Colin Chapman Museum and Education Centre Newsletter October 2014
Newsletter – Number 49
1. Lotus not seen everyday!
2. Museums around the world you may not have heard of “ The private Porsche museum”
3. Questions from our readers,
4. JPS/Lotus
4.1 Lotus Adverts
5 Lotus books one for the library Tony Rudd
6. Motorsport DVD reviews The history of Motor Racing 1950’s
7 Motorsport DVD reviews Grand Prix
8. Lotus collectables
9. Lotus interest on YouTube
All previous articles relating to these are held on the website.
1. Lotus not seen everyday!
2. Museums around the world you may not have heard of: Private Porsche Museum
The only private Porsche Museum is located in Gmünd in Carinthia, where from 1944-1950, the first vehicles with the Porsche name was built.
The extensive collection includes the Porsche 356 type 356 020 ALU, on the buoyant Porsche Jagdwagen (1956)
to the Porsche Rally – and racing cars .
Another highlight is Austria’s first and only police-Porsche 911 .
It offers an annually changing special exhibition.
This year: “50 Years of Porsche 911”
A multi-media presentation on the history and construction
of Porsche are more insightful information.
There are plenty of bus and car parking directly next to the museum (only 2 minutes).
http://www.auto-museum.at/
Porsche Auto Museum Helmut Pfeifhofer
Pfeifhofer GmbH
Riesertratte 4a
A-9853 Gmünd tel. 0043 4732 2471 Fax. 0043 4732 2471
3. Questions from our readers
Subject:
Pop444
Message:
Hi
I would like to add to the history of POP as I had her from 1971-1982
And had a strip to chassis rebuild.
Regards
Roger
This will all be published in a later newsletter.
4. JPS/Lotus
John Player Specials: Tipped to Win
Introduction
This is an intentional hybrid article.It examins the theory of branding along with its practical application between John players and Colin Chapman/Lotus.Sponorship is material to success in many sporting disciplines and as each of these increase their technologic content, research and expense grows. Sponsorship is a significant assistance to the budget and outcomes.
Sponsorship would not happen without financial rewards.
In this article we therefore examine the concepts and overlaps of sponsorship and branding in some detail. John Player Special will be our primary focus exploring the importance of the John Player Special [JPS] livery worn by Colin Chapman’s FI cars. In this first instance we examine the 1983 season.
It is acknowledged that FI has the largest TV audience of any annual global sport. It has been estimated recent figures suggest approximately 597 million audience along with 1.5 million minutes of coverage each year. Sponsorship and branding are therefore extremely important and cost effective marketing. Although the figures might have changed there is relativity and similar principle in the JPS era.
In this article we will examine the importance of JPS to Chapman and Lotus but we also believe that the principles outlined will be relevant in many situations and will therefore be of interest to many beyond the technicalities of motor racing.
In the studies of Colin Chapman much emphasis has been placed on the technical content of his innovative designs but little has been said about the merits and distinctive livery of JPS and the rewards this brought to both the sponsor and Chapman /Lotus. In this series of articles the A&R will explore and attempt to measure/ estimate:-
- The impact of the JPS brand imagery
- The numerical, commercial and financial aspects of sponsorship
- Detail the merchandising opportunities exploited
- Examine the aesthetics and benchmark the competing sponsor liveries in the seasons that JPS entered
These articles will not over focus on technical specification [these are available in other A&R sources] or race histories. The A&R will concentrate on the aesthetic visual design impact of the JPS livery in a wide context. It is hoped that this approach will both appeal and provide practical assistance/ inspiration to graphic designers, visual communication/ corporate identity consultants, brand managers, fashion designers and those entrepreneurs who might be considering sponsorship in various capacities /formats.
Colin Chapman was not a man to look backwards [although he was a dedicated and exhaustive researcher] and for this reason the proposed CCM&EC uses information to assist the solving of current and future demands .The A&R attempts to be a source of and springboard of inspiration .Brands and sponsorship remain important aspects of marketing inside and outside motor racing. It is for this reason we believe it’s an important discipline worthy of serious study feeding creativity and relevant to both the present and the future.
It is not insignificant that the current generation of Lotus FI cars have adopted the distinctive back and gold livery.
Subscribers may like to see A&R complementary piece Lotus and Sponsors, book review “Art of the Formula One Race Car” and our articles on the motorsport artists Walter Gotschke and Michael Turner which are directly relevant.
Performance Package
The winning formula /package of Lotus/JPS might easily be overlooked. It might be considered to comprise a symbiotic integrated package that included the Lotus /Chapman design /technology and strategy/ driver element, the funding that facilitated this care -off the JPS sponsorship and the distinctive JPS livery that made the cars instantly regoniseable and gained international support.
The totality of the package and presentation enabled JPS to possess the following:-
- Style
- Innovation
- Originality
- Authenticity
- Desirability
- Uniqueness
These are the modern terminology and criteria for being considered a cool brand [see details below].However throughout the 1960’s branding and corporate identity became important with the growth of multinationals. Competition and differentiation were important .JPS achieved extraordinary exposure and positive identification as a result of its association with Lotus and the symbiotic presentation of its distinctive JPS livery.
It might be argued that JPS were able to project all six of the listed criteria as a result of their graphic logo/ livery as presented on the Championship winning Lotus FI cars.
The totality of performance and presentation promoted global brand awareness and helped forge extensive and lucrative business relationships along with the ability to accelerate its profile, goodwill and provide a platform to communicate.
The mutuality of the package have helped define the respective companies [i.e. association, reinforcement of professionalism and success etc.].The sponsorship also contributed to helping other manufacturers become famous and successful.
Cigarette sponsorship in F1 –History and Context
Sponsorship had existed in various forms but it Colin Chapman who is particularly identified with its widespread introduction into international motor racing. The following is quoted from the net:-
Ever since the first appearance of the Red, Gold and White colors of the Imperial Tobacco‘s Gold Leaf brand sponsorship livery at the 1968 Monaco Grand Prix,[74] teams, drivers and circuits of Formula One (F1) for years had been heavily dependent on the financial backing of sponsors and from the arrival of Gold Leaf for many decades the tobacco industry played a major role in sponsoring the sport.[75] In 1976, West Germany began a trend in outlawing tobacco sponsorships in motor races, followed by the United Kingdom in 1984, starting with major races and outlawing the rest of the sponsorships in later years. In 1992 France did the same.[76] As anti-smoking legislation began to tighten in many parts of the world F1 became an even more important opportunity for cigarette brand promotion. The negotiating skills of the F1 leadership (especially Bernie Ecclestone) were such that in many jurisdictions F1 achieved some exemptions from the rules.[76] However, there is now a blanket ban on advertising in Europe, and the cars are not allowed to show any links with the tobacco companies. As a result, tobacco advertising started to exit F1. In 2000, WilliamsF1 became the first major team to run without tobacco sponsorship,[77] and McLaren later replaced the West brand and no longer have any tobacco sponsors. Renault ended the deal with Mild Seven after the 2006 season, and in the same year British American Tobacco, owners of British American Racing team[78] withdrew from F1, selling the team to Honda. Ferrari on the other hand renewed their arrangements with Philip Morris in 2005 and later in 2011.[79] [80]
Through the arrangement, the Marlboro brand in 2007 was legally visible prominently on the cars, jumpsuits and pit crew at three races: at the Bahrain,[81] Monaco and Chinese Grand Prix. Ferrari was the only team backed by a cigarette brand in the 2007 Formula One season. Since the start of the 2008 season, Ferrari has no longer carried Marlboro logos at any races, even those at which tobacco advertising is allowed. It is therefore unlikely that any F1 car will ever directly advertise tobacco again. However the barcode symbol that was used for some time was “subliminally” suggestive of the Marlboro branding, and signified their sponsorship. For part of 2010 and onwards, Ferrari no longer had the barcode symbol; the only signification of sponsorship was the team name, Scuderia Ferrari Marlboro, although the team’s logo showed the left side of the Marlboro chevron.[82] However, from the 2011 British Grand Prix, Ferrari dropped the Marlboro sponsor from their official name, and reverted to the name Scuderia Ferrari as their official name, due to ongoing pressure from people against tobacco sponsorship.[83
Formula One Liveries: Lotus history [from the net]
Year | Main colour(s) | Additional colour(s) | Livery sponsor(s) | Additional major sponsor(s) | Non-tobacco/alcohol livery changes | |
1968–1971 | Red and white | Gold | Gold Leaf (Imperial Tobacco) | |||
1972–1978 | Black | Gold | John Player Special (Imperial Tobacco) | Olympus (1978) | ||
1979 | British racing green | Red, White and Blue | Martini | Tissot | ||
1980 | Dark blue | Red, White and Silver | Essex | Tissot | ||
1981–1986 | Black | Gold | John Player Special (Imperial Tobacco) | Essex, Tissot, Courage (1981); Olympus (1985); DeLonghi (1986) | “John Player Special” and the “JPS” was replaced with Laurels designs | |
1987 | Yellow | Blue | Camel | DeLonghi | “Camel” was replaced with “Lotus” | |
1988 | Yellow | Blue, Green | Camel | “Camel” was replaced with “Lotus” | ||
1989 | Yellow | Dark Blue | Camel | Epson | “Camel” was replaced with “Lotus” | |
1990 | Yellow | Blue, Light Green | Camel | “Camel” was replaced with “Lotus” | ||
1991–1992 | Green | White (1991); Yellow (1992) | BP | Hitachi, Tamiya, Tommy Hilfiger, Komatsu, Nichibutsu, Shionogi, Castrol | ||
1993–1994 | Green, white and red | Black and yellow | Castrol | Hitachi, Tamiya, Tommy Hilfiger, Miller, Loctite, Shionogi, Mobil 1, Pepe Jeans, Komatsu, Nichibutsu, SG Gigante (on Pedro Lamy’s Car, as it was his sponsor) | ||
Year | Main colour(s) | Additional colour(s) | Livery sponsor(s) | Additional major sponsor(s) | Notes | |
2012 | Black | Gold, Red | Lotus, Genii | Total, Rexona, CLEAR, Trina Solar, TW Steel, Renault, Microsoft Dynamics | The team partnered with alternative rock band Linkin Park at the 2012 Monaco Grand Prix to promote an iPad application. The team promoted the movie Dark Knight Rises at the 2012 British Grand Prix. |
|
2013 | Black, Red | Gold | Lotus, Genii | Total, Rexona, CLEAR, Burn, Renault, Microsoft Dynamics, Columbia Records | The Lotus livery changed a little for 2013, with both cars featuring their drivers’ respective names near the top air intake. Rumours said that the team was close to signing Honeywell as their sponsor and changed the livery accordingly in advance.[24] | |
2014 | Black, Red | Gold | Lotus, Genii | Total, Rexona, CLEAR, Burn, Renault, Microsoft Dynamics, Columbia Records, Yota Devices, Avanade, Richard Mille, Peace One Day |
1983 Formula 1: Brands and Sponsors –Comparative Impacts
Marque | Model | Sponsor | Tyres | |
Euroracing Alfa Romeo | 183 T | Marlboro | Goodyear | |
Arrows-Ford | A6 | GPI/Louis de Poortere | Goodyear | |
ATS-BMW | D6 | ATS Wheels | Goodyear | |
Benetton Tyrrell Ford | O11/ O12 | Benetton | Goodyear | |
Equipe Renault Elf | RE 30/C 40 | Elf | Michelin | |
Ferrari | 126 C2/B C3 | Fiat/AGIP | Goodyear | |
Fila Sport Paramalat Brabham | BT52 | Fila/Paramalat | Michelin | |
JPS-Renault | 94 T | John Player | Pirelli | |
Ligier Gitanes-Ford | JS 21 | Gitanes | Michelin | |
Marlboro McLaren TAG | MP4 /1E | Marlboro | Unipart | Michelin |
March RAM Ford | O1 | Pirelli | ||
Osella Kelemata | FA1D/E | USAG | Kelemata | Michelin |
Spirit Honda | 101/201 C | Honda | Newsweek | Goodyear |
TAG Williams Saudia | FW 08C / FW09 | TAG/Denim/ICI | Saudia | Goodyear |
Theodore Ford | N183 | Café de Colombia | Goodyear | |
Toleman Hart | TG 183 B | Candy | Magirus | Pirelli |
Many cigarette companies have sponsored motorsport one of the most notable has been Marlboro who sponsored:-
BRM [1970’s]
Williams [1973]
McLaren [1974-1996]
Ferrari
In 1983 Marlboro sponsored both Marlboro Team Alfa Romeo and Marlboro McLaren [MP4-1C]
There was both merits and demerits to this. Supporting both teams provided double exposure, hedged bets in competition .It might also be argued that it divided and diluted impact and deprived one team of greater resources and therefore the possibility of outright win. Furthermore the near duplication of the livery might have caused some confusion in the eyes of the audience.
