The stunning number of beautiful classic cars, icons from the history of car racing. Driving through small romantic villages and historic cities like Ferarra and Pisa.  Springtime under the Italian sun. Long winding roads and thousands of spectators waiving and cheering.

Mille Miglia 2015 – The Official Book

What was once a race, not without risks, became a tradition to celebrate wonderful cars. Heroes of those days like Sir Stirling Moss, made the event even more memorable. Heritance of famous car brands show 'acte de presence' like Porsche, Ferrari and Zagato.

Mille Miglia 2015 – The Official Book

Mille Miglia 2015 - The Official Book is just that. A photo book showing photos and names of all the contestants and their cars. Pages filled with tables show the details of the cars and their final ranking. The winners of 2015 were Juan Tonconogy and Guillermo Berisso in a bright blue Bugatti T40, made in 1927. Mind you, driving 1000 miles for four days in an 89 year old car!

Bugatti T40 made in 1927

Going through all the photo filled pages of each of the participants, I realized that it was not only classic cars participating. There are a few Fiat 500 Topolino’s, a Lincoln Capri Sport Coupe and a Renault 4, just to name a few. 

Renault 4 1957

Aaldering eigenaar Brummen

The last two chapters are filled with photos of the Ferrari and Mercedes tribute to the participants. Cars like the Ferrari LaFerrari and Mercedes-Benz McLaren SLR Stirling Moss. I am sure that all the 2015 Mille Miglia participants would like to have this book. Also those interested in everything around this event, because it really is a great book.

Mille Miglia 2015 – The Official Book

Evert Louwman eigenaar Louwman museum

However, I am missing something and after going through the book for the second time, I realized that I miss photos which capture the feeling of driving through beautiful Italy. All the photos are close-ups of the cars with their drivers but without landscapes. Or photos of all the preparations before the race and late night activities to fix and prep the car for the next day. Stories which are more interesting to me then just the cars. Well maybe that is something for 2016?

This book is available at Giorgio Nada Editore 

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Art of the Hot Rod by Ken Gross with photography by Peter Harholdt Published by Motorbooks

Lately I have had several conversations with automotive artists on the subject of car art. They all agree that cars can be art but I haven’t found one description for art which adequately fits cars.
But then I received the “The Art of the Hot Rod” to write a book review and going through the pages I realized 'this is it'. This is art. Each car in this book is built by guys and girls with a drive to create the prefect Hot Rod. A car with perfect proportions, lines that flow, stunning colours perfectly combined with the leather interiors and chrome elements. Their work expresses the respect and admiration for past car designs but with their own signature style.

Steve Moal and his sons David and Michael.

I prefer to build from scratch. That’s where you’re challenged to be the most creative. And with that challenge, you have a responsibility. There’s always a chance, a risk, that you might build an ugly car.

1948 Custom, Ex-Norman Timbs, owned by Gary Cerveny

Art of the Hot Rod by Ken Gross with photography by Peter Harholdt Published by Motorbooks

1932 Ford Board Track Racer Full Speed Ahead owned by Lee Munder

1935 Ford Aeroliner owned by Richard Ullman

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Olivier Gamiette - Artist and Designer

When I noticed that Designstudio press released a book on concept watches made by a car designer, I was intrigued. Cars and watches are worlds apart. The scale and dimensions of the components differ in magnitudes. Why would a car designer want to design watches and what is the link? As I started my career as a precision engineer, I have always had an interested in the precision mechanics of timepieces.  So when I received the book for a review, my expectations were high. And rightly so, since I spent hours studying Olivier Gamiettes' designs and figuring out how to read the time on some of his designs. I was eager to know more and contacted him for an interview. Here is his story.

SOON Timepiece Phenomena by Olivier Gamiette

How did you get into designing and cars Olivier?

For some reason I have always been attracted to cars. As a kid, I used to play exclusively with toy cars that I happened to customize myself and I dreamed of one day building my own car. I have also always liked to draw. Later I entered the world of professional design as a 3D modeler for the Peugeot brand. I was responsible for converting drawings for designers, the so called « sketches » in 3D surfaces and volumes respecting the technical constraints and mechanical bases of the project.

