Automotive Type, Part Seventeen

For the second blog post in a row, I'm lying. I'm not including type this week. I'm continuing with the theme of iconography, but this time I'm featuring far more sculptural examples. That's because these examples are freestanding hood ornaments.

Hood ornaments started out as decorative radiator cap toppers, such as Ford model A eagle below. Mostly, they appeared on luxury marques, but they were also popular as aftermarket add ons. As automotive styling became more streamline, the ornaments became more abstract, and by the end of the 1950s nearly all iconography had given way to freestanding logo ornaments. I'll feature more of those examples in a future post.

 All of the examples featured below are from the pre-war era and represent either human or animal figures. As you can see, most of the human figures are female, with the exception of the Hermes atop the marquette radiator. Most of the animal figures are birds. The exceptions being the gazelle atop the Chrysler, and the Greyhound atop the Lincoln.

If you’re interested in digging deeper into badge type design, check out writer and type expert Steven Coles’ excellent Tumblr page, Chromeography.

Interested in a print of one of my badge photos? Visit my store and place an order.

Top row, left to right: 1931 Chrysler, 1930 Marquette. Second row, left to right: 1937 Cadillac, 1935 Buick, 1930 Cadillac. Third Row, left to right: 1934 Packard, Ford Model A truck. Bottom Row, left to right: 1933 Buick, 1934 Packard, 1927 Lincoln.

Automotive Type, Part Sixteen

Ok, so I lied in my title. This week’s post isn’t about type at all. It’s about icons. Specifically, it’s about animal icons. Some are iconic (sorry) like the Mustang’s galloping horse, while some are a bit obscure like the Buick Wildcat. 

A couple of my favorites are the Impala, with its brilliant abstracted line work and suggestion of speed, and the Barracuda. Yes, I’m a bit biased, but I’ve always liked the icon’s simple, sleek, sinister look with a tail that somehow feels a bit devilish to me. I also like the implied movement that suggests that it’s circling its prey.

An interesting comparison is between the Thunderbird and Firebird icons. Both represent the same bird, the phoenix, and both take styling cues from native american icons, but they have completely different looks from one another.

If you’re interested in digging deeper into badge type design, check out writer and type expert Steven Coles’ excellent Tumblr page, Chromeography.

Interested in a print of one of my badge photos? Visit my store and place an order.

Top row, left to right: 1961 Ford Thunderbird, 1966 Ford Mustang. Second row, left to right: 1963 Buick Wildcat, 1969 Pontiac Firebird, 1965 Chevrolet Impala. Third row, left to right: 1967 Plymouth Barracuda, 1967 Mercury Cougar, circa early 1970s AMC Hornet. Bottom row, left to right: 1965 AMC Marlin, 1967 Ford Country Squire, 1963 Ford Ranchero.

Automotive Type, Part Fifteen

For this week’s post, I’m looking at the “other” automotive badges. These are the ones that didn’t come from the factory and are sometimes considered invasive. I’m talking about dealer badges.

They usually have no cohesiveness with the rest of the car, and can appear in awkward places on automotive rear decks. Many of them do have their own typographic charms, like the eleven examples below. I’m not noting the model or year, because these aren’t about that. They’re more about the history of the individual car and its original owner. With age, they become cool in their own right.

If you’re interested in digging deeper into badge type design, check out writer and type expert Steven Coles’ excellent Tumblr page, Chromeography.

Interested in a print of one of my badge photos? Visit my store and place an order.

Automotive Type, Part Fourteen

I’m getting back to my automotive type series. This week, I’m focusing on alphanumeric badges.

These days, alphanumeric names are common with cars. I own an MX-5 and a 128i. One of my neighbors owns an ATS and another owns a CR-V. There was a time when american cars used alphanumeric or numeric names to define trim levels or special editions. They all got their own unique badges.

Below are some of my favorite alphanumeric badges from the ‘50s, ’60s, and ‘70s, along with stories highlighting of a few of them.

The Oldsmobile F-85 (first column, 2nd image down) was the first compact car for the GM marque and a rare ‘60s example of a model with an alphanumeric name, but a proper name for the top-of-the-line trim level – Cutlass. You can figure out where that led. As for the badge, it’s got loads of character in that fantastic script F.