John Barnard designed the MP4-IC and it possessed a carbon fibre composite chassis. The Marlboro logo comprised a strong bold diagonal alternating bands of red and white. The Marlboro font in black appeared on the body side as seen in elevation.
Although recognizably it was not particularly distinctive or inspired.
Ligier Gitanes JS 21
By contrast the Ligier Gitanes JS21 bore a graphic and attractive livery of Gitanes. This comprised a light/mid blue “French” blue background incorporating the moody and atmospheric representation of the “Gypsy Dancer” embroiled in smoke .It was particularly Gallic floured .The Gitanes brand name in large slanting white letters/typography was featured on the body sides within the wheelbase. The other sponsors were incorporated in a complementary, coordinated and coded discipline. Overall the image was strong with powerful contrast. The depiction invoked the brand and the two were symbiotic.
Subscribers might like to see internet sites that detail the racing liveries but also www.logosdatabase.com which provided useful reference and comparability.
Brands, Hallmarks, Trademark and Design
The corporate identity creation business developed dramatically with the growth of multi-national corporations and emergence of global products.
The concern for an organization is very much how it can convey its function, product or service. Corporations aspire to a brand /logo etc. that will be clear, coherent and lead to allegiance and cohesion. It has been generally acknowledged that:-
“Design can be used to convey to people the shape and nature of the organization that might otherwise be formless” from The Corporate Personality by Olins 1978 and reinforcing the point Forty observed:-
“Of all the ways in which design can influence the way we think, the only one to have been acknowledged widely has been its use to express he identity of organizations”
Trademarks, hallmarks and brands are separate, not interchangeable but tend to overlap and thought of as synonymous.
“Brand is a product [or class of products] including trademark ;its brand name , its reputation and the atmosphere built up around it .When we talk about a brand we talk about verbal visual and conceptual aspects of product identity… brands are both convenient to both producers and consumers…….branding does for sales what mechanization does for production ..It facilitates advantages of scale”
Trademarks are important “Marks of Excellence” relates that:-
“A trademark is a sign. The sender of the trademark uses his mark to identify himself to the world” this might be done in three ways:-
- As owner
- As manufacturer
- Sender
The origins of trademarks extends into:-
- Anthropology
- History
- Heraldry
- Psychology
- Marketing
- Semiotics
- Communication theory
- Graphic design
Many of the most distinguished have passed down through antiquity and are often rooted in heraldry and or monograms. Examples with the motor industry and related fields are:-
- Alfa Romeo
- Saab
- Porsche
- BP
The application of these marks are applied to:-
- Correspondence
- Sales literature
- Advertising
- Products
- Packaging
- Vehicles
- Signage
- Shop fronts
JPS: Content of indelible brand/trade/hallmark
As noted the adoption of the logo/trademark is extremely important .It serves simultaneously so many functions including defining, articulating and defending the product service etc. For this reason great care is exercised in the selection and design or maintenance of historic imagery. Because subtle signals are being conveyed the graphic content has to work hard to be representative.
Some of the qualities expected are:-
- Possessing symbolic quality/value and strong association
- Distinctive –preferably unique vis differentiation
- Memorable-preferably indelible i.e. form of holding power
- Internationally or universally communicable i.e. not requiring translation or capable of misrepresentation
- Simple and powerful integrated with other declared objectives
- Recognizable at a glance [ graphic excellence] and in manner that assists purchase
- Easily replicated Vis reproduction on different surfaces materials and products etc.
- Classic in manner not dating thus avoiding image change etc.
- Translatable i.e. viewer can articulate what they have seen
- Ideally able to influence “taste” and increase sales
Aesthetics of the JPS FI Imagery /Livery. John Player Specials: Tailor-made distinctive and Exclusive
It has been stated that the John Player Special livery is the most famous, indelible and recognisable ever adopted in FI.There has never been perhaps such a striking, integrated distinctive, coordinated, disciplined and hierarchical concept. It succeeds at being simultaneously understated yet powerfully elegantly aggressive and assertive.
The art of the concept is brought home in Mann’s photographs. [Art of FI Race Car]
The impact is achieved through the severely limited colour range of gold on black imposed upon the totality of the body that enhances is sculptural functionality.
The black wedge is mythical.
The monogram is heraldic and deferred to tradition particularly the coach lining /pin striping.
predominantly black body is elegant yet intimidating .Disciplined and controlled it impresses and extracts maximum effect and impact. Not least the accentuation of the imposing proportions length, width, height and uncompromising wedge penetration stance of the FI race car.
Motor bodies have traditionally been painted black. It’s practical and radiates quality but it also loses nuances and definition of form. However in the Lotus treatment and the inclusion of the entwined gold JPS logo and written font the Type 72 mixes tradition with almost science fiction iconography.
There is a real art to this. It’s the art of how to deploy to the maximum effect. Font designers appreciate that minutiae can have considerable effect on “readability” or comprehension. The Lotus designers understand this and apply it very successfully.
Examined carefully only a black and yellow/gold is adopted throughout. Including the background to the race numbers. The other sponsors logo are required to submit to the design discipline and hence coordinated in a totality with no discordant displays.
Each item is placed for graphic attention grab. The coach lines /pin stripes around the engine, end plates, wings and pods accentuate shape and are clearly visible from all elevations.
Under such a disciplined regime even the matt black tyres blend in along with the engine cam covers. Only the minimal white lettering of Ford and Goodyear are allowed to depart from the regime. Supreme attention to detail is evident, small examples like the rear view mirrors also black and the chrome suspension and roll bar enliven.
The Lotus John Player Special interpretation was a gift. In the history of brands and imagery the JPS stands out. It immediately conferred on Lotus and JPS a status. It sent out powerful signals. Its recognition and acceptance provided invisible horsepower. It made the sponsor a winner on and off the track. Products require differentiation. The Lotus /JPS livery provided it in spades. It also sold memorabilia.
James Mann’s photography bring this out and credit must be given for the power of his observation and the means that he has rendered the subject. Even the cockpit interior seems subject to the coordinated discipline and code.
It’s very easy to understand why the current generation of Lotus Formula 1 GP cars have revisited this unmistakeable combination.
The editors would suggest that Art of the formula 1 Race Car is more than an art book. Read and interpreted holistically there are strong overlaps with architecture as noted.
Icons of Architecture explains the apartment Buildings rue Franklin, Paris by Aguste Perret is defined in terms of Perret’s design philosophy;
“Two tenants of A.Perret’s conception of architecture are in evidence in this building: that ornament and structural support are intimately connected and that any architect who could express himself through a buildings construction was a poet”
Some engineers will maintain there is nothing but function all else is pretention artificiality, graffiti and egotism. Although the editors accept some of this reasoning they appreciate that Chapman was one of the greatest engineering designers not given to frippery but he also appreciated and incorporated art. He did not merely plonk decals indiscriminately over the body. He used the totality of the surface.
Chapman is known for his believe in multiple function. His designs were elegant, effective. Self-articulating, graphically communicative, memorable. They sold.
In “Icons of Architecture” many of the revered buildings performed a dual role too functional and simultaneously promoted the owner and corporate image.
The JPS Lotus Type 78 [1977] image from net. Note working drawings providing the basic outlines on to which sponsors livery can be depicted.
JPS –Art and Advertising/Crossovers
Branding and logo display and presentation has always been important. When Lucky Strike changed their imagery sales increased dramatically. Logo’s and livery were very much part of packaging but developed with the advent of posters, billboards and illustrations in magazines. In many respects this was two dimensional and somewhat passive.
Graphic and industrial design of logos have and remain a significant function of marketing. Although not considered high art they play an important part in our culture and are seen by the world’s population.
Between commercial art and fine art has been an exciting boundary that the best motorsport art has captured. Artists have painted pictures of the JPS Lotus and this is probably attributed to its distinctiveness. Depiction have taken many forms some like the programme cover illustrated above. In particular Walter Gotschke painted a superb picture of the Hockenheim GP, 1978 and portrayal of Lotus Type 79; foreground with Colin Chapman and Mario Andretti background.
Michael Turner has rendered Gold Leaf /JPS Lotus on many occasions and includes:-
- 1968 Monaco Grand Prix Hill Gold Leaf Team Lotus
- 1970 Dutch Grand Prix Rindt Gold Leaf Team Lotus
- 1972 south African GP Fittipaldi JPS
- 1973 Swedish Grand Prix Peterson JPS
- 1974 Monaco Grand Prix Peterson JPS
- 1977 U.S. Grand Prix M.Andretti JPS
The incorporation of the JPS livery onto the Lotus FI cars gave it an immediate 3D sculptural quality as it was integrated over the whole body. Furthermore the logo was given speed and dynamic in the process. A typographic name would suffer in blurring and the ability to read at speed whereas the JPS livery stood out under all conditions and lifted its differentiation and made it possibly the most easily recognized and memorable.
Hot Brands and Smoking Tyres: The significance of Brand
In a world dominated by competition strong easily recognized brands play an important role. In the fight for market share unique corporate identity is absolutely crucial.
Branding helps:-
- Provide orientation
- Encourage loyalty
- differentiate
“Branding is the process through which meaning and value are added to products.at its simplest, a brand is a guarantee of authenticity and replicability, a badge of trustworthiness and a promise of performance.
Thus a brand exists as a collection of notions in the customers mind .Branding however, can actually affect our perception of a products physical characteristics and thus positively colour our experience of using their products.to this extent, branding is used widely by manufacturers as cost effective means of adding value to their products .On average branding is responsible for over 80% of a products added value, yet accounts for only approximately 20% of its costs. Manufacturers establish brand identity by various means including naming, packaging, advertising and marketing. The idea of “brand personality” is also becoming an ever more important factor in the market place as manufacturers attempt to differentiate their products from those of their competitors……..
The importance of the relationship between corporate identity and branding is illustrated by the success of IBM, General Electric and Ford. These companies rank amongst the top five brands worldwide, a position they have achieved not least by investing enormous resources into integrated corporate design programmes that encompass brand strategies. The implementation of house style for both product and packaging is key to the establishment of a house style for both product and packaging is key to the establishment of brand identity……………..
