Vehicle styling

Styling
Styling has existed from early times. However, theterms ‘stylist’ and ‘styling’ originally came intocommon usage in the automotive industry duringthe first part of the twentieth century.
The automotive stylist needs to be a combinationof artist, inventor, craftsman and engineer, with theability to conceive new and imaginative ideas andto bring these ideas to economic reality by usingup-to-date techniques and facilities. He must havea complete understanding of the vehicle and itsfunctions, and a thorough knowledge of the materi-als available, the costs involved, the capabilities ofthe production machinery, the sources of supplyand the directions of worldwide changes. Hisresponsibilities include the conception, detail,design and development of all new products, bothvisual and mechanical. This includes the exteriorform, all applied facias, the complete interior, con-trols, instrumentation, seating, and the colours andtextures of everything visible outside and insidethe vehicle.
Styling departments vary enormously in sizeand facilities, ranging from the individual con-sultant stylist to the comprehensive resources ofmajor American motor corporations like GeneralMotors, who have more than 2000 staff in theirstyling department at Detroit. The individualconsultant designer usually provides designs fororganizations which are too small to employ full-time stylists. Some act as an additional brain fororganizations who want to inject new ideas intotheir own production. Among the famous design-ers are the Italians Pininfarina (Lancia, Ferrari,Alfa), Bertone (Lamborghini), Ghia (Ford) andIssigonis (Mini).
The work of the modern car stylist is governedby the compromise between his creativity and theworld of production engineering. Every specifica-tion, vehicle type, payload, overall dimensions,engine power and vehicle image inspire the stylistand the design proposals he will make. Initially hemakes freehand sketches of all the fundamentalcomponents placed in their correct positions. If thedrawing does not reduce the potential of the origi-nal ideas, he then produces more comprehensivesketches of this design, using colours to indicatemore clearly to the senior executives the initialthinking of the design (Figure 1.7). Usually thehighly successful classic designs are the workof one outstanding individual stylist rather than ofa team.
The main aim of the designer is to improve pas-
senger comfort and protection, vision, heating andventilation. The styling team may consider thetransverse engine as a means of reducing the spaceoccupied by the mechanical elements of the car.Front-wheel drive eliminates the driveshaft andtunnel and the occupants can sit more comfortably.Certain minimum standards are laid down with regard to seat widths, kneeroom and headroom.
The interior dimensions of the car are part of theinitial specifications and not subject to much modi-fication. Every inch of space is considered in theattempt to provide the maximum interior capacityfor the design. The final dimensions of the interiorand luggage space are shown in a drawing,together with provision for the engine and remain-ing mechanical assemblies.