In the ‘60s, Mercury used alphanumeric designations for their trim upgrades. S-22 for the upscale version of the compact Comet, S-33 for the midsize Meteor, and S-55 for the well-optioned, high-performance full-sized Monterey. The example shown here, (right below the F-85 pic) is from a 1966 model. Another example of a great script contrasting with tight, modern numerals. I’m also digging the pop of red behind the numbers.

The GT badge from the 19654-66 Dodge Dart (center image) is one of my all-time favorites. While the model is not a heavyweight as far as classic MoPars go, its badge is fantastic! That whiplash script G weaving its way around a traditional serif T is a great example of mid-century sculpture.

One of the more well known American alphanumeric names is Z28 (1971 example, 3rd column, bottom image). The performance model Camaro got its name from an uninspiring source. In 1967, a special package for road racing was offered that included a special small, high-revving engine, heavy-duty drivetrain, heavy-duty suspension, and special disc brakes. The factory product package code was “Z28.” There was no dramatic marketing, just a code next to a checkbox on a form. Now the name is the stuff of legends.

If you’re interested in digging deeper into badge type design, check out writer and type expert Steven Coles’ excellent Tumblr page, Chromeography.

Interested in a print of one of my badge photos? Visit my store and place an order.

Left column, top to bottom: 1956 Oldsmobile, 1964 Oldsmobile, 1966 Mercury Monterey, 1967 Buick. Middle column, top to bottom, 1960 Chrysler, 1964-66 Dodge Dart, 1966 Ford Mustang. Right column, top to bottom: 1960 Dodge Phoenix, 1963 Ford Galaxie, 1965 Pontiac LeMans, 1971 Chevrolet Camaro.

Exner-era MoPars this weekend

This past weekend was my Christmas of car shows weekend. Central Ohio hosted both the Goodguys PPG Nationals and the Arthritis Foundation Classic Car Show. I split my time between the two shows over three days and a crazy number of steps according to my smart watch. I my time seeing literally thousands of vintage and custom cars, three that stood out to me had one thing in common: they were Chrysler Corporation products designed under the direction of Virgil Exner during the 1950s. Do I have a “type” when it comes to ’50s Detroit steel? Apparently, I do.

The 1956 Chrysler Windsor Newport was an update of the revolutionary 1955 model that started Exner’s “forward look.” This Windsor trim level was not the top-of-the-line, but it was far from basic. The long, substantial lines somehow avoid looking heavy, and the two-tone white and salmon paint make for a great combo.

The 1958 DeSoto Firedome Sportsman was at the height of the late ’50s jet age excess and this example stopped me in my tracks. The two-tone white and red paint helped, but those fins! People often talk about the 1959 Cadillac fins, but the fins on the ’57 and ’58 DeSoto are every bit as impressive. And the jet-exhaust taillights! It amazes me that something like that could come out of the design department of a large corporation.

Finally, the 1959 Dodge Sierra station wagon combines those jet-age influences with the practicality of a wagon. When I see cars like this, it makes me resent current crossovers even more. If something like this Dodge Sierra existed today, I’d have no issue driving a “practical” vehicle.

Interested in a print of one of my MoPar photos, or others? Visit my store and place an order.

Top row, left to right: 1956 Chrysler Windsor Newport headlight, Windsor fender detail, Windsor dashboard. Second row, left to right: Windsor decklid and tailfin, 1958 DeSoto Firedome Sportsman front and flank, Firedome roof and rear fender. Third row, left to right: Firedome tailfin, Firedome rearview mirror and badge, 1959 Dodge Sierra station wagon headlights, Sierra front fender badge. Bottom row, left to right: Sierra taillights and flank, Sierra profile.

Automotive Type, Part Ten

Ford advertisements in 1932 called it “The Greatest Thrill in Motoring.” The V8 engine was the most aspirational American automotive power plant of the twentieth century. Sure, there were V12s and the rare V16, but the V8 was an attainable driveway status symbol. For my tenth edition of my series on automotive type, I’m featuring some of my favorite takes on the famous alphanumeric mark that told your neighbors what you were packing under the hood.

From a graphic design point of view, there are so many great interpretations of this simple combination of characters. I love the lighting bolt style of the 1955 Pontiac badge and the subtle “infinity” of the 1962 Studebaker badge. But it’s the graphic checkerboard treatment of the 1965 Barracuda badge that’s possibly my all time favorite.

