Even though Morri and Jim went into the transformation looking to make something along the lines of a Pro-Streeted Harley/Y2K lovechild, as the creation process flowed along, Jim grew more ambitious, and Morri was cool with that. The whole seat area and battery box were hand-fabricated and flow with the lines of the seat and back fender, almost as if the pan were trimmed for the pointed solo butt rest. Moreover, the pointed and curved struts were a great touch that fits the general design to a "T."
It's true that a lot went into dressing up the backside, but the front got some love, too. Follow the downtubes down low, and you'll find a set of running lights snugged into the molding. Topside, Jim cut the tank tunnel to hide the coil and made longer risers for the bars in order to better fit Morri's reach. He even took a V-Rod front fender and welded on a pointed end to make it longer so it would fit with the vision Morri had for this bike.
While the bike evolved under Jim's welding and grinding, Morri revised his ideas for it just to keep up, including the paint scheme. He knew that come hell or high water it'd be orange; that's what he wanted for the first bike but changed his mind. This time around, he'd stick to his gut feelings. However, he was pretty picky about the type of orange, and as the Dyna morphed, painter JoAnn Bortles went to great lengths to get Morri just the right pigment. The hunt took her two weeks, but she finally came across an obscure Pearl Crystal Orange that was precisely what Morri wanted.
It was the crowning touch to this jewel, and, like a jeweler, Jim took the original Dyna and used welder and grinder to bring out the diamond within it. In the end he gave Morri everything he'd loved about his last rubber-mount, plus a whole lot more through the blood and sweat he poured into the fabrication.