Through the years the creativity spectrum has broadened and today I enjoy designing manifold objects and basically anything that comes into my head. I only considered myself an artist quite recently. Right now, I am into watchmaking. I would say that being an artist AND an engineer has always been a great advantage for me, leading me to imagine credible design solutions, which are original and feasible at the same time. I believe that the work I have done recently, and my concept watches book in particular, have brought together all the pieces of the puzzle of my creative personality.

As an automotive designer what did it take to re-calibrate your understanding of dimensions when you started to work on these watch designs?

I started from scratch to design these watches, I do not know how it worked, what were the right dimensions, what was the size of the parts. I did drawing after drawing and realized how to articulate this huge puzzle in this small object. I had to dissect a watch to better understand the different plans on which mechanisms lay. I also printed my watches on strips of paper to give me an idea of ​​the size I was manipulating. It also allowed me to understand whether the figures, the details were sufficiently visible and realistic. Everything came gradually. However, I still have a long way to go. Working on a computer screen distorts the perception of the scale for such a small object. Everything is magnified on the screen and it is better to have some real references as a starting point.

Automotive Art by Olivier Gamiette

Several of your designs include car elements. Like the dials on “Copper shield”, “formula 3” and “la Magnifique”. What is your vision on car designs today compared to the past? Which ones inspire you more?

Automotive design has probably reached its limits today because the technical and security constraints and regulations as well as the will to make profit naturally, end up in ‘compromise cars’ as a result. This does not mean that we put less effort into making nice cars, it is just more difficult to make an original and strong design. Elitist machines that I cherish the most are becoming as rare as they are not market profitable. On the other hand, with the help of internet, car design trends spread out instantly. Design is too fast and becomes uniform worldwide. Manufacturers share design formulas that seem to appeal to customers and show less enthusiasm to take risks in order to push forward their proper design vision. I think they used to be more insolent in the past, especially in the 70s. It was an age that used to emphasize hard, strict shapes, devoid of gratuitousness. This is a great source of inspiration for my watch designs.

Breitling and Bentley are working together and there is a beautiful watch named “La Ferrari”. Do you see yourself working together with a specific car brand in the future? For example, your design “la Magnifique” could be related to Bugatti already.

Of course it would be interesting. La Magnifique is only a first draft, we should further develop its own watch philosophy and refine the choice of materials especially if we had to amplify the relationship with this prestigious brand. All car brands are not willing to go as far as Hublot with Ferrari. This is a watch that does not lack audacity even if I would have preferred a smaller size. Other brands may simply want a more wearable, less extravagant watch. Personally, I love strong design watches, that look different from the traditional watch, free from traditional needles to display new kinematics, but I am aware that not everyone feels the same. I would like to work on the sobriety and purity of the dial graphics in the next future.

Watch Design by Olivier Gamiette

Watch Designs by Designer Olivier Gamiette

In the 70’s, all Lincoln Continentals came with a Cartier clock. This came to mind when I saw your “Trion”. Have your watch designs influenced your automotive designs?

I think so, though it is not necessarily conscious. I guess all the ideas in my head talk together. As I said before, there are no borders when I create. There is a bank of shapes in my head that is fed by external images and by my own research which is used for a comprehensive creative process.

Your work reminded me of the designs by Daniel Simon. Do you know him? Are there any specific car designers that have influenced you and more specifically, your watch designs.

I know the work of Daniel Simon, just like him I like portraying interesting details. His work showed me that one should not be afraid to push boundaries. Beyond its style and its formidable design, it is the coherent universe that he managed to create that inspired me. The notion of creative universe might be hard to understand as it is not palpable nor visible to all. One has the impression of watching fantastic cars and mechanical gear with stunning design but ultimately, it is Daniel Simon’s universe as a whole that stands out. His world lies in our mind and does not stop at the book’s pages. This is what I find the most inspiring. I felt like I wanted to create my own universe around watches. I wanted to imagine a set of objects very different from one other but emanating from one consistent universe, my own creative universe.

