VIEWS: 22 PAGES: 3 CATEGORY: Engineering & Energy POSTED ON: 6/25/2010
When NHRA founder Wally Parks submitted a letter to the editor of another publication praising their coverage of the Winternationals and the accompanying artwork of then struggling art student John Jodauga, the foundation was laid for a partnership that has spanned four decades and counting.
W hen NHRA founder Wally Parks submitted a letter to the editor of another publication praising their coverage of the Winternationals and the accompanying artwork of then struggling art student John Jodauga, the foundation was laid for a partnership that has spanned four decades and counting. A celebration of the 50th anniversary of National DRAGSTER wouldn’t be complete The first full-color illustration covers began to appear in 1970 and were without a look back at a few of the many renderings created by resident artist and most commonly used for national event special editions. The 1970 ND Associate Editor Jodauga, whose first National DRAGSTER cover drawing Supernationals piece, a favorite of John Jodauga’s, depicted a full-color, debuted in 1970. head-on shot of a Barracuda Funny Car, inspired by John Mazmanian’s “The man who played a major role in finding use for my illustrations was Wally entry, combined with a sepia-tone rendering of the huge tower and Parks,” said Jodauga. “Just as he was the mentor for all of the National DRAGSTER grandstands at the old Ontario Motor Speedway, where the original editors, from Dick Wells to Phil Burgess, Wally was a great help to me in not only Supernationals was held. coming up with ideas for drawings but also providing strong direction in selecting the style for each assignment. Wally was a firm believer in the importance of graphics as an element to promote NHRA, and I was very fortunate to be able to work with him during that period.” ND Beginning with the April 14, 1970, issue and lasting through the late 1970s, ND covers featured illustrations of each week’s PROfile subject. The illustrations were done in black-and-white pen and ink but were often printed with a duotone process that infused the rendering with a second color. Virtually every drawing was made from a photograph shot by the late Leslie Lovett, ND’s longtime photo editor. “Lovett’
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