in three batches of 532, signifying the Eldorado's first year of production. These last cars featured specially tuned exhaust notes imitating their forerunners from a half-century earlier, and a dash-mounted plaque indicating each car's sequence in production.
Production ended on April 22, 2002, with the Lansing Craft Centre retooled to build the Chevrolet SSR.
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