When appropriate, I credit the artist that I copied and the artist who inspired me through my journey to find my niche in the art world. The one exception is the BADAUTO project. Only Porsche, Bata Mataja, and my name are mentioned because we were the reasons that the BADAUTO came to fruition. Individuals who worked with me on the first BADAUTO prototype are too many to name, all the while keeping the reader's attention. All who contributed their time and knowledge were monetarily compensated. The third and fourth prototypes and all other BADAUTOS sold to customers are assembled by me. In 2026, the BADAUTO will be ready for the retail automotive art market.

Born in 1956, my earliest involvement with art was at the age of two. That's what my mother told me. My father (Bob) Robert, and mother (Elly) Eleanor, were casual artists like my grandmothers and great-grandmother. My older brother, Monte, created art when he was of public school age. My wife Linda was a casual artist, though she was a child prodigy with the piano until fifteen years old, then she stopped. Shane, my oldest child, has periodic interest in art since before he was one year old. Shilo, my daughter, has continuously been involved with art since before she was one year old. I have art in my collection from over sixty artists and five generations of my family.

A realization I had in my youth was that in this tech new age, I could not compete head-on with advancing technologies in the art business. So, before the advent of 3D scanners and printers for the retail market, I used computers, printers, and photography to my benefit. My advantage over most people in my field is that I can sculpt, paint, and draw anything with the highest accuracy expected of a person. In the following order: Imagination, work ethic, natural ability, and opportunity are essential for an individual to be among the best in whatever their endeavor. The problem that I struggle with has been opportunity. One example, my favorite art medium is sculpting White Carrara Marble. For personal enjoyment, marble is too expensive to purchase and transport. For the retail market, hand-sculpted marble statues are not a viable financial income. This is why I do not have the opportunity to sculpt marble statues that are larger than life size. My sculpting, fabrication, and assembly time of approximately 14,000 hours on the BADAUTO is more complex and extensive than any marble statue.

This paragraph lists a brief timeline of my art history. My first artwork was created in 1958. Art from 1958 to 1960 is lost. My earliest exposure to art outside of my home was in 1961, with the Los Angeles Unified School District at Roscoe Elementary School in Sun Valley, California. Like all children, I was exposed to art classes throughout my public school education. In the summer of 1967, my aunt Marjorie exchanged English lessons for my oil painting lessons with her friend, Los Angeles artist Shizue Yamashiro. Shizue showed me how to do Japanese painting, Sumi-e. "Sumi" means "black ink", and "e" means "painting." In the summer of 1973, my parents paid for an oil painting class, organized by the City of Burbank Parks and Recreation Department in California. I was offered by my painting instructor the possibility of attending Otis Art Institute of Los Angeles County, present name (Otis College of Art and Design). The City of Burbank awarded two Bachelor of Fine Arts degree scholarship opportunities each year to Burbank youth. At seventeen years of age, I did not think through the possibilities, nor did I tell my parents, and I promptly declined the offer. In 1974, I attended Los Angeles Valley Junior College, with my intention of being a school teacher. My education included an art class as part of my studies. In 1976, my art was publicly exhibited for the first time. In the late 1970s and 1980s, I exhibited my art in California galleries and shows. In 1978, at the age of twenty-one and without a Bachelor of Fine Arts degree, I was the sixth employee hired at a new start-up company named Two's Company Inc. In 1984, concurrently with my employment, I enrolled in a lost wax casting class at California State University, Northridge. After eight years as Art Department Manager, I went to another company named The Bad Company Inc., where I continued as Art Department Manager for twelve years. Both companies' specialties were automotive special effects, and related services for television, film, print ads, and later the internet and as well as graphic design for corporate and private racing teams. In 1998, I went back to college. After passing the national board exam's I received my Registered Diagnostic Cardiac Sonographer (RDCS) license. I concurrently performed commercial art, the fine arts, and medical careers until retiring from commercial art in 2004, and retired from cardiology in 2021. I continue with fine arts to this day.

As an employee of Two's Company, The Bad Company, and as an independent artist, I participated in projects from 1978 to 2004. Prominent advertising agencies that we worked for are listed here in alphabetic order: Ammirati & Puris, Batten Barton Durstine & Osborn (BBD&O), Bozell, Buckley/DeCerchio, Campbell-Ewald, Carmichael Lynch, Chiat-Day-Mojo, Clemenger BBDO, Collet Dickenson Pearce (CDP), Crispin Porter+Bogusky (CPB Group), Dancer Fitzgerald Sample (DFS), Della Femina-Travisiano & Partners, Doyle Dane Bernbach (DDB), Grey, Hal Riney & Partners, Hill-Holliday-Connors-Cosmopulos, J. Walter Thompson, Kenyon & Eckhardt, Ketchum, McCann-Erickson, Ogilvy, Rubin Postaer & Associates (RPA), Saatchi & Saatchi, Team One, The Designory, Wieden+Kennedy, William Esty, Young & Rubicam, and other smaller regional agencies. Not all of the preceding advertising agencies' names are the same or operational today.