If you’re interested in digging deeper into badge type design, check out writer and type expert Steven Coles’ excellent Tumblr page, Chromeography.

Interested in a print of one of my badge photos? Visit my store and place an order.

Top row, left to right: 1932 Ford, 1955 Pontiac, 1955 Ford. Middle row, left to right: 1955 DeSoto, 1962 Studebaker Lark Daytona. Bottom row, left to right: 1964 Studebaker Lark Daytona, 1965 Plymouth Barracuda.

Automotive Type, Part Nine

For the ninth edition of my series on automotive type, I’m continuing the crest theme. This time, I’m focusing on crests from post World War II cars. Here, there’s a stronger emphasis on “coat of arms” styles. By this time, they were used for promoting the “heritage” and “tradition” of the brands. In many cases, they're entirely manufactured by the marketing team. Note the Ford crest in the lower left. It was introduced in 1950 and actually moved away from the traditional Ford Script mark. If you want to learn more, Jalopnik posted a fun article about six months ago that revealed the history behind Ford's change.

If you’re interested in digging deeper into badge type design, check out writer and type expert Steven Coles’ excellent Tumblr page, Chromeography.

Interested in a print of one of my badge photos? Visit my store and place an order.

Top row, left to right: 1946 Chrysler, 1947 Plymouth, 1948 Nash. Middle row, left to right: circa late 1940’s Crosley, 1950 Hudson, 1955 Chrysler. Bottom row, left to right: 1957 Ford, 1957 Studebaker, 1960 Imperial.

Automotive Type, Part Four

For my fourth post in my series featuring automotive badges and lettering, I’m continuing with my favorite period—the post-war “Jet Age” from the late ’40s to the early ’60s. This time, it’s all about script badges. I could probably post this a dozen times and not repeat a single badge. I’ve edited my collection down to twelve that I think show the diversity of the period, and that I just personally love. I’d love to see any of these expanded into a complete font. I hope there’s at least one type designer out there reading this that agrees.

If you’re interested in digging deeper into badge type design, check out writer and type expert Steven Coles’ excellent Tumblr page, Chromeography.

Interested in a print of one of my badge photos? Visit my store and place an order.

Top row, left to right: 1947 Chevrolet, 1954 Plymouth,1955 Studebaker. Second row, left to right: 1955 Packard, 1955 Pontiac, 1956 Buick (Motorama show car.) Third row, left to right: 1957 Buick, 1959 Oldsmobile, 1960 Ford. Bottom row, left to right: 1960 Plymouth, 1962 Dodge, 1963 Chrysler.

An American Shooting-brake?

The shooting-brake is a distinctly European concept of a coupe-based station wagon. It’s a practical adaption of a sporty car, and not an ideal fit with what Americans think of as a sports coupe. However, is one of the most famous American cars of the 1950s actually a shooting-brake?

The 1955 to 1957 Chevrolet Nomad was created and marketed as a combination of their sporty Bel Air hardtop and a station wagon. Sound familiar? The concept, and name, originated as a Motorama Corvette variant. A Corvette wagon most certainly sounds like a shooting-brake, so does the idea make the leap to the Bel Air? I say absolutely. The Nomad was more than just a 2-door wagon. Chevy made that too—they called it the Handyman. The Nomad was its own body style with frameless door windows, angled b-pillars, and at least in 1955, distinctive full rear wheel openings, like a Corvette. 

I admit my bias. I think the Nomad is the sportiest of all the tri-five Chevys. To me, it’s without a doubt a shooting-brake, but a very American take on the theme. Don’t agree? Think I’m nuts? Give me a shout. I’d love to hear another point of view.

Remember, if you'd like any of my photos to hang on your wall, visit my store.

History and thoughts on the vinyl roof

Starting in the early to mid-sixties, American automotive “stylists” decided to gild their hardtop models by adding the option of a vinyl covering to the roofs. Eventually, the material made its way onto coupe and sedan models. The trend took different turns with padded vinyl, partial vinyl, and even blatant ersatz convertible roofs complete with fake roof “bows.” The trend faded in the eighties, but has been kept alive by the aftermarket and some car dealers of questionable taste.