Hot Rod by Olivier Gamiette

Do you have a certain theme in your work?

As my job is to draw mostly production cars, I escape in my free time by imagining forms which are more free. In my daily work life, there are technical and product specifications and a brand identity to respect, so it is quite complicated to have fun. I like hotrods, custom bikes and very mechanical machines with a metal body.

Which techniques do you use?

I do a lot of pencil sketches, usually with crayons but also with a ballpoint pen. I inevitably go through this phase because the relationship I have with paper gives me the creative freedom and spontaneity that I have not found with other tools. On paper I can throw down ideas very quickly and instinctively as they arise. I decant sketches for some time before looking at them with a fresher eye later on and select sketches that I will colour with Photoshop. I use Photoshop exclusively for colouring, I never draw with it on the graphic tablet.

I believe that the work I have done around the watches is quite unique, as representing such timepieces in a photorealistic way gives them a special identity Actually, watchmaking illustration standard is gouache drawings, digital sketches are hardly ever shown and 3D renderings are too explicit to be done by a machine. Even though I enjoy digital drawings a lot, one day I would like to explore other subjects with more concrete, classical techniques such as oil painting.

Watch Designs by Olivier Gamiette

What inspires you to start a specific artwork?

I try to imagine and draw objects that I would like to see in the street. My world is more conceptual than artistically. I'm not just trying to make beautiful illustrations, I am striving to show new and unique ideas, concepts, mechanisms at their best. I do not merely want to draw, I want to create and that is what drives me to draw.

Whatever the topic, I always start with a freehand sketch to find new ideas or new shapes. I make many very little drawings on a single sheet of paper. This way, I spend little time doing the design itself, so I can make more spontaneous research without getting tired and wasting my time with a big, detailed drawing. A beautiful design is based on a powerful idea and that can also be expressed in a small sketch. Today’s tools allow to resize the sketch in order to work on the right scale and I like reinterpret my old drawings which I had abandoned. I never throw my drawings away! I usually draw with pencil crayons or a ballpoint pen.

What do you want to express with your artwork?

In my work I seek principles, ideas that challenge the existing common knowledge. I like to believe that there is another truth than the one we know. For example, in some car illustrations, I imagine that the scene takes place in a world where light can be solid and therefore transmits efforts. As I have an engineering background, I like to use physical, optical and mechanical phenomena to create new things with style. I have an engineer’s head and an artist's hands. This becomes very clear when I design watches, looking primarily to propose new forms and shapes but also previously unseen kinematics. As many things have already been done before, the challenge is a lot more interesting.

Automotive Art by Olivier Gamiette

What are you most proud of?

Today I am pleased to wear two hats: one as an engineer and the other as an artist. This allows me to be very independent in my creations. As a designer, it is very important for me to create credible, consistent, meaningful and well-drawn objects. I am proud of the infinite potential that this represents. I am also proud to bring this knowledge and convey it to the people through my illustrations. Managing to provide pleasure or emotions by means of a drawing is a great pride and reward for me.

How did you develop your style?

I have always liked to see the reflections that become distorted, especially on cars’ metal bodies. I have always wanted to represent this in my drawings. It's a way for me to bring realism to the object in the drawing because this will psychologically melt in its’ environment. The brain interprets the reflections and understands that the object is integrated in the scene. My math’s curriculum led me to understand the tricks of such deformations. And it is trying to imitate reality that I have found the effects and functions to translate it on Photoshop over time. Today my designs borrow certain physical phenomena from reality, but they remain mere illustrations of reality.

Do you prefer any specific materials or tools?

As a designer, my favourite tool is the black pencil which I use on Bristol paper which ages better in time. I am not looking to make beautiful designs in this phase but try to grasp the idea that lurks in my head and pencil crayons or ballpoint pen allow me to capture it very quickly with little loss. That's why I do not do my research on the graphic tablet; it disturbs my creative rhythm. Moreover, coloured pencils allow you to shade the drawing, creating the illusion of volume which is the best! It is more difficult with a ballpoint pen to draw the volume’s shadows. After defining the linework to create the shape, I quickly shade the drawing to mark down the volumes in order to keep the idea for the second phase. The second phase, in fact, hinges on the Photoshop tool. There are other digital tools to colour drawings on the computer but I have known this program for a long time. This phase is very technical because it consists in creating volumes with light and shadow and also to generate perceived material finish that is not borrowed from any picture. For example, for many of my watches I use a brushed copper finish which I draw exclusively with Photoshop. I like layer management a lot because the possibilities are endless.