Corporate identity design which is strongly related to packaging design, is a means by which companies and or brands can give their products or services a visually unified character that will differentiate then from others in the market place. Central to corporate identity is the company logo which is normally used on all corporate projections”
Peter Behrens, Industrial Designer at AEG and considered the father of brand identity observed:-
“We register a type face when reading rather as we notice the flight of a bird”
The following information is taken from the internet. It’s an important set of information to understand in order to form an appreciation of JPs.
We provide information in some detail in this initial piece in order that it can be bypassed in future additions.
JPS is considered an iconic brand.
Iconic brands are defined as having aspects that contribute to consumer’s self-expression and personal identity. Brands whose value to consumers comes primarily from having identity value are said to be “identity brands”. Some of these brands have such a strong identity that they become more or less cultural icons which makes them “iconic brands”. Examples are: Apple, Nike and Harley Davidson. Many iconic brands include almost ritual-like behavior in purchasing or consuming the products.
There are four key elements to creating iconic brands (Holt 2004):
- “Necessary conditions” – The performance of the product must at least be acceptable, preferably with a reputation of having good quality.
- “Myth-making” – A meaningful storytelling fabricated by cultural insiders. These must be seen as legitimate and respected by consumers for stories to be accepted.
- “Cultural contradictions” – Some kind of mismatch between prevailing ideology and emergent undercurrents in society. In other words a difference with the way consumers are and how they wish they were.
- “The cultural brand management process” – Actively engaging in the myth-making process in making sure the brand maintains its position as an icon.
Visual brand language is branding terminology for a unique “alphabet” of design elements – such as shape, color, materials, finish, typography and composition – which directly and subliminally communicate a company’s values and personality through compelling imagery and design style. This “alphabet”, properly designed, results in an emotional connection between the brand and the consumer. Visual brand language is a key ingredient necessary to make an authentic and convincing brand strategy that can be applied uniquely and creatively in all forms of brand communications to both employees and customers.[1] [2] Successful Visual Brand Language creates a memorable experience for the consumer, encouraging repeat business and boosting the company’s economic health. It is a long-term creative solution that can be leveraged by an executive team to showcase their brand’s unique personality.[3]
For example, as shown, a Starbucks constant, main design ingredient was black and white icons. The icons represent elements of the “alphabet”. Each year, the promotional campaigns would use the same icons but the color palette and the featured icons would change. Another distinguishing iconic design element is the BMW ‘split grill’ continually employed to represent the brand. While the grill size and design details evolve over time, the underlying idea is constant and memorable. The use of color is also a powerful associative element for consistent imagery, as exemplified by the comprehensive application of orange by The Home Depot across all its brand materials.
Brand Definition and Concepts
Brand is the “name, term, design, symbol, or any other feature that identifies one seller’s product distinct from those of other sellers.”[1] Brands are used in business, marketing, and advertising. Initially, livestock branding was adopted to differentiate one person’s cattle from another’s by means of a distinctive symbol burned into the animal’s skin with a hot branding iron. A modern example of a brand is Coca-Cola which belongs to the Coca-Cola Company.
In accounting, a brand defined as an intangible asset is often the most valuable asset on a corporation’s balance sheet. Brand owners manage their brands carefully to create shareholder value, and brand valuation is an important management technique that ascribes a money value to a brand, and allows marketing investment to be managed (e.g.: prioritized across a portfolio of brands) to maximize shareholder value. Although only acquired brands appear on a company’s balance sheet, the notion of putting a value on a brand forces marketing leaders to be focused on long term stewardship of the brand and managing for value.
The word “brand” is often used as a metonym referring to the company that is strongly identified with a brand.
Marque or make are often used to denote a brand of motor vehicle, which may be distinguished from a car model. A concept brand is a brand that is associated with an abstract concept, like breast cancer awareness or environmentalism, rather than a specific product, service, or business. A commodity brand is a brand associated with a commodity.
A logo often represents a specific brand.
Concepts
Proper branding can result in higher sales of not only one product, but on other products associated with that brand.[citation needed] For example, if a customer loves Pillsbury biscuits and trusts the brand, he or she is more likely to try other products offered by the company such as chocolate chip cookies. Brand is the personality that identifies a product, service or company (name, term, sign, symbol, or design, or combination of them) and how it relates to key constituencies: customers, staff, partners, investors etc.
Some people distinguish the psychological aspect, brand associations like thoughts, feelings, perceptions, images, experiences, beliefs, attitudes, and so on that become linked to the brand, of a brand from the experiential aspect. The experiential aspect consists of the sum of all points of contact with the brand and is known as the brand experience. The brand experience is a brand’s action perceived by a person. The psychological aspect, sometimes referred to as the brand image, is a symbolic construct created within the minds of people, consisting of all the information and expectations associated with a product, service or the company(ies) providing them.[citation needed]
People engaged in branding seek to develop or align the expectations behind the brand experience, creating the impression that a brand associated with a product or service has certain qualities or characteristics that make it special or unique. A brand is therefore one of the most valuable elements in an advertising theme, as it demonstrates what the brand owner is able to offer in the marketplace. The art of creating and maintaining a brand is called brand management. Orientation of the whole organization towards its brand is called brand orientation. The brand orientation is developed in responsiveness to market intelligence.
Careful brand management seeks to make the product or services relevant to the target audience. Brands should be seen as more than the difference between the actual cost of a product and its selling price – they represent the sum of all valuable qualities of a product to the consumer.
A brand which is widely known is said to have brand recognition. When brand recognition builds up to a point where a brand enjoys a critical mass of positive sentiment in the marketplace, it is said to have achieved brand franchise. Brand recognition is most successful when people can state a brand without being explicitly exposed to the company’s name, but rather through visual signifiers like logos, slogans, and colors.[11] For example, Disney has been successful at branding with their particular script font (originally created for Walt Disney’s “signature” logo), which it used in the logo for go.com.
Consumers may look on branding as an aspect of products or services, as it often serves to denote a certain attractive quality or characteristic (see also brand promise). From the perspective of brand owners, branded products or services also command higher prices. Where two products resemble each other, but one of the products has no associated branding (such as a generic, store-branded product), people may often select the more expensive branded product on the basis of the quality of the brand or the reputation of the brand owner.
Brand awareness
Brand awareness refers to customers’ ability to recall and recognize the brand under different conditions and link to the brand name, logo, and jingles and so on to certain associations in memory. It consists of both brand recognition and brand recall. It helps the customers to understand to which product or service category the particular brand belongs and what products and services are sold under the brand name. It also ensures that customers know which of their needs are satisfied by the brand through its products (Keller). Brand awareness is of critical importance since customers will not consider your brand if they are not aware of it.[12]
There are various levels of brand awareness that require different levels and combinations of brand recognition and recall. Top-of-Mind is the goal of most companies. Top-of-mind awareness occurs when your brand is what pops into a consumers mind when asked to name brands in a product category. For example, when someone is asked to name a type of facial tissue, the common answer is “Kleenex,” which is a top-of-mind brand. Aided awareness occurs when a consumer is shown or reads a list of brands, and expresses familiarity with your brand only after they hear or see it as a type of memory aide. Strategic awareness occurs when your brand is not only top-of-mind to consumers, but also has distinctive qualities that stick out to consumers as making it better than the other brands in your market. The distinctions that set your product apart from the competition is also known as the Unique Selling Point or USP. Marketing mix modeling can help marketing leaders optimize how they spend marketing monies to maximize the impact on Brand Awareness or sales effects. Managing brands for value creation will often involve applying marketing mix modeling techniques in conjunction with brand valuation.
Brand elements
Brands typically are made up of various elements, such as: [13]
- Name: The word or words used to identify a company, product, service, or concept.
- Logo: The visual trademark that identifies the brand.
- Tagline or Catchphrase: “The Quicker Picker Upper” is associated with Bounty paper towels.
- Graphics: The dynamic ribbon is a trademarked part of Coca-Cola’s brand.
- Shapes: The distinctive shapes of the Coca-Cola bottle and of the Volkswagen Beetle are trademarked elements of those brands.
- Colors: Owens-Corning is the only brand of fiberglass insulation that can be pink.
- Sounds: A unique tune or set of notes can denote a brand. NBC’s chimes are a famous example.
- Scents: The rose-jasmine-musk scent of Chanel No. 5 is trademarked.
- Tastes: Kentucky Fried Chicken has trademarked its special recipe of eleven herbs and spices for fried chicken.
- Movements: Lamborghini has trademarked the upward motion of its car doors.
- Customer relationship management
Brand name
Relationship between trademarks and brand
The brand name is quite often used interchangeably with “brand”, although it is more correctly used to specifically denote written or spoken linguistic elements of any product. In this context a “brand name” constitutes a type of trademark, if the brand name exclusively identifies the brand owner as the commercial source of products or services. A brand owner may seek to protect proprietary rights in relation to a brand name through trademark registration and such trademarks are called “Registered Trademarks”. Advertising spokespersons have also become part of some brands, for example: Mr. Whipple of Charmin toilet tissue and Tony the Tiger of Kellogg’s Frosted Flakes. Putting a value on a brand by brand valuation or using marketing mix modeling techniques is distinct to valuing a trade mark.
Types of brand names
Brand names come in many styles.[14] A few include:
Initialism: A name made of initials such, as UPS or IBM
Descriptive: Names that describe a product benefit or function, such as Whole Foods, Airbus or Toys R’ Us
Alliteration and rhyme: Names that are fun to say and stick in the mind, such as Reese’s Pieces or Dunkin’ Donuts
Evocative: Names that evoke a relevant vivid image, such as Amazon or Crest
Neologisms: Completely made-up words, such as Wii or Kodak
Foreign word: Adoption of a word from another language, such as Volvo or Samsung
Founders’ names: Using the names of real people, (especially a founder’s name), such as Hewlett-Packard, Dell, Disney, Stussy or Mars
Geography: Many brands are named for regions and landmarks, such as Cisco and Fuji Film
Personification: Many brands take their names from myths, such as Nike; or from the minds of ad execs, such as Betty Crocker
Punny: Some brands create their name by using a silly pun, such as Lord of the Fries, Wok on Water or Eggs Eggscetera
The act of associating a product or service with a brand has become part of pop culture. Most products have some kind of brand identity, from common table salt to designer jeans. A brandnomer is a brand name that has colloquially become a generic term for a product or service, such as Band-Aid, Nylon, or Kleenex—which are often used to describe any brand of adhesive bandage; any type of hosiery; or any brand of facial tissue respectively. Xerox, for example, has become synonymous with the word “copy”.
Brand Identifier
Open Knowledge Foundation created in December 2013 the BSIN (Brand Standard Identification Number). BSIN is universal and is used by the Open Product Data Working Group [15] of the Open Knowledge Foundation to assign a brand to a product. The OKFN Brand repository is critical for the Open Data movement.
Brand identity
The outward expression of a brand – including its name, trademark, communications, and visual appearance – is brand identity.[16] Because the identity is assembled by the brand owner, it reflects how the owner wants the consumer to perceive the brand – and by extension the branded company, organization, product or service. This is in contrast to the brand image, which is a customer’s mental picture of a brand.[16] The brand owner will seek to bridge the gap between the brand image and the brand identity. Brand identity is fundamental to consumer recognition and symbolizes the brand’s differentiation from competitors.
Brand identity is what the owner wants to communicate to its potential consumers. However, over time, a product’s brand identity may acquire (evolve), gaining new attributes from consumer perspective but not necessarily from the marketing communications an owner percolates to targeted consumers. Therefore businesses research consumer’s brand associations.[17]
Visual brand identity
The visual brand identity manual for Mobil Oil (developed by Chermayeff & Geismar), one of the first visual identities to integrate logotype, icon, alphabet, color palette, and station architecture.
A brand can also be used to attract customers by a company, if the brand of a company is well established and has goodwill. The recognition and perception of a brand is highly influenced by its visual presentation. A brand’s visual identity is the overall look of its communications. Effective visual brand identity is achieved by the consistent use of particular visual elements to create distinction, such as specific fonts, colors, and graphic elements. At the core of every brand identity is a brand mark, or logo. In the United States, brand identity and logo design naturally grew out of the Modernist movement in the 1950s and greatly drew on the principles of that movement – simplicity (Mies van der Rohe’s principle of “Less is more”) and geometric abstraction. These principles can be observed in the work of the pioneers of the practice of visual brand identity design, such as Paul Rand, Chermayeff & Geismar and Saul Bass.
Color is a particularly important element of visual brand identity and color mapping provides an effective way of ensuring color contributes to differentiation in a visually cluttered marketplace (O’Connor, 2011). [18]
Brand Aid
The amounts that JPS paid are not commonly known and little has been published. Tony Rudd commented what Group Lotus contributed on an annual basis. It would be good research to discover the exact amounts and indeed the contractual details. The reason for this being the full credit for Chapman’s achievements and what he extracted cannot be benchmarked without objective information.
John Player Special Exposure and Marketing: Players “The Worlds a Stage”
The significance of sponsorship in motorsport is that it’s an international /global sport. It therefore approaches the ultimate customer base with a high concentration of the target audience. There is little other investment that has such a return which of course combines projecting an image and that of attracting sales.
The rewards / return on investment might be measured in the following categories
John Players Special: Sponsorship: King –Size Return on investment
The JPS sponsorship of Colin Chapman and Lotus provided the cigarette company the following prizes ,privileges and image boost which could be converted into sales and other business opportunities:-
- Winner title in World Drivers and Constructors Championships and all the publicity and exposure this generated
- Drama glamour and identification with sport
- Large International audience both direct/ indirect
- Target audience vis demographics of consumer
- Related spinoffs and additional merchandising and structured interrelated marketing opportunities [see illustrations/adverts]
- Free publicity direct and indirect as JPS Lotus more than likely to appear in other products advertisements
- Duration. continuity , consistency
- Participation with Chapman with certain knowledge of the technological innovation , aspiration and sheer competitive discipline to win
The Championships
Type No. | Year Introd’ | Sponsor | Championship Year | Driver/Constr’ | Prod ‘ Road Car |
48/49 | 1967 | Gold Leaf | Championship 1968 | Both | |
56B | 1971 | Gold Leaf | |||
57/58 | 1968 | Gold Leaf | Type 54 Europa | ||
59 | 1969 | ||||
62 | 1969 | Gold Leaf | |||
63 | 1969 | Gold Leaf | |||
72 | 1970 | GL & JPS | Championship 1970 | Both | |
73 | 1972 | John Player S | Championship 1972 | Both | |
74 | 1971 | John Player S | Championship 1973 | Constructors | Europa |
76 | 1974 | John Player S | |||
77 | 1976 | John Player S | |||
78 | 1977 | John Player S | Championship 1978 | Both | |
79 | 1978 | John Player S | |||
81 | 1980 | ||||
87 | 1981 | John Player S | |||
91 | 1982 | John Player S | |||
92 | 1983 | John Player S | |||
93T | 1983 | John Player S | |||
94T | 1983 | John Player S | |||
97T | 1985 | John Player S | |||
98T | 1986 | John Player S |
Financial
- Cigarettes
- Exposure and goodwill ,reputation
- Merchandising
- British Economy
- Event attendance
- Advertising budget
- Volume of product/ service sales
- Value £’s
- Value hospitality
- Value to Staff and motivation/ identity
- Merchandising
- Legacy and collectability
Many of the benefits contribute to financial reward and staff incentives along with engagement and company reputation and participation opportunities especially at events. Sponsorship also provides an interface with opportunities presented from diverse sources to expand or diversify.
JPS Advertising and Merchandising
JPS were able to exploit and extend their exposure through this extensive list of opportunities. It will be noted that they are both direct and indirect. The value of the aesthetic is that they permits sales outside motor racing hence diversifying and extending range.
Adverts direct / indirect Booklets Calendars and cards Cardboard models Child’s pedal car Cigarette lighter ClothesJPS Designers LabelHat, Team shirt, sew on badge, l’weight jacketCrockery/TablewareJugs, ashtrays, mats, etc.Cutaway drawings etc. Drivers Race suit/Overalls Fine Art Information cards /hand-outs JPTL Promotional Materials Jewellery/accessories Key fob Ladies clothesScarf Lotus “stamps” Magazine covers Posters Press Release Programmes Records LP e.g. “Team Lotus” Sales brochures Scale models Scaletric & slot cars Stickers Team uniform Transporters Watches and accessoriesCufflinks, lapel badge
Cars and Stripes
John Player enjoyed a duality of promotion with their livery being applied to the 1978 Esprit also being able to piggy back on the James Bond connection. In 1978 Lotus was successful in FI and the Esprit S2 World Championship Model was released.
Other manufactures who have offered their cars in sponsor livery includes:-
- Martini Porsche 911 Turbo
- Martini Lancia Integrale
- Gulf Ford
- Lotus Esprit Essex Turbo
Extracted from “Cool Brands” [left to right 2008-2013]
These companies are included because they highlight the ongoing importance of brand and image. It’s acknowledged that it’s not just products that are important but ethos can play an important role. Within general perspectives there will be classics .The significance of JPS is that it has proved fairly indelible and the content of its imagery has remained relatively unchanged. It is interesting to note the motoring brands and their comparative performance in the market place.
1 | Aston Martin | iPhone | Aston Martin | Aston Martin | Apple | Apple |
2 | iPhone | Aston Martin | iPhone | Apple | YouTube | Aston Martin |
3 | Apple | Apple | iPad | Harley-Davidson | Aston Martin | Rolex |
4 | Bang & Olufsen | iPod | BlackBerry | Rolex | Nike | |
5 | YouTube | Nintendo | Bang & Olufsen | Bang & Olufsen | Glastonbury | |
6 | YouTube | Harley-Davidson | BlackBerry | BBC iPlayer | YouTube | |
7 | Nintendo | BlackBerry | Nintendo | Glastonbury | ||
8 | Agent Provocateur | Ferrari | Virgin Atlantic | |||
9 | Rolex | Bang & Olufsen | Ferrari | Nike | Bang & Olufsen | Virgin |
10 | Tate Modern | PlayStation | Dom Perignon | YouTube | Liberty | Ray-Ban |
11 | Dom Perignon | Xbox | BBC iPlayer | Alexander McQueen | Sony | Mercedes-Benz |
12 | Virgin | Tate Modern | Vivienne Westwood | Dom Perignon | Bose | Bang & Olufsen |
13 | Ferrari | Dom Perignon | Apple | PlayStation | Haagen-Dazs | Chanel |
14 | Ducati | Virgin | Tate Modern | Ray-Ban | Selfridges | Prada |
15 | PlayStation | Ferrari | YouTube | Chanel | Ben & Jerry’s | Adidas |
16 | Sony | Sony | MINI | Nintendo | Mercedes-Benz | BBC |
17 | Nike | MINI | Chanel | Vivienne Westwood | Vogue | Sony |
18 | Bose | Vivienne Westwood | Ray-Ban | Agent Provocateur | Skype | Song Music Entertainment |
19 | Rolex | Alexander McQueen | Tate Modern | Nike | Alexander McQueen | |
20 | Lamborghini | BBC | Jimmy Choo | Maserati | Nikon | Spotify |
The Proposed CCM&EC
The proposed museum believes that commercial considerations are both necessary and complementary with its educational objectives.
For these reasons our Business Plan includes provision for promoting products and services which share Chapman’s ideals of mechanical efficiency and sustainability. In addition we propose merchandising that explain and interprets the social and cultural context of Chapman’s designs in period. It’s suggested there will be catalogue for on line purchasing.
In particular is suggested that a number of exhibitions can be mounted exploring sponsorship past present and future within motorsport. Not least peer comparison and evaluation. This can be explored from differing perspectives not least the aesthetic. Also it permits a study examining the relationships between society, demographics, product, marketing, perception and graphic design. This can be done with the motor racing spectrum. It has an important American element and can examine how brands diversify co relate their products and adopt international perspectives and overcome language and culture barriers… Of course fashion is major player and consideration.
Branding has a long and distinguished history and there have been many iconic and indelible images inside/outside motor racing .These can be presented in a variety of ways to create meaningful educational and design experience from free hand drawing, to modeling and CAD .The subject fundamentally relates to communication in an increasingly diversified, fragmented and virtual world for products and services. There are many interactive opportunities to explore the relationship of sponsorship and branding. Design opportunities and competitions and research activities can be structured for entertainment led education programmes.
Conclusion
The achievements and recognition of JPS and Lotus are incontestable .We believe we have established these facts from known marketing/ branding theory.JPS was an attractive image that gained in status and impact as it was translated into a FI racing car livery. It has been celebrated in “The Art of the Race Car” It has reached a near immortality in its indelible image and mystique. Good research would establish the sales records prior to and post sponsorship of JPS.Its almost certain that JPS reached a more sophisticated audience and acceptability as a result. The other measure of the legend is the legacy and return to the livery in current FI and the collectability of JPS memorabilia.
John Player Specials are worthy of their name. Special has a dictionary definition/ association that includes:-
- Exact, unique
- Specific, exclusive
- Important, individual distinctive
- Exceptional ,outstanding,
- Significant, extraordinary
This was achieved very much as a result of the partnership with Colin Chapman and Lotus.
We noted that Chapman did not look back. Neither will the proposed CCM&EC.The primary purpose of the proposed museum is developing educational strengths of analysis and innovation assisted by access to inspirational sources.
As long as individuals need and consume products and services branding and communication will remain necessary; possibly more so in a virtual world. Into this discipline we hope to make a positive contribution deploying creativity to improve competiveness , add value sharpen targeting and deliver improved quality and freedom of choice as did Chapman in open and free market.
Reference:
Marks of Excellence.P.Mollerup.Phaidon Press.1999.
ISBN: 0714838381
Trademarked: A History of well-known brands.D.Newton.Sutton.2008
ISBN: 9780750945905
Interbrand: Top100 Global Brands.2013
Interbrand Directories:
Business Superbrands.Superbrands Ltd; 2000
ISBN: 0952815346
Cool Brand Leaders .Superbrands.2003
ISBN: 0954153243
Sponsorship and the World of Motor Racing
S.D.Fowell.Hazelton Publishing 1992
ISBN 0905138953
Finding Company Sponsors. Chris Wells. Directory of Social Change 2000
ISBN: 1900360373
Looking after your Donors. Karen Gilchrest. Directory of Social Change 2000
ISBN: 1900360764
Grand Prix Motor Racing.A.Cimarosti.Aurum Press.1997ISBN:
ISBN: 1854105000
The Lotus Book.W.Taylor.Coterie.1998.
ISBN: 1902351002
Lotus Collectables.W.Taylor.Coterie.2000.
ISBN: 1902351010
The Art of the F1 Race Car. Codling & Mann.Motorbooks.2010.
