A Brooks Stevens concept.
Aaron Cole’s post about automotive patent art gladdened my heart. Years ago, I decided to check out some of Les Paul and Leo Fender’s original patents on their electric guitars and I discovered the artistry of patent drawings. These days the United States Patent and Trademark Office, as well as patent offices around the world, accept digitally produced artwork. However, before the digital age, an inventor had to hire someone skilled at technical drawing to produce the various exploded and see-through sketches needed to describe the “preferred embodiment” of a process patent.
Of course the “inventor” of a design patent — a slightly different form of intellectual property that protects the design and look of a product — is more often than not, the actual designer.
Following up on Aaron’s post, I decided to put the names of some notable automotive designers into a patent search engine to see what I could find. My hypothesis was that in the case of a design patent, particularly for a car, the artwork for the patent application was likely to have been drawn by the designer. A patent is a big deal to any engineer or designer and he’d likely want to be the one responsible for representing his own idea best.
TTAC commentator confused1096 writes:
Sajeev, I need some insight and good advice from yourself and the B & B. Here’s the problem: After my wife’s back surgery we no longer use my ’99 Buick Riviera Silver Arrow (#120) since it’s not comfortable for her to sit in (too low down, shape of seat etc.). (Read More…)
Since it was the last design of consequence that General Motors design chief Bill Mitchell oversaw, Wayne Kady’s 1980 Cadillac Seville is thought by some to be the ultimate expression of Mitchell’s design philosophy. No doubt Mitchell was a fan of what he called the “London look”, and the ’80 Seville had that in spades: a classic vertical grille, a bustle shaped rear end, a raked C pillar and a long hood. When accused of borrowing the bustle-back from a contemporary Lincoln, Mitchell reportedly got indignant and said that he stole it from Rolls-Royce, not the cross-town competition in Dearborn. However, while Mitchell went to bat for the controversial Seville design over the objections of Cadillac management, the Seville was not the ultimate expression of his personal taste. (Read More…)
Photos: RM Auctions
Back in 2011, as part of its reorganization, Italian design house Bertone auctioned off some of its collection of concept cars in conjunction with the Villa d’Este concours that year. Marcello Gandini’s Lamborghini Marzal, with it’s glass gullwing doors, and its $2,170,369.10 USD sale price, got the lion’s share of the attention in that sale, but one of Giorgetto Giugiaro’s creations also on sale that day, the 1963 Chevrolet Testudo, may have been a more influential design in the long run than the Marzal. Testudo is Italian for turtle, an allusion to the sharp beltline separating top and bottom halves of the car. Though I can see the testudine influence, I’ve never seen a tortoise or turtle look this sleek and fast.
In a recent post on Stillen’s contest to design a body kit for the Scion FR-S, I brought up the history of the Fisher Body Craftsman’s Guild, a scholarship based model making contest for budding designers that ran from 1930 to 1968. Since just about all of the promotional materials for the Guild were targeted at boys, I wondered if any girls ever tried to enter the competition.
GM’s final peak in US market share was in 1978, before it began its long decline. For the fifty years prior, only two men oversaw the styling of GM during those golden decades. The hand off from one to the other was was hardly smooth in the end, with a painful transition for the 1959 models that were a essentially a hybrid of the two. But for the 1961 models, Bill Mitchell was now completely in control, and few cars show his love for sharply sculptured surfaces and a restrained use of chrome than the very handsome 1961 and 1962 Cadillacs. (Read More…)