Watch Designs by Olivier Gamiette

Watch Design by Olivier Gamiette

Do you work alone?

Yes, but I like to expose the topics that I want to develop to my creative partners (Nicolas Depierre and Alexandre Meyer). They are my favourite guinea pigs! They share my vision of design and their reactions tell me about the relevance of my concepts and intentions. Before moving to the colour phase which can take a long time, it is valuable for me to have some intermediate feedback.

Do you work in silence or with music? What type of music?

I find this question particularly interesting because artists’ work is usually shown without specifying the context in which such artists operate or the atmosphere in which they create. It is important for me to work with music, it is like taking a warm bath. I feel immersed in my world of vibrations, of feelings and inner exchanges enhancing the desire to create.

Do you have a favourite car design?

For me car design is a huge puzzle. That said I do not like a particular brand above others, but I like the stance of some manufacturers, I like cars that have a well defined character and a clear formal language. Finally, if there was only one car to remember, I would say that for me Bertone Stratos Zero is the most fantastic car ever imagined. The line is simply amazing and timeless.

Do you own a car yourself?

I own a Plymouth Prowler 1999 that I bought in the US back in 2003. It is a very original car which does not go unnoticed here in Paris. However, I bought it for its line and proportions that are very close to a designer’s fantasies. It is an uncompromising car; that is what I like.

Hot Rod by Automotive Artist & Designer Olivier Gamiette

What is your advice for people who want to become an Automotive Artist?

Be patient, because nothing happens overnight. It takes time to practice and find an artistic identity which is natural and consistent with your own self. One must get inspiration from other artists but it has its’ limits. You have to tell your own story and claim your uniqueness. Do not be afraid to be different or to see things differently, it is a chance to have this vision instead. You must practice regularly and learn to listen to others’ feedback because the purpose of your work is to be seen and appreciated by the public. It is that people see from the outside what we express from the inside as artists.

Is this a book for car fans? No, it's not. There are no cars in this book. But is it a book for anyone interested in car design? Then the answer is definitely yes. It will give you a deeper appreciation of what it takes to design devices and objects. How to bridge technical challenges and how to be innovative and break traditional boundaries.

To see more of Olivier Gamiettes work, please visit his website.

Book is published by Designstudio press. and available here.

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At the Retromobile in Paris recently, we saw the unique and artistic work by Amaury Dubois for the first time. His photographic modifications of cars are dynamic and intriguing! Of course, CarArtSpot wanted to know more.

Amaury Dubois - Artist & Photographer

Was your recent exposition at Retromobile in Paris successful for you Amaury?

It was a really good introduction and a surprising success for my new work.  There was a lot more interest than I had expected and I think I was successful in bringing my vision of photography from a different aspect, over to the public.

La Ferrari by Amaury Dubois

How long have you been doing cars?

I have been an artist for 14 years. My first work was with paintings but I studied photography in Belgium. I did photography at the weekends but my real work was paintings. It took about eight years before I figured out my own style in photography and I thought it was time to show my work.

You have been successful with both photography and your paintings.

In the past I have been more successful with my paintings but the last years there has been a lot of interest in my photographic work. I am self-taught and the difference you see in my photographical work comes from my painting style. I take photos in the same way as I paint.

So you use the same technique and principle for both?

Yes. I plan my photo’s in the same way as I would plan a painting. I look for the eye-line and at the anatomy of the objects in the photo.

Ferrari 250 GTE by Amaury Dubois

Looking at your Ferrari 250GTE which also provides a view inside the car, kind of showing all the elements. Is that what you mean by the anatomy?

No, my style is like a guide for your eyes.  It’s a way of looking at it which draws out your own idea of what you think about it. It is more about someone’s’ own dream or vision of a car, instead of just a photo of the car.

So what is your dream of the car? Is it the feeling of the powerful engine and sitting inside and driving this wonderful car?

Yes.  It’s not a static photo. It’s about the speed of the car.

You keep each element in place but also very detailed. You don’t blur it. It is in focus.

I keep all the elements and the line of the car and at first glance, you only see a car. But when you look at the photo more carefully, your brain starts working and you see that there is something different with the photo. You see the front, the back, the engine and all the parts of the car but what is this car? It makes someone think.

Aston DBS 2 by Amaury Dubois

Interior Design by Amaury Dubois

Do you start with a sketch before you start working with the photo?

Yes and I start doing the photos based on my sketch. So I know exactly which photos I need to take, it’s like a shopping list.

Do all the different images come from your database?

No. I have to find car collectors. Sometimes I phone them and other times it goes via word and mouth but the car collectors want to first see my work and meet with me in person before taking me to their collection. Some collectors have very expensive cars stored in very secretive places. It’s very interesting. They like the style of my work and this is why they want to work with me. It’s not just a usual photo of a car. It’s a very different style.

How do you produce your graphical work featured on your new website? Do you use real paints or keep it digital?

I start with a real painting, then take a photo of that painting and then I work with it on the computer.

Painting by Amaury Dubois

Looking at your gallery, I see most of your work has a black background and not yet all these graphical designs. Where are you going with this?

It is still in the experimental stage at the moment. I am not really sure. Maybe it will re-appear in a few years. For the moment, I prefer a black background.  But I always try something different and this is part of my research.

The audience only gets to see the tip of the Iceberg

Before I go to take the photos of the car, I make lots of sketches in preparation of how I want to photograph the car and from which angles. I am a painter and so I work like a painter. I am not like other photographers. It’s more my brain and spirit that do the photo’s which lead to my creations.

I think that is why you are reaching so many new people. Your work goes much further and deeper than other digital photographers.

Like an architect, I need a map and plan.

Corvette C1 by Amaury Dubois

Porsche 918 Spyder by Amaury Dubois

What is your dream for the coming years?

When I see a new car, there’s a new dream. I am going to Singapore soon for an exposition of my paintings.

As an artist you are very diverse, you do paintings, photos but there are also some sculptures

Yes, but for the moment it is only a stage. I am working on it but it’s not ready.

So you have a lot of ideas which still need to be created.

Yes, my brain is full of ideas.

Interior Design by Amaury Dubois

To see more of Amaury Dubois’s work, please visit his website: http://www.amaury-dubois.com/fr/

For his automotive art he recently launched a new website at http://www.art-photo-car.com/en/

The post Amaury Dubois Gives Cars A New Dimension appeared first on CarArtSpot.

CarArtSpot recently visited the Retromobile in Paris. Amongst the automotive artists exhibiting their work, was Unique & Limited which stood out for their large photo print of a Bugatti pit stop taken from above. An intriguing photo, since photos from that angle are only taken nowadays at F1 races and were not technically possible 50 years ago in the Bugatti era.

Bugatti T35 by Unique & Limited

Unique & Limited work is very different from other automotive artists at Retromobile. How was your work received?

It was a mix. Some people really liked it and the fact that it is something new on the market, which always helps revive the art industry. But some people struggle with which category to place it in.

Digital art in itself has been under some dispute by some groups such as AFAS. Is this something you encounter?

Well we actually tried to contact AFAS to become a member but they replied to say that they are kind of old fashioned and only really want to have artists in the same category. I think we will get there oneday but it may take some time.

Is Unique & Limited the first in the type of art which you are creating?

Yes, so far we have only come across two or three artists who do something similar. Digital art is quite broad and there are lots of rendered images which are displayed but none like ours.

What is the mission of Unique & Limited?

Basically we want to travel back in time and give history a way of looking at it in a way it deserves to be remembered. Usually historical moments (especially from the 30’s) are all black and white and quite grainy. The stories behind them are just as interesting as the races of today and we want to capture those moments and give them the quality and respect they deserve.

Silver Arrows by Unique & Limited

But why is that important? There are lots books with grainy photo’s which have some charm already?

Of course but a car like, say the Ferrari 250 GTO is one of the most expensive cars these days and many people value this kind of car and its’ history. There are only 39 of them, so they are limited, special and very beautiful in their own way. We want to make sure they get the attention they already have but improve it and make it as beautiful as it can be.

Ferrari 250 GTO Collection by Unique & Limited

Do you consider those cars to be art in itself?

Yes. The thing is the cars themselves require the main work. We build them exactly the way they were with all their dents and dirt and scratches. You basically cannot see them in that kind of condition anymore today because all the cars have been restored and polished to perfection, shiny and almost brand new looking, even though they are not. I always like to compare them to people because we try to fake our scars and marks even though there is no way you can look like 20 if you are 50. It doesn’t work that way. The great thing about this technology is that you dan basically do anything with it. Especially looking at these historical moments from a different perspective. That’s also what we try to do. Every image you see is sort of captured in a way that was technically not possible back then. People see our images and look at them for about ten minutes and can’t work out why they look like a photograph when it is physically not possible to be a photograph.

Like the Bugatti T35 which is my favourite.

Yes and that’s a great example because although we know that we have this view today in the Formula 1 races when they stop at the pit stops, back then it wasn’t possible. It’s the same for our work on the Silver Arrows where you are basically standing on the road and you have the cars coming at you. If you were the photographer, it would have been your last picture. It’s that kind of look that makes you feel like you are drawn into the scene because you become a part of it.

Burn and Crash by Unique & Limited

Unique & Limited tells a full story with just one photo and you do a perfect job in your marketing activities. I was surprised to see that you are creating a whole storyboard for your art.

Yes. It’s necessary and you can actually compare it to a movie production because you have to have a certain concept before you can actually start the work, due to the scale we work from. It’s a lot of work. We have to get all the details right. Everything of the car needs to be modelled in 3D and that takes a lot of work. For example the Bugatti which was modelled from the top; we had to make sure that everything was perfect from the top but if you were to rotate the camera and maybe look from the underneath, the car wouldn’t look the same. This is because we know you wouldn’t see it from that angle and so didn’t spend much time on modelling it. This is why you need to have a concept first, so that you know exactly which parts of the car need to be modelled. And it’s the same for the photoshoots. You have to know where the car is and what the people are going to be doing in order to actually do the photoshoot. We use Hollywood backgrounds aswell.  We worked for Lucas Film. So we know what the standards are there and it’s pretty much the same production work. You have to have everything set up and know how many people you need to hire and give them instructions as to what they need to do. You need to guide them.

So it is actually like doing a movie shoot because everything has to match; the fashion, the clothing, the tools etc.

Yes and we are actually quite fortunate to have good connections to the ‘The Hollywood of the East’, a big movie studio which has this huge department of period costumes and props that we can rent. 

A Dampened Victory by Unique & Limited

How do you pick the topics?

It depends. We always try to have some kind of theme such as upcoming anniversaries. Last year we did the Battle of Britain. Some sort of event which we can contribute something to. People approach us and ask if we are going to do a theme. We have a list of cars which are the most outstanding ones within the classic car industry and a long list of things we can and want to do but it’s always a matter of time and funding.

You are quite unique if you compare yourselves to other artists at Retromobile.

Yes and no. We have to support ourselves because we are still in our start up phase. We only just started working officially as Unique & Limited last year. So compared to other artists, we do the same but the difference is that we are a group of 5 or 6 people.

You picture historical events which need to be as accurate as possible but with your own twist to it.

Exactly. Authenticity and accuracy is key to every image. So we do spend a lot of time making sure we have all the correct details, enough reference images for the car and details for the story and background. It takes a lot of time and work before we can actually start modelling the car. Around a 1000 working hours just to get the modelling done. Other artists maybe work solo painting one image. So there is quite a difference.

Defeat But Not Despair by Unique & