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.<\/p>\n

It will be interesting to observe through brochures how Chapman\u2019s car products evolved, became more sophisticated and how this was expressed through changing times, markets ,technologies and of course presentation.<\/p>\n

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.<\/p>\n

Brochure Definition and Content<\/strong><\/p>\n

A brochure or sales literature might take the form of [or combination of]:<\/p>\n

\n
• Flyer<\/li>\n
• Leaflet<\/li>\n
• Pamphlet<\/li>\n
• Booklet<\/li>\n
• Catalogue<\/li>\n
• Manuals<\/li>\n
• Data \/technical data sheets<\/li>\n
• Price lists<\/li>\n
• Press clippings\/ release<\/li>\n
• Testimonials<\/li>\n<\/ul>\n

  Their purpose is primarily to:-<\/p>\n

  \n
  • Pass on information and effectively communicate often subtle messages<\/li>\n
  • Introduce the individual company or organization to products and services<\/li>\n
  • Generate sales through broad strategy and promotion<\/li>\n
  • Impress and generate interest \/ levels of enquiry about company beyond immediate product<\/li>\n
  • To present favorably against rivals<\/li>\n<\/ul>\n

    Brochures are produced for target audiences. These are reached through display and distribution in dealer\u2019s showrooms, at exhibitions, through postal enquiries, and possibly dissemination to selected organizations and individual such as authors and researchers.<\/p>\n

    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]<\/p>\n

    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.<\/p>\n

    A good brochure might be considered aspirational.<\/p>\n

    Marketing: Visual and Literary Symbolism<\/strong><\/p>\n

    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.<\/p>\n

    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\u2019s cultured aesthetic sensitivity. Some of the principle backdrops adopted are:-<\/p>\n

    \n
    • Aircraft, aviation, runways, gliding etc.<\/li>\n
    • Fashion, clothes<\/li>\n
    • Architecture and homes \/family<\/li>\n
    • Landscape, rivers, sailing and seashore etc.<\/li>\n
    • Distinct British landmarks e.g. London<\/li>\n<\/ul>\n

      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.<\/p>\n

      In our analysis we will examine how this is adopted.<\/p>\n

      Analysis of Sales Brochure for: Lotus Elan +2 \u201cSpecial Equipment\u201d [see actual brochure image above]<\/em><\/strong><\/p>\n

      \n
      1. Visual imagery, content and message \/ marketing of the brochure<\/strong><\/li>\n<\/ol>\n

         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.<\/p>\n

         The Elan +2 is posed diagonally on a wide drive and in front of what seems like a double garage.<\/p>\n

         The house is designed and built to modernist canon but does not appear 1920\u2019s. 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.<\/p>\n

         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.<\/p>\n

         The Elan +2 is thus seen as complementary and reflecting the major distinguishing features of the house.<\/p>\n

         The adoption of such a home has significant unspoken messages and these include:-<\/p>\n

         \n
         • That the home is one off almost certainly architect designed and probably commissioned by the owner<\/li>\n
         • It\u2019s a spacious family home<\/li>\n
         • The occupant is possibly an executive, airline pilot. Company director or well established design professional \/ architect who can afford this level of specification<\/li>\n
         • The family have the taste and knowledge and confidence to own a statement design. Most important it\u2019s not a mock Tudor or pastiche .the design is modern, rather uncompromising yet practical. comfortable ,inspirational and nurturing<\/li>\n
         • The property although expensive will be an enduring investment and that property serves family life and is fundamentally safe structurally and financially<\/li>\n<\/ul>\n

           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.<\/p>\n

           \n
           1. Examine briefly the social\/historical context where appropriate.<\/strong> See Lotus Design Decade and peers available.<\/li>\n<\/ol>\n

              3\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Examine the model in context [note technical. Information invariably contained within brochure itself]<\/strong><\/p>\n

              Chapman accelerated both the technical and customer base for his cars. During the 1950\u2019s he had essentially sold to racing and sports cars enthusiasts who\u2019s 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:-<\/p>\n

              \n
              • Sales of one off racing cars would not provide the income he required for GP racing<\/li>\n
              • That diversification was security\u00a0 and guarantee<\/li>\n
              • That his original customers had matured , but wished to stay loyal<\/li>\n
              • That car manufacturers and their products had become far more sophisticated<\/li>\n
              • The Japanese were providing exceptional competition across the performance range<\/li>\n
              • Technology and aerodynamics working together tended to create enclosed cars which offered advantages through safety, comfort and performance at competitive prices<\/li>\n<\/ul>\n

                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.<\/p>\n

                If this was the believed target audience the following qualities are likely to be important:-<\/p>\n

                \n
                • Safety Vis young family \/ children. \u201cMasterpiece of British Craftsmanship\u201d<\/li>\n
                • Performance safety linked<\/li>\n
                • Boot and space , additional storage<\/li>\n
                • Weather proof<\/li>\n
                • Economical to purchase and run vis possibly second car<\/li>\n
                • Women are likely to be increasing customers \/ drivers and specification must appeal<\/li>\n
                • Design must be contemporary and professional preferably with family resemblance \/ identification with Lotus.<\/li>\n<\/ul>\n

                  In nearly all respects the Elan +2 \u201cSpecial Equipment\u201d 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 \u2013 the brakes [Girling 10\u201d 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.<\/p>\n

                  The Elan +2 sold for \u00a31,672 in component form or \u00a31923 built including tax. The later model retailed at \u00a32,626 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.<\/p>\n

                  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.<\/p>\n

                  There were other adverts that adopted a similar theme and included:-<\/p>\n

                  \n
                  • Elan S4 \u201cWho\u2019s just arrived?\u201d .The man in the Elan<\/li>\n
                  • Elan +2 [NAH 120H] with two children outside Georgian house [\u201cMotor\u201d Sept\u2019 1969]<\/li>\n<\/ul>\n

                    Does this brochure succeed?<\/strong><\/p>\n

                    The editors suggest Yes.<\/p>\n

                    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.<\/p>\n

                    The Elan +2 was a good design well executed for the desired audience and well-presented and marketed.<\/p>\n

                    The editors appreciate this is not an exact science and welcome comments from our subscribers.<\/p>\n

                    The Proposed CCM&EC<\/strong><\/p>\n

                    The proposed museum believes that commercial considerations are both necessary and complementary with its educational objectives.<\/p>\n

                    For these reasons our Business Plan includes provision for promoting products and services which share Chapman\u2019s ideals of mechanical efficiency and sustainability. In addition we propose merchandising that explain and interprets the social and cultural context of Chapman\u2019s designs in period. It\u2019s suggested there will be catalogue for on line purchasing.<\/p>\n

                    In particular it\u2019s 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.<\/p>\n

                    The design of brochures also has a strong educational content and this will be exploited with direct and indirect learning opportunities and competitions.<\/p>\n

                    Conclusion<\/strong><\/p>\n

                    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.<\/p>\n

                    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.<\/p>\n

                    Much of Chapman\u2019s design mantra is technological but his racing programme would not have been possible without selling road cars consultancy and a creative sales strategy.\u00a0\u00a0 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.<\/p>\n

                    Reference:<\/strong><\/p>\n

                    The Lotus Collectables Book.W.Taylor.Coterie.2000.<\/p>\n

                    ISBN: 1902351010<\/p>\n

                    Lotus.Bacon.Sunburst.1995.<\/p>\n

                    ISBN: 1857781473<\/p>\n

                    Vintage Ad Gallery<\/p>\n

                    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.<\/em><\/p>\n

                    *Items in italics non A&R library books.<\/em><\/p>\n

                     <\/p>\n","protected":false},"excerpt":{"rendered":"

                    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\u2019s and 60\u2019s off-set printing became reasonably affordable and almost immediately we see Chapman respond along with his […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":280,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_mi_skip_tracking":false,"footnotes":""},"_links":{"self":[{"href":"http:\/\/www.colinchapmanmuseum.co.uk\/index.php?rest_route=\/wp\/v2\/pages\/1937"}],"collection":[{"href":"http:\/\/www.colinchapmanmuseum.co.uk\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"http:\/\/www.colinchapmanmuseum.co.uk\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"http:\/\/www.colinchapmanmuseum.co.uk\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/www.colinchapmanmuseum.co.uk\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1937"}],"version-history":[{"count":1,"href":"http:\/\/www.colinchapmanmuseum.co.uk\/index.php?rest_route=\/wp\/v2\/pages\/1937\/revisions"}],"predecessor-version":[{"id":1938,"href":"http:\/\/www.colinchapmanmuseum.co.uk\/index.php?rest_route=\/wp\/v2\/pages\/1937\/revisions\/1938"}],"up":[{"embeddable":true,"href":"http:\/\/www.colinchapmanmuseum.co.uk\/index.php?rest_route=\/wp\/v2\/pages\/280"}],"wp:attachment":[{"href":"http:\/\/www.colinchapmanmuseum.co.uk\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1937"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}