We participated in projects with the institutions listed below in alphabetic order, through their advertising agencies listed in the paragraph above: Acura, American Motors, American Motors-Canada, ArmorAll, Audi-America, BFGoodrich Tire, BMW, Bridgestone Tire, Buick, Chevrolet, Continental Tire, Chrysler, Datsun, Dodge, Dunlap Tire, Fiat, Firestone Tire, Ford, Ford-Mexico, General Motors Company (1996, Electric Vehicle One), GMC-Mexico, Goodyear Tire, Honda, Honda-Motorcycles, Infiniti, Interscope Pathology, Isuzu, Jaguar, Jeep, Kelly Springfield Tire, Lexus, Lincoln, Mazda, Mercedes Benz, MGB, Midas, Mitsubishi, Monroe, Nissan, Opel, Painted in Oils, Plymouth, Porsche, Renault, Saab, Saturn, Sears, SpinTek, Subaru, Suzuki, Texaco, Toyota, Toyota-Saudi Arabia, Triumph, U.S. Department of Transportation, Valvoline, Volkswagen, Volvo, Yamaha-America Outboard, Yamaha-Motorcycles, Yokohama Tire, and Yugo. We also provided services directly to companies that were without advertising agency representation. Not all names of the preceding institutions are the same or operational today.

Bata Mataja, who co-founded Two's Company and founded The Bad Company, sponsored my art activities from 1991 to 1992. Keith Collins was my art agent during this period. I had marble automotive sculptures exhibited at the Black Hawk Museum in Danville, California. San Diego Automotive Museum in San Diego, California. Barrett-Jackson Car Show in Scottsdale, Arizona. Citadel Automotive Art Show in Commerce, California. LA Auto Show in Los Angeles, and the Keith Collins Studio/Gallery in Los Angeles. Some cars and events where I had automotive graphics, airbrush, and pinstriping on view include Formula One Two's Company racing team in California, Nissan pace car at Caesar's Palace Grand Prix in Nevada, Long Beach Grand Prix in California, Laguna Seca Raceway in California, Valvoline's contemporary art car, Paul Newman's race car, Books, and Magazine publications.

In 1992, Bata Mataja founded and financed the making of the "BADAUTO" Half-Scale Porsche project, and in 1995, the first driveable prototype was made. The first Half-Scale Ivory Porsche Speedster prototype and a second Half-Scale Red Porsche Speedster prototype have been showcased in many locations throughout the United States and international magazine publications.

In 1994, I established Osborn Illustration. Beginning in 1997, Osborn Illustration was represented by Michael Powditch and Associates, a California-based agency. My specialty was illustrations made with acrylic paint, airbrush, brush, pen, and ink on illustration board, or clear Mylar Film. In 1998, I transitioned to digital illustration using an Apple-licensed Macintosh clone named Power Computing (Macintosh Operating System 8.5/PowerPC 603e processor) with Adobe Illustrator 8, and Adobe Photoshop 5.0.

In 2021, I rejoined the "BADAUTO" Half-Scale Porsche project. In 2022, I had several art pieces represented at the Petersen Automotive Museum Garage Tour in Malibu, California. This event was sponsored by the Petersen Automotive Museum in Los Angeles, in association with Mr. Mataja and the "Ghost Drivers in the Sky...!" exhibit, and Mr. Blue's Garage Tour. In 2024, the third Half-Scale Aqua Blue Metallic Porsche Carrera prototype and the last Half-Scale Graffiti Porsche Carrera prototype were completed. In 2024, the Half-Scale Aqua Blue Metallic Porsche was exhibited at RETROAUTO in Pebble Beach CONCOURS d'ELEGANCE 73rd Celebration. In 2026, BADAUTO will be available for customers. In 2026, one of these automotive artworks is to be placed in the permanent collection of the Petersen Automotive Museum in Los Angeles.

With art today, there is no longer an original style of art with a few elements, like some of the art from the last century and earlier. The world population is over eight billion people, and there are millions of people around the world working with computers and other art mediums, trying to produce their original art. So, we can see why an artist needs several elements combined to create their original style. Lastly, I combine seven elements to create my original style: Original composition, Hyperreal images, Morphing geometric shapes, Dots with lines in the images replacing brush strokes, Illustration of optical illusion that can not be found in nature (surrealism), Background with loosely assorted abstract techniques of vivid colors, and Oil paint with brushes on very fine gessoed cotton canvas stretched on a wood frame.