ISBN: 978076037318
The Guinness Encyclopedia of Signs and Symbols.Foley.Guiness .1993
Trademarks Handbook of International Designs.Wilbur.1966
Museums
Museum of Brands:info@museumofbrands.com
The Museum of Advertising [nb picture library]
Please note the editors of the A&R attempt to give the broadest spectrum of references but not all are available for consultation in an article. However by noting their existence it may assist students in their research.
*Items in italics non A&R library books.
Italics A&R library
Please note the editors of the A&R attempt to give the broadest spectrum of references but not all are available for consultation in an article. However by noting their existence it may assist students in their research.
*Available at British Library
**Available Surrey County Council Library
4.1 Chapman’s Catalogue: Car Sales Brochures, Advertisements and Promotional Photography.
Introduction
This is a new series that will examine car sales material and potential promotional photography used by Colin Chapman. Chapman commissioned sales literature from the Mk.VI onwards. In the 1950’s and 60’s off-set printing became reasonably affordable and almost immediately we see Chapman respond along with his marketing colleagues.
The A&R has a good cross section of these brochures in various forms adopted from the earliest to the present.
In each of our studies we will examine:-
- Visual imagery , content and message / marketing of the brochure
- Examine briefly the social/historical context where appropriate
- Examine the model in context [ note technical information invariably contained within brochure itself]
The editors believe these will appeal to a wide audience .Increasingly sales material is down loaded but there remains a significant incentive to retain crisp, clear, graphic, professional, well designed and presented printed brochures on quality paper as a reflection of the products /brands inherent attributes.
It will be interesting to observe through brochures how Chapman’s car products evolved, became more sophisticated and how this was expressed through changing times, markets ,technologies and of course presentation.
Brochures will not be offered in chronological order but will explore subjects and topics relevant to our main articles and themes. The editors will be very pleased to hear from our subscribers should they have any priorities or preferences.
Brochure Definition and Content
A brochure or sales literature might take the form of [or combination of]:
- Flyer
- Leaflet
- Pamphlet
- Booklet
- Catalogue
- Manuals
- Data /technical data sheets
- Price lists
- Press clippings/ release
- Testimonials
Their purpose is primarily to:-
- Pass on information and effectively communicate often subtle messages
- Introduce the company or organization to products and services
- Generate sales through broad strategy and promotion
- Impress and generate interest , enquiry about company beyond immediate product
- To present favorably against rivals
Brochures are produced to reach target audiences. These are reached through display and distribution in dealer’s showrooms, at exhibitions, through postal enquiries, and possibly dissemination to selected organizations and individual such as authors and researchers.
In the case of the car it might be hoped that the customer having gathered intelligence short lists the product and proceeds to test drive. Thereby through a process of design and content [product] to persuasion [brochure] and demonstration a sale is generated. [Subject to realities of price, service trade in and other individual considerations]
In one respect the brochure might be seen as an equation in another a bridge. Its success measured by the extent it can influence, reach and persuade the customer. We will examine this in each case.
A good brochure might be considered aspirational.
Marketing: Visual and Literary Symbolism
Marketing will attempt to identify the prospective purchaser with the product. There is an element of providing the customer with a reflection of their desired self-image. This subtle persuasion often relies on messaging and tie-in between the two elements. Visual and written information is likely to endeavor to exploit affinities and use allegory, metaphor, analogy extensively and be aspirational.
Often the cars will be posed consciously with intentional lyrical atmosphere or ambience to establish connectivity between the customers his/her values and of course significantly romance .This is often achieved with reference to occupation, status, hobbies and the customer’s cultured aesthetic sensitivity. Some of the principle backdrops adopted are:-
- Aircraft, aviation, runways, gliding etc.
- Fashion, clothes
- Architecture
- Landscape, rivers, sailing and seashore etc.
- Distinct British landmarks e.g. London
The editors provide some detailed examples and dates:
Identified Categories
Prime Focus | Secondary Focus | Tag Line | Model | Bro or photo |
Architecture | Seven S 3 | |||
Architecture | Europa | |||
Architecture | Modern Design | Europa S1 | ||
Architecture | “The man in the Elan” | Elan | ||
Architecture | “Elegance breeds Elegance” | Elan +2 | ||
Architecture | Esprit | |||
Architecture | Kettingham Hall | Esprit Turbo | Pub’ Photo | |
Architecture | Chateau | Esprit Turbo | Pub’ Photo | |
Architecture | Georgian home frontage | Europa | Pub’ Photo | |
Architecture | Farmhouse | Elan +2 | Pub’ Photo | |
Architecture | Windmill | Elan | Pub’ Photo | |
Architecture | Modern factory/whareh’ | Europa [GKN] | Pub’ Photo | |
Architecture | Farm/mansion | Europa | Pub’ Photo | |
Architecture | Country House drive | Elite | Pub’ Photo | |
Aviation | “Fly Lotus” | Elan +2 | ||
Aviation | Glider | Eclat | ||
Aviation | Bell Ranger Helicopter | Eclat | Pub ‘Photo | |
Colour impact | Tints | Seven S1-3 | ||
Families | Elan +2 | |||
Fashion | Elite | |||
Fashion | Elan | |||
Fashion | “An even more powerful temptation” | Elan +2 | ||
Fashion | Elan +2 | |||
Fashion | Architecture | Sunbeam Lotus 79 | ||
Features | Technical specification | 15 | ||
Features | Steering wheels | Elan | ||
Hippy era | “Groovy” | Seven S4 | ||
Landscape | Elan S 4 | |||
Landscape | “If you have just bought…..” | Europa | ||
Landscape | Europa S2 | |||
Landscape | Seascape | Sunbeam Lotus 79 | ||
Landscape | Riverside | Elan | ||
London | Houses of Parliament | Europa S2 | ||
London | Harrods | Eclat | ||
London | Crystal Place old track | Esprit | Pub ‘Photo | |
London | Gates St. James Palace | |||
London | Houses of Parliament | Esprit Turbo | Pub’ Photo |
A visual image carries and is loaded with much greater symbolism than words .It is also more immediate and possibly indelible. Hence photography is a preferred medium of communication being both more effective and economic than the written word. Photography is very powerful in its ability to borrow from and assimilate symbolism from its surroundings.
In our analysis we will examine how this is adopted.
Analysis of Sales Brochure for:
- Visual imagery, content and message / marketing of the brochure
- Examine briefly the social/historical context where appropriate:
See Lotus Design Decades.
- Examine the model in context [note technical information invariably contained within brochure itself]
Question does this brochure succeed?
The Proposed CCM&EC
The proposed museum believes that commercial considerations are both necessary and complementary with its educational objectives.
For these reasons our Business Plan includes provision for promoting products and services which share Chapman’s ideals of mechanical efficiency and sustainability. In addition we propose merchandising that explain and interprets the social and cultural context of Chapman’s designs in period. It’s suggested there will be catalogue for on line purchasing.
In particular it’s proposed to retail sales brochures and memorabilia derived from them including posters, cards, calendars, postcards. The prosed museum has the potential to hold originals in archive, buy, sell and exchange brochures and undertake exhibitions that explore marketing of Chapman derived products.
The design of brochures also has a strong educational content and this will be exploited with direct and indirect learning opportunities and competitions.
Conclusion
As we have noted sales brochures are a function of communication and marketing. As long as products and services are manufactured to some extend there remains a requirement to bring these to a targeted audience.
The design and presentation of sales materials is a dynamic subject .It requires understanding of psychology, the brand, the product, the customer and the prevailing culture. To some extent it also requires an appreciation of rivals. Brochures and other sales materials generate income but also have a cost. When commissioned these need to be balanced and the selection of consultants and the ability to grasp subtle sometimes sublime messages is an art.
Much of Chapman’s design mantra is technological but his racing programme would not have been possible without selling road cars and consultancy. Brochres played an important role .Therefore this exercise is particularly relevant and has educational overlaps for the creative and marketing professionals. Between the manufacturer, marketing professionals and customer are dynamic interfaces.
The first in the series will be :Architecture.
Reference:
The Lotus Collectables Book.W.Taylor.Coterie.2000.
ISBN: 1902351010
Lotus.Bacon.Sunburst.1995.
ISBN: 1857781473
Vintage Ad Gallery
Please note the editors of the A&R attempt to give the broadest spectrum of references but not all are available for consultation in an article. However by noting their existence it may assist students in their research.
*Items in italics non A&R library books.
Chapman’s Catalogue: Car Sales Brochures, Advertisements and Promotional Photography: Architecture
Introduction
This is a new series that will examine car sales material and potential promotional photography used by Colin Chapman. Chapman commissioned sales literature from the Mk.VI onwards. In the 1950’s and 60’s off-set printing became reasonably affordable and almost immediately we see Chapman respond along with his marketing colleagues.
The A&R has a good cross section of these brochures in various forms adopted from the earliest to the present.
In each of our studies we will examine:-
- Visual imagery , content and message / marketing of the brochure
- Examine briefly the social/historical context where appropriate
- Examine the model in context [ note technical information invariably contained within brochure itself]
The editors believe these will appeal to a wide audience .Increasingly sales material is down loaded but there remains a significant incentive to retain crisp, clear, graphic, professional, well designed and presented printed brochures on quality paper as a reflection of the products /brands inherent attributes.
It will be interesting to observe through brochures how Chapman’s car products evolved, became more sophisticated and how this was expressed through changing times, markets ,technologies and of course presentation.
Brochures will not be offered in chronological order but will explore subjects and topics relevant to our main articles and themes. The editors will be very pleased to hear from our subscribers should they have any priorities or preferences.
Brochure Definition and Content
A brochure or sales literature might take the form of [or combination of]:
- Flyer
- Leaflet
- Pamphlet
- Booklet
- Catalogue
- Manuals
- Data /technical data sheets
- Price lists
- Press clippings/ release
- Testimonials
Their purpose is primarily to:-
- Pass on information and effectively communicate often subtle messages
- Introduce the individual company or organization to products and services
- Generate sales through broad strategy and promotion
- Impress and generate interest / levels of enquiry about company beyond immediate product
- To present favorably against rivals
Brochures are produced for target audiences. These are reached through display and distribution in dealer’s showrooms, at exhibitions, through postal enquiries, and possibly dissemination to selected organizations and individual such as authors and researchers.
In the case of the car it might be hoped that the customer having gathered intelligence short lists the product and proceeds to test drive. Thereby through a process of design and content [product] to persuasion [brochure] and demonstration a sale is generated. [Subject to realities of price, service trade in and other individual considerations]
In one respect the brochure might be seen as an equation in another a bridge. Its success measured by the extent it can influence, reach and persuade the customer. We will examine this in each case.
A good brochure might be considered aspirational.
Marketing: Visual and Literary Symbolism
Marketing will attempt to identify the prospective purchaser with the product. There is an element of providing the customer with a reflection of their desired self-image. This subtle persuasion often relies on messaging and tie-in between the two elements. Visual and written information is likely to endeavor to exploit affinities and use allegory, metaphor and analogy extensively.
Often the cars will be posed consciously with intentional lyrical atmosphere or ambience to establish connectivity between the customers his/her values and of course significantly romance .This is often achieved with reference to occupation, status, hobbies and the customer’s cultured aesthetic sensitivity. Some of the principle backdrops adopted are:-
- Aircraft, aviation, runways, gliding etc.
- Fashion, clothes
- Architecture and homes /family
- Landscape, rivers, sailing and seashore etc.
- Distinct British landmarks e.g. London
A visual image carries and is loaded with much greater symbolism than words .It is also more immediate and possibly indelible. Hence photography is a preferred medium of communication being both more effective and economic than the written word. Photography is very powerful in its ability to borrow from and assimilate symbolism from its surroundings.
In our analysis we will examine how this is adopted.
Analysis of Sales Brochure for: Lotus Elan +2 “Special Equipment” [see actual brochure image above]
- Visual imagery, content and message / marketing of the brochure
This information sheet is divided into three. Its straight forward, printed in black and white and comprises almost equal elements for the photograph, model identification, specification and contact details.
The Elan +2 is posed diagonally on a wide drive and in front of what seems like a double garage.
The house is designed and built to modernist canon but does not appear 1920’s. It rather resembles the house that Gropius designed for himself in America. The home is possibly split level. It is essentially angular but the spiral entrance ramp offsets this. The architect has deliberately used a range of contrasting building materials. Natural stone, oiled hardwood front door, brick and either concrete or white painted render. It is therefore more contemporary less extreme with complementary organic elements. The house appears orientated to the sun and has large windows, a balcony and possible access to the roof. Deduction would suggest the accommodation is at least three bedroom, with possibly a double height entrance hall. Possibly central to the plan and possibly with the main large open plan living room appears an open fire and chimney.
A small section of lawn is just visible and possibly extends relying on the dramatic appearance of the house and being reasonably maintenance free. This type of home might be located on a secluded site enjoying panoramic views or on a select estate of architect designed homes.
The Elan +2 is thus seen as complementary and reflecting the major distinguishing features of the house.
The adoption of such a home has significant unspoken messages and these include:-
- That the home is one off almost certainly architect designed and probably commissioned by the owner
- It’s a spacious family home
- The occupant is possibly an executive, airline pilot. Company director or well established design professional / architect who can afford this level of specification
- The family have the taste and knowledge and confidence to own a statement design. Most important it’s not a mock Tudor or pastiche .the design is modern, rather uncompromising yet practical. comfortable ,inspirational and nurturing
- The property although expensive will be an enduring investment and that property serves family life and is fundamentally safe structurally and financially
The overall deduction becomes that a cultivated and sophisticated owner of this type of property who has high expectation; when they exercise they taste in cars wish for something equally competent, constructed with assured performance. A car that they can both enjoy and exploit, that will be used frequently often with the family, that can be businesslike and when it sits on the drive is seen a consistent expression of the owners values and philosophy.
- Examine briefly the social/historical context where appropriate. See Lotus Design Decade and peers available.
3 Examine the model in context [note technical. Information invariably contained within brochure itself]
Chapman accelerated both the technical and customer base for his cars. During the 1950’s he had essentially sold to racing and sports cars enthusiasts who’s competition achievements brought a significant reputation to the marque.The Elite and Elan elevated Lotus and moved into much more sophisticated territory. Lotus was maturing in many respects and simultaneously going up-market. Chapman might have believed that:-
- Sales of one off racing cars would not provide the income he required for GP racing
- That diversification was security and guarantee
- That his original customers had matured , but wished to stay loyal
- That car manufacturers and their products had become far more sophisticated
- The Japanese were providing exceptional competition across the performance range
- Technology and aerodynamics working together tended to create enclosed cars which offered advantages through safety, comfort and performance at competitive prices
Should these factors have determined strategy it would be incumbent to develop products for a new customer base. These might have been, existing owners now older with children, young married professionals wishing to be seen as part of cutting edge technology, fashion and success.
If this was the believed target audience the following qualities are likely to be important:-
- Safety Vis young family / children. “Masterpiece of British Craftsmanship”
- Performance safety linked
- Boot and space , additional storage
- Weather proof
- Economical to purchase and run vis possibly second car
- Women are likely to be increasing customers / drivers and specification must appeal
- Design must be contemporary and professional preferably with family resemblance / identification with Lotus.
In nearly all respects the Elan +2 “Special Equipment” delivered. It was a car for the discerning owner, the road holding and performance was fast [120-125 mph] but most importantly predictable and safe – the brakes [Girling 10” discs- provided remarkable stopping power] The body shape although a 2+2 was attractive and sporty and provided the requisite safety, comfort and internal space [note the increased length and track contributed to these attributes] .The fixed head coupe was practical, luxurious and had a boot.
The Elan +2 sold for £1,672 in component form or £1923 built including tax. The later model retailed at £2,626 and was only sold factory built i.e. removing any safety stigma or amateurism. Chapman had committed the company to a policy of QR [Quality and Reliability]. The Elan +2 was marketed as possessing safety and reliability because they were hand assembled.
It is reasonably evident that the Elan +2 had a ready audience and its specification fitted the bill. This tends to be born out with the production figures which might possibly have slightly exceeded 5000 units.
There were other adverts that adopted a similar theme and included:-
- Elan S4 “Who’s just arrived?” .The man in the Elan
- Elan +2 [NAH 120H] with two children outside Georgian house [“Motor” Sept’ 1969]
Does this brochure succeed?
The editors suggest Yes.
The information sheet is simple yet direct with strong contrast. It manages to marry the product with the potential customer. It uses the home as a uniting bridge and trigger of connectivity. Many potential customers will aspire to the ownership of both. Many of the younger customers would probably be unable to finance such a high specification home. The advertisement tells them that potentially they can own the car and advance towards the house; and that ownership of the car will assist career and income development. It offers a trajectory and the assurance of a symbiotic relationship.
The Elan +2 was a good design well executed for the desired audience and well-presented and marketed.
The editors appreciate this is not an exact science and welcome comments from our subscribers.
The Proposed CCM&EC
The proposed museum believes that commercial considerations are both necessary and complementary with its educational objectives.
For these reasons our Business Plan includes provision for promoting products and services which share Chapman’s ideals of mechanical efficiency and sustainability. In addition we propose merchandising that explain and interprets the social and cultural context of Chapman’s designs in period. It’s suggested there will be catalogue for on line purchasing.
In particular it’s proposed to retail sales brochures and memorabilia derived from them including posters, cards, calendars, postcards. The prosed museum has the potential to hold originals in archive, buy, sell and exchange brochures and undertake exhibitions that explore marketing of Chapman derived products.
The design of brochures also has a strong educational content and this will be exploited with direct and indirect learning opportunities and competitions.
Conclusion
As we have noted sales brochures are a function of communication and marketing. As long as products and services are manufactured to some extend there remains a requirement to bring these to a targeted audience.
The design and presentation of sales materials is a dynamic subject .It requires understanding of psychology, the brand, the product, the customer and the prevailing culture. To some extent it also requires an appreciation of rivals. Brochures and other sales materials generate income but also have a cost. When commissioned these need to be balanced and the selection of consultants and the ability to grasp subtle sometimes sublime messages is an art.
Much of Chapman’s design mantra is technological but his racing programme would not have been possible without selling road cars consultancy and a creative sales strategy. Brochures played an important role .Therefore this exercise is particularly relevant and has educational overlaps for the creative and marketing professionals. Between the manufacturer, marketing professionals and customer are dynamic interfaces.
Reference:
The Lotus Collectables Book.W.Taylor.Coterie.2000.
ISBN: 1902351010
Lotus.Bacon.Sunburst.1995.
ISBN: 1857781473
Vintage Ad Gallery
Please note the editors of the A&R attempt to give the broadest spectrum of references but not all are available for consultation in an article. However by noting their existence it may assist students in their research.
*Items in italics non A&R library books.
5. Newest Acquisitions to A&R Library/Book Review
Date: 4/07/2014
Author: Tony Rudd
Title: Tony Rudd: It was Fun
Publisher &Date: Patrick Stephens.1993.
ISBN: 1852604131
A&R library copy: No
Tony Rudd 1923-2003 was slightly older than Colin Chapman.
Tony Rudd’s autobiography is complex book to review because of the enormity of detail and technical facts. An immediate indication of this is the quality Index. The editor feels barely able to do the work justice. However it is one that motor racing engineers and historians ought to read. The comedian Max Boyce had a catch phrase “I know ‘Cos I was there” and authenticity, direct experience and engineering participation runs throughout Tony’s work as one of the major participants.
Tony Rudd emerges as an engineer of considerable ability, patience, integrity thoroughness, perseverance, stamina, enthusiasm and humour. He certainly coped with disappointments and crisis.
The editor in many respects feels his work could fill three distinct books; possibly broken down into:-
- Post war British motor racing conduct and strategy
- Rolls-Royce and BRM
- Lotus
And of course there are overlays and overlaps between
The paragraphs devoted to the time at Lotus have a totally different feel and possible reflect the changing times, role and relationship with Colin Chapman.
Rudd sums up fairly and objectively:-
“I am not quite convinced he was a genius –within my definition –but he was most certainly one of the most brilliant engineers the racing and motor industry has ever known”……….. And later in the work:-
“If he was not a genius by my definition he will certainly go down in history as the British [or English] Bugatti and certainly as great a man as Ferrari”
Chapman commented of Tony:-
“He has the mileage ingredient”
Tony Rudd is very much the engineers engineer and typical he was expected to:-
“Make it an engineer’s material not a black art”
This very important work not often quoted by author’s .It is very significant not least because of the engineers approach to detail and objectivity. Rudd backs up his comments with data and financial information. Tony Rudd was a most respected engineer.
“It was Fun” could be reviewed in the order written but this might lose some of the authority and authenticity. Rudd’s work provides some magnificent quotes and the editor’s uses these frequently.
At the very beginning Rudd in his acknowledgements says:-
“I owe s special debt to all the people, machinists, welders, fitters, technicians and draughtsmen who turned my ideas into reality and made them work.”
This is an indication perhaps of his roots and his respect for the often anonymous workers who toil to realise the designs of others.
Some of the projects that Tony Rudd undertook includes:-
- BRM H-16 engine
- Lotus consultancy and later as freelance consultant
- Ground effect on the Lotus 78
- Active suspension
- Lotus micro lights [engine] and powerboats
- Lotus road cars notably the Esprit
- Delorean period
- Jenson Healey engine
- VARI
Early life, apprenticeship and 2nd World War experience
Tony does not explain where is prodigious engineering skill came from. We learn of his early interest in motorsport gained through contact with Prince Chula and B.Bira along with ERA.
His parents supported his engineering apprenticeship with Rolls-Royce. Early on its evident he had a combination of engineering empathy, theoretical knowledge gained through academic study and through record keeping.
During the 2nd World War he undertook some work on recoding and deducting faults on aero-engines and drawing up reports on durability. This was extremely important work and contributed to Britain’s defence.
BRM
Early post war he was seconded to BRM where he was able to contribute to the early resumption of international motor sport. He was promoted in stages to Chief Engineer and Team Manager eventually in 1962 helping secure the Constructors Championship for BRM and the Drivers’ Championship for Graham Hill. [Graham figures a great deal in the autobiography and there are regular overlaps at Lotus etc.]
The editor felt that Tony must have kept meticulous records or diaries as it would seem near impossible to have retained such extraordinary detail and technical set –ups which make this such a convincing read.
Throughout the work there is the occasional telling observation recognising the basics and realities of engineering and often harking back to his comments in acknowledgements like Stan Hope of BRM used to say: “If you can draw it I can make it “It was with difficulty sometimes.
Tony reminds us of the times and death in motor racing and the culture and often Brtishness pervading the approach:-
“Sir Alfred Owen and the Rubery Owen management had realised the value of the BRM’s new –found reputation ……….Sir Alfred gave me a big lecture that we were racing to prove the excellence of Rubery Owen engineering .Although winning was top priority, if we could not, he preferred finishing second and third, with both cars trouble free, compared with one car winning and the second car of the team blowing up, as did Lotus. He also impressed upon me that if ever we killed a driver he would close down immediately. He gave me a very clear sense of direction. Mechanical integrity was vital, and do not take chances with drivers lives”
Throughout and it’s very much a strength of Rudd. It lifts his work from reciting history as he offers many facts and constraints / causations /realities and this makes it much more significant
V12 engine costs
“I reported that we could make a 400 hp 2-valve V12 weighing 325 lbs [147 kg] for sports racing cars and based on a batch of 20 engines we could build them for £2,200 each. [C1968]
Vis the H16
“We delivered an engine and gearbox to Lotus which nearly destroyed the small van they had sent to fetch it.They were absolutely thunderstruck by the weight 555lbs [252 kg] plus 118lb [53.5kg] of gearbox and clutch……..Colin Chapman spotted we had the clutch the wrong way round”
Motor racing costs
Reported by Sir Alfred Owen [late 1950’s early 1960’s]
“He told me he had spent £1,000,000 on motor racing [£1 million in the fifties was lot of money] .A front line team’s budget was less than £85,000a year; today its £25 million or more c 1993]] and had nothing to show for it.
Space frames
“Never was Sir Henry Royce’s first law more appropriate-“every material an engineer uses is rubber like, and if you approach it with a lighted match it will expand” I could see the logic of the space frame”
“Why not make a proper space frame using the Chapman inspired rear suspension and our new front end? we could give the space frame a detachable skin as we wasted much time working on the old car through lack of accessibility………….space frame would weigh 75lbs [34kg] a detachable electron skin, 50lb [22.7kg] and 36 gallon [160 litre] fuel tanks 35 lb [16kg] .a total of 160 lb [72.7kg] against 186 lb [84.5 kg] of the much modified over stressed skin cars with 48 gallon [214 litre] tanks”
Aerodynamics
In 1962 Tony undertook an aerodynamic test in manner Chapman had back in mid-1950’s .He used his Leica camera to photograph tufts attached to the car. Note photos taken from Jaguar being driven alongside.
“I used to lurk at corners with a long lens on the Leica and take photographs of the cars coming through the corners ……..I noticed the outer front roll bar had twisted and gone over centre .I commissioned some stiffer ones…………”
Lotus
The section devoted to Lotus has almost a different and distinct style and content. It possibly reflects that Tony had a role that was equally commercial as engineer [he was also a shareholder]. The editor found it fascinating reading particularly the insights regarding Colin Chapman and the powerboats which is covered in greater detail than anywhere else and explains about the liquidation. Tony’s detail helps explain many of the overlaps and cause and effect within events and outcomes. [Haskell is a natural complement to this work]. Tony also gives very brief details about Technocraft that were involved with glass fibre products / projects.
Tony joined Lotus in 1969 and spent 22 years with the company until retirement in 1991. C 1974 Rudd very honestly recalls:-
“My salary from all sources at Lotus at that time was around £15,000 per year.”
During this time he contributed significantly to the growth and quality of Lotus. He held the post of Group Engineering Director and was extremely proud of his development of Lotus Engineering [consultancy with R&D] He became involved with most of the major programmes and innovations not least engines and active suspension.
Production
He made some recommendations for make overs that were adopted and successful:-
“We were soon selling more than 70 cars a week [35 big valves, 25 reworks and the rest Europa’s] instead of 35 in the depth of the 1970 crisis
Dictums
Possible not invented by Chapman but he often made the statement
“Development is the last resort of an incompetent designer “[what GM call failure mode analysis]
Esprit
“During the Geneva show we meet up with Giugiaro of Ital Design- very much the coming man.He wanted to apply his design skills to a glass fibre car, and had chosen the Europa. However Chunky soon steered him into the M70 .We cut and stretched a Europa chassis, crammed a 2 litre engine into it and sent it to Turin
Lotus finances
1973
“We had made a profit of £1,156,000 on £7,344,000 turnover
1882
He was particularly entranced when I said I thought we would have a £1 million turnover by the end of the year .He would probably have had a lot to say when at £973,000 we just missed
Drawing
“Chunky used to invite me to his home in Cringleford for dinner one night a week. We discussed the new FI car the type 72, with variable rate torsion bar suspension, which he was drawing on his board at home”
Motor Racing costs, design and finance
Tony played a major role in the development of the wing car. Records how this came about and particularly how the engineers observed the rubber belt move below the model in the wind tunnel.
“by the time of the 1978 Championship FI costs had exploded .Team Lotus annual budget far exceeded the best profits of Lotus cars –now a plc with shareholders , published accounts and AGM –had ever made [about £1.25 million]…………
Most of Team Lotus income came from sponsor’s .Group Lotus voted £100,000 a year to the Team for publicity but that was all”
Tony’s analytical mind was able to express functional requirements above and beyond engineering .He deducted that it cost:-
“$1 million per World Championship point …………….but Team Lotus were achieving in for $780,000”
Politics of sponsors re Camel
Tony Rudd became involved again with motor racing after Colin Chapman’s death. The team did not get back to the top and perhaps other teams and designers [see A& article series on FI designers] moved significantly forward. Tony explains much of the politics and expectations that were set down and the conditions. [The A&R intends to produce an article on the Camel cars shortly]
Corporate Politics within Lotus
The editors see in Tony Rudd a man of integrity not just in engineering. He was delegated to undertake a negotiating role with staff. His selection seems due to his sense of fair play, his reputation and possibly his identification with the engineers on the shop floor [see early remarks on acknowledgements].
Tony’s period with Lotus experiences the highs and lows on and off the track. The road car business just survived and finances were frequently perilious.Tony also recalls perhaps some of the backbiting that perhaps increased proportional to Lotus growth. Post chapman verging on the bureaucratic etc. It’s possibly a consequence of such concentrated talent that office politics intrude into design. Its worth re reading these sections that include some financial information and contrasting them with the 1960’s went Lotus was in such ascendency; expansion and track success running in parallel. The oil crisis, the world economy through the 1980’s was rather destabilising.
In the management of the Group Colin was not without fault. The editors can understand on occasions he cannot have been an easy man to work for. Tony suggests he could be mercurial. Tony possibly offered some stability and a capacity to translate ideas into reality often under difficult circumstances.
Tony’s biography is rather unique in this respect and our understanding greater for it.
Later career at Lotus Vis committee’s politics establishment judging etc.
Later in his career Tony was feted. He was liked and respected by international counterparts. He was active within his professional body and was judge on several international competitions. In some respects he becomes part of the “establishment”
It’s impossible to read Tony without grasping the changing times. The British motor industry went through massive transformation and a certain powerful Americanisation becomes evident. Tony seems well able to adjust to this .However with multinational corporations their size increased politics and the blandness of safe products frequently a mismatch of corporate committee and accountant design. Within this too is the increased levels of investment and capital involved.
Although not stated expressively readers will perhaps deduct that Colin Chapman approach did not sit entirely comfortably with this but he also needed funds to survive.
Consultancy conduct
Tony did much to increase the viability and reputation of Lotus by establishing this operation. He explains that the nature of consultancy and clients prevents the true picture emerging. This has to be understood and respected. Tony’ does his best to guide our informed deductions.
He undertook massive international travel to secure contracts .He must have had an extraordinary constitution to undertake the responsibility and personal tole.
Throughout he remained happily married and brought up a family.
A rare, gifted and engineer of magnanimity.
Retirement and Author
In retirement Tony undertook some freelance consultancy, was active in his professional engineering bodies and undertook authorship of his autobiography reviewed here and works on BRM.
Conclusion
Rudd’s autobiography possibly deserves and in many respects requires reading twice, It’s that detailed, and his comments help explain many areas of Chapman’s strategy both commercial and racing. Tony’s writing is rich, deep through and very inclusive .It is also more insightful and analytical than many other works relating to Colin Chapman.
The editor was very interested for example about Tony’s involvement with the powerboats and design of the micro light engine.
Because of his close relationship and knowledge of Colin Chapman we obtain possibly some of the best insights; warts and all. They are respected because engineers of almost equal status are involved.
Tony’s autobiography ought to be read by all serious researchers on the subject of engineering; particularly post war motor racing. Tony cuts out most of the padding and usual anecdote.
Although Tony writes with considerable detail he builds momentum, his work is shot through with good humour and it always remains evident the momentum and stamina he contributed to projects and support to colleagues.
Of course constituent with his engineering detail we learn of the politics with the various companies and with motor racing. Some malicious and vindictive and occasionally the imposition of burearacy. The editor was not expecting to learn of fresh insights into the Delorean affair but Tony writes of this in some detail and frankness. It gave the editor fresh perspectives especially seen against the financial background of the time.
The editor read this work first fairly thoroughly and then returned to reread the chapters on Lotus. It took time , but it can be seen numerous quotations have been taken and previous unknown facts revealed .Tony has done a service and much of what has been learnt will be incorporated into the A&R research programme.
“It was fun2 is not heavily illustrated. It’s not a coffee table book. With a life as full as his there is no requirement for padding.
Tony explained his fifty year life in motorsport as “Fun” this rather shines through of a truly impressive and dedicated engineer who did more for British motorsport than has been generally recognised. Read it and have fun too but equally important this is work to absorb and learn. The best legacy?
The editor would suggest complementary and possibly structured/integrated material is available in:-
Moonraker.Sarah O’Hara.Nighthawk.2005.
ISBN: 1842800760
&
Colin Chapman’s Lotus Engineering. Hugh Haskell.
These works cover the powerboat phase and many of the other significant engineering contributions like those of Colin Gething.
6. Film Review
Date 03/09/2014
Title: The history of Motor Racing: 1950’s
Author:
Publisher &Date: Duke, 1995
ISBN / CAT REF ETC: DMDVD 2700
Duration: 132 min.
A&R library copy: Yes
Introduction.
This DVD has a direct relevance to chapman/Lotus enthusiasts.
The makers introduce this DVD with the observation that:-
“The 1950’s was a magnificent era in which motor racing truly “came of age” .It was during this golden decade that some of the world’s most influential manufactures and drivers made their mark, leaving us with an extensive archive of dazzling technical innovation and exciting characters ………..join motoring historian Neville Hay as he recalls the major stepping stones of this memorable period with a wealth of facts, anecdotes, interviews and glorious racing footage.”
Having played the film the editor can vouch for this .It’s a very attractive and evocative film and the brief interviews do not pad and permit a full concentration of racing action presented in chronological order.
The film is divided into two parts. It commences with an introduction from the 1930’s explains the interruption of the Second World War and commences in earnest from 1945.In the prologue there are pictures of the main personalities drivers , managers and team owners.
Interviews
Very brief interviews are conducted with:-
- Jack Brabham
- John Cooper
- “Lofty” England
- Stirling Moss
- Cliff Alison
Film clips
The clips are taken from GP events through the decade and include a variety of circuits especially Monaco, Silverstone, Aintree,
Also included are sports car racing notably the Targa Florio and Mille Miglia [brief but significant], Le Mans and Sebring.
Example are:-
1950 Silverstone GP
1951 Le Mans
1955 Mille Miglia [Moss]
1955 Le Mans [reference Colin Chapman]
1955 Targa Florio
1956 French GP Rheims [Chapman crash in Vanwall]
1957 Le Mans [Lotus success with Eleven]
1958 Le Mans [brief clip Lotus]
1959 Le Mans [brief clip of Graham Hill driving Lotus]
The Value and Importance
In the editors estimation this is considered one of the better compilations of the type. Lotus enthusiasts will be delighted with the images of Chapman and the arrival of Lotus on the International motor racing scene, initially with his contributions to BRM, Vanwall and late in the decade under his own Lotus marque.
It contains much of the romance and ambience of the era whilst allowing the viewer to trace the evolution of the design and technology through the period. E.g. the emergence of the Coopers from 1959 .Cultural and social factors are brought out not least the versatility of the drivers and in events like the Millie Miglia riding mechanics/ navigators were still in evidence.
The films move with momentum and there is little duplication or padding.
The film documentary material contains a wealth of reference to the era. There are black and white film along with early colour. Some of the most memorable are those of night racing at Le Mans.
This DVD might appeal to a wide cross section of audiences not least motor racing historians, documentary film makers but also cultural and fashion students.[ the frequent images of Fangio for example].always in the background are the importance backdrop and ambience of :-
- Trackside advertising and architecture
- Pits and paddock and work of the mechanics
- The cultural mores and fashions of the era
- Close up photography although brief of engines are dashboards etc.
- Weather and envelope of racing conditions nb Silverstone GP conducted with thunder and lightning and hailstones!!
The editor believes much of the appeal of this DVD is its ability to capture the ambience and culture of the times. With a running time of over two hours there is no stinting.
As might be expected much time is devoted to major marques like Mercedes, Ferrari, Maserati, Vanwall, Jaguar and Aston Martin but interwoven are some interesting Lotus imagery.
The editors feel able to commend this film and feel that it deserves to be seen as it contains and educational as well as entertainment value. Audiences will cringe at safety of the era. The film has provided inspiration to the editors and will inform further written articles produced by the A&R.
The Proposed CCM&EC
The proposed museum believes that commercial considerations are both necessary and complementary with its educational objectives.
For these reasons our Business Plan includes provision for promoting products and services which share Chapman’s ideals of mechanical efficiency and sustainability. In addition we propose merchandising that explain and interprets the social and cultural context of Chapman’s designs in period. It’s suggested there will be catalogue for on line purchasing.
In particular we propose selling film and related archive matter .This will be complemented my film shows, film evenings and themed mini display exhibitions etc.
- Film Review
In light of the recent death of James Garner we thought this was very relevant. It is still the best motor racing film.
“Grand Prix”: Tribute to James Garner [1928-2014] and Film Review
Introduction
The A&R takes the opportunity to celebrate the life of James Garner who died recently and to review one of his major films.
James Garner had considerable driving skills [see chapter below] and briefly a Lotus 16 appeared in “Grand Prix with additional cameo of Jim Clark although neither Team Lotus nor Chapman were portrayed in the film which seems strange since they had won both the Drivers and Constructors Championship in 1965. [The editors believe it would be good research to examine the conceptual and detail planning of the film]
Subscribers might like to see our review of Jim Russell who made a contribution to the film and articles on Lotus Design Decades: The 1960’s, Carnaby Street and the Avengers that all capture the ambience of the era.
Grand Prix
The film is considered by some critics to be one of the best motor racing films ever made. The editors have reservations although the pure racing footage is superb in places.
This was an expensive American epic filmed in Cinerama Super Panavision 70.Directed by John Frankenheimer with music by Maurice Jarre.It ran for 165 minutes.
The film was based on four FI drivers contesting the 1966 World Championship. Subplots involved the psychologies of motor racing, relationships, rivalries safety and death. It was also modern in the inclusion of Honda into international motor racing. In many respects it was very much of its time and exploited iconography.
“Grand Prix” was filmed in Super Panavision 70 Cinerama. Racing cinematography was by Saul Bass. It included and intercut with real life racing footage. The cars used were modified F3 [see A&R article on Jim Russell] .Phil hill undertook some of the onboard camera work at Monaco. Additional but not seen on film was a Ford GT40 mobile film car and a helicopter helped capture some amazing footage.
The cast included:-
- James Garner
- Eva Marie Saint
- Yves Montant
- Toshiro Mifune
- Genevieve Page
Cameos were played by;-
- Phil Hill
- Graham hill [ stole some scenes]
- Fangio
- Jim Clark
- Rindt
- Brabham
- Gurney
- Ginter
- Bonnier
- McLaren
- Raymond Baxter conducted a brief interview
“Grand Prix” was perhaps a brave attempt to weld the totality of a race driver’s life into a film. It examined the cross generational aspects and competition from the younger and emerging professional drivers. It drew upon the increasing technology, intrigue, accidents, death and poor safety.
Certainly for many the best aspect of the film was that of the motor racing itself. There are images of gritty realism and some attempt to capture the almost balletic poise of the racing car held in exquisite balance by the drivers. There were split screen images and a form of montage.
The extended onboard imagery seen through the driver’s eyes was quite scintillating with its realism and the racing in the rain rang true with the obvious reduction in visibility. The gear change sequence although perhaps not 100% coordinated were an attempt to capture the urgency physicality and concentration required of the drivers.
The closing scenes of an accident are deeply symbolic and a shroud leave a lingering pall over the ghosts and losses racing entailed then
Lotus in “Grand Prix”
The absence of reference to Lotus in “Grand Prix” is fairly conspicuous considering their achievements and world championship status of 1965 [World Drivers and Constructors Championship]
However Jim Clark is pictured briefly in the background of the British Grand Prix. Significantly the Lotus 16 of 1958 is seen been given a push start and his heard to burst into life but obsolete and incongruous by 1966 when “Grand Prix” came out?
Michael Turner
Interesting product placement are the graphic motorsport paintings of Michel Turner, notably Ferrari images.
Assessment
“Grand Prix” was one of the ten greatest earning films in 1966. It was up for 3 Academy Awards. Despite this the editor’s belief it was flawed and slightly disappointing. In parts it seemed a little clichéd. Possibly overlong and slightly padded Aspects of the film did not gel or feel integrated.Perhaps the content was over ambitious. It occasionally seems to fall between two stools. James Garner despite his natural driving skills seemed miscast [ possibly better suited to a film about Can-Am or Indianapolis” ] Some of the acting seemed wooden , disjointed , even slightly unreal and perhaps not adequately integrated ; simply an afterthought to pack out the film / and or provide female interest ?
The film possibly just caught the emerging watershed that would follow with sponsorship. However seen now it is extremely redolent and captures the swinging sixties fashion and culture. Also the film provides great charm and authenticity of the background/ Backdrop ambience; for example the transporters are a joy; as are the images of the inside of the Ferrari factory at Modena.
However the film viewed now has a greater importance as it does capture the era with its atmosphere and the racing at Monaco is redolent. Many now will find useful archive in the fashions, discos, clothes, hair, manners and etiquette of the era. [Smoking was prevalent!] The role of the wives and girlfriends is well and realistically depicted in their trackside role of time keeping and recording lap times.
James Garner
James was born in the same year as Colin Chapman, 1928.Hedid not have an easy childhood. His mother died when he was young as is often the case the relationship with his stepmother was strained.
James grew up to be a shy, even reserved and self-effacing handsome, athletically built young man.He was a contemporary of Paul Newman and Steve McQueen. He drifted into some dead-end jobs .He enlisted in the army and fought in Korea where he was wounded and decorated with a Purple Heart.
James Garner enjoyed a long marriage and had one daughter. He was principled man .He supported the Democrats and attended the 1963 rally led by Martin Luther King [“I have a dream speech”]
He went to litigation when he considered he had not been treated fairly under contracts and is believed to have been awarded a settlement.
He played golf.
He was talented actor and of his era .He represented a certain charm even ambivalence towards the consumer led 1960’s. .
Film, TV and Advertising
James Garner starred in approximately 50 films and several memorable TV Series. These included:-
The Rockford Files
James played the laid back, wise cracking private investigator. Its undersold he undertook many of the stunts himself particularly the driving.
He achieved an Emmy Award for this endearing series.
Maverick [1957-60 and recreated 1981 Bret Maverick, 1994 film]
James played this role from 1957 in TV and on film. It was progressive for the time and moved the genre on. Maverick was a kind of Western comedy in which Garner played a role that suited him of an antihero and the part rather subverted the previous preconceptions and portrayals.
Maverick made James a household name.
Murphy’s Romance [1985]
This was a rom-com and won James an Oscar nomination.
The Great Escape
In this war time portrayal of a true story Garner played the role of POW camp resourcer or “scrounger” Hendley.The film was smash hit and the role played to Garner strengths and character.
Divine Services of the Ya-Ya Sisterhood
The Notebook [2004]
Up Periscope [1959]
Dual at Diablo [1966]
Hour of the Gun [1967]
Marlowe [1969]
Streets of Laredo
Advertisements
James appeared in several successful advertisements for Polaroid, Coca-Cola and major car manufacturers.
James Garner: motor racing connections
James earned considerable respect from the real FI drivers engaged in “Grand Prix” and they complemented him on his driving ability which was real talent. In addition we note from the net that:-
“Garner was an owner of the “American International Racers” (AIR) auto racing team from 1967 through 1969. Famed motorsports writer William Edgar and Hollywood director Andy Sidaris teamed with Garner for the racing documentary The Racing Scene, filmed in 1969 and released in 1970.[45] The team fielded cars at Le Mans, Daytona, and Sebring endurance races, but is best known for Garner’s celebrity status raising publicity in early off-road motor-sports events.[46]
Garner signed a three-year sponsorship contract with American Motors Corporation (AMC).[47] His shops prepared ten 1969 SC/Ramblers for the Baja 500 race.[48] Garner did not drive in this event because of a film commitment in Spain that year. Nevertheless, seven of his cars finished the grueling race, taking three of the top five places in the sedan class.[49] Garner also drove the pace car at the Indianapolis 500 race in 1975, 1977, and 1985 (see: list of Indianapolis 500 pace cars).”
It is interesting to compare the other major actors of his generation Steve McQueen [“Le Mans”] and Paul Newman had motor racing connections. The A&R will trace these in subsequent editions.
The Proposed CCM&EC
The proposed museum believes that commercial considerations are both necessary and complementary with its educational objectives.
For these reasons our Business Plan includes provision for promoting products and services which share Chapman’s ideals of mechanical efficiency and sustainability. In addition we propose merchandising that explain and interprets the social and cultural context of Chapman’s designs in period. It’s suggested there will be catalogue for on line purchasing.
In particular it suggested that the proposed museum could hold film nights and in conjunction use the simulators and interactive media to permit the audience to both recreate scenes and come close to real life participation. Film, and large scale dioramas can provide vivid educational and learning experiences whist simultaneously providing backdrops for the creative and advertising media in ways not previously adopted. Furthermore films like “Grand Prix” do not just restrict themselves to race car technology but allow wider exploration of fashion, history and safety issues.
The museum shop can retail memorabilia appropriate to films and events being held.
Reference:
Autobiography: “The Garner Files: A Memoir”, James Garner. Tandor Media 2011*
ISBN: 9781452654911
Please note the editors of the A&R attempt to give the broadest spectrum of references but not all are available for consultation in an article. However by noting their existence it may assist students in their research.
*Items in italics non A&R library books.
8. Lotus collectables
9. Lotus interest on YouTube
One item on Youtube maybe of interest our readers
A lot of great footage.
Thank you for your continued interest and support
Editors of the newsletter
John Scott-Davies
Neil Duncan
Jamie Duncan (webmaster)