There were some interesting applications of the vinyl roof. C2 and early C3 Corvette convertibles were available with vinyl covered removable hardtops. That always seemed ironic to me since the vinyl was meant to mimic the look of a convertible top. In 1969 and 1970, Chrysler corporation offered some outrageous vinyl options like the floral “Mod Top,” “Gator” grain, (bottom two examples above) and even a paisley grain. 

On some cars of the late sixties, the vinyl roof works. 1966-1967 GM mid-size hardtops (middle left example above) and 1968-1970 Dodge Chargers have rooflines that work well with a vinyl wrap. My personal opinion is that it can work in terms of the styling history, but from an aesthetic point of view, better to keep the look clean and stick with steel. I’m not gonna lie. My old Challenger had a vinyl roof, but If I were restoring it today, I’d go unoriginal and pull it off.

Remember, if you'd like any of my photos to hang on your wall, visit my store.

Lamenting the long gone vent window

The automotive vent window started to disappear in the late ’60s, and by the ’80s it had gone the way of the passenger pigeon. It’s been said that the ubiquity of air conditioning made the vent window obsolete. In my opinion, it never truly became useless.

Yes, I understand that it adds cost to the production of a car, it creates another chance for weather sealing issues, and adds clutter to the car’s design. But, think about it—on a chilly or rainy day, if you want to let in just a little fresh air, instead of cracking the window, you flip a lever and give a nudge. There’s no air blowing in along the entire length of your window, just a small amount by your left hand. It’s a simple, elegant, and functional feature.

On my Miata, the side windows have small quarter glass panes. They don’t open. They’re fixed in place, teasing me…

Elements: 1963 Chrysler New Yorker

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After all of his outrageous finned and jet-inspired designs of the late ’50s and early ’60s, one of Virgil Exner’s last designs for Chrysler was almost conventional. The 1963 Chryslers were very conservative compared to just a year before, but they still had some really amazing details. The “New Yorker” script is one of my favorite type badges. It would make such a great starting point for script typeface.

Showroom stock Camaro

Go to any vintage car show or cruise-in of any size, and you’re guaranteed to see multiple early Camaros tweaked to various degrees. But think about how often you see a first-gen Camaro that’s absolutely showroom stock. They’re damn near as rare as Barracudas and Javelins of the same vintage. This 1968 example is striking not just for it’s black and white on red color scheme, but for it’s time-capsule appearance. It’s a one-family car that was purchased new in the fall of 1967. Driven in high school by it’s current owner, then stored for 30 years. When the owner “dropped the bombshell” on her then fiancee that the car existed and would he help her restore it, his answer was an enthusiastic “I will”. The one stipulation was that when finished, it had to be as close as possible to how it was when her father purchased it. The only variance is the set of redline tires, which I think are a nice fit to the color scheme.

I'm not gonna lie. I’m not a big Camaro fan, but when I see an early example as it was when new, I can really appreciate how folks fall for these cars. They really are beautiful designs.

1932 Auburn Boattail Speedster

What qualifies a car to be called “classic”? These days, it’s used to describe ’57 Chevys, ’65 Mustangs, and I’ve even heard the word used to describe El Caminos of the early ‘80s. The Classic Car Club of America is more specific in it’s definition, restricting it’s use to describe “fine” or “distinctive” autos, built from 1925 to 1948. They have more qualifications, but you get the idea.

The Heritage Museum and Gardens, in Sandwich Massachusetts, has an automotive collection with some of the best examples of CCCA’s definition. My personal favorite is their 1932 Auburn model 8-100A, or “Boattail Speedster.” It’s jaw-dropping—stunningly, breathtakingly, achingly, beautiful. I’m not overstating this. I’ve had the privilege to see some of the most exotic cars of the past 50 years in person, and they all look like appliances next to this. My photos cannot possibly do it justice. If you have the means, I highly recommend seeing one in person.

Elements: Sweet Pea

Ah, the Goodguys PPG Nationals! Where over 6,000 pre-1973 cars fill the grounds of the Ohio Exposition Center, and roam the streets of Central Ohio for an entire weekend. It's my Christmas in July. "Sweet Pea" is my car of note from last year's show. This is how it was done in the early ’60s. There was so much great stuff on this Model A Tudor sedan, from the candy green paint, to the Von Dutch-inspired pinstriping, to the crazy induction setup atop the Pontiac mill.