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.
Polymath sports marketer Fred Sharf is known in the art world for finding underappreciated genres, collecting them, researching and writing about them at an academic level, curating exhibits about them, and then donating much of what he collects to museums so others can share his eclectic interests. Among those many interests, Sharf has almost singlehandedly gotten the fine art world to start appreciating the art involved with making automobiles. Drawings and paintings long considered disposable styling studio work product by car companies are now considered collectible and worthy of art museum exhibitions. (Read More…)
This car at first may look to you a lot like any other 1930s coupe, but it was one of the most influential cars of the era, impacting both the way that cars were styled and promoted. You see, in addition to setting the pattern for the way that General Motors’ cars (and their competitors’ cars as well) looked in the immediate prewar period, the 1936 Cadillac Aerodynamic Coupe was GM’s first production car that was based on what we now call a concept car. Back then, though, they were more likely to call those concepts “show cars”, and not only was the Aerodynamic Coupe GM’s first production car derived from a show car, that show car was the giant automaker’s first attempt at creating a one-off vehicle just for promotional purposes. It also represented the solidification of Harley Earl and his styling team’s important role in General Motors’ hierarchy and not so incidentally it helped Cadillac replace Packard as America’s preeminent luxury automaker. (Read More…)
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.
Look at the picture above. Now pretend it’s your rearview mirror. That giant set of batwings is right behind you and gaining; now it pulls into the fast lane. A couple of teenagers grin as they zip by you ass-backwards at seventy miles an hour. The front grille of the ’59 Chevy slowly recedes in the distance ahead. If you spent any time on the roads of Cincinnati around 1969, this may well have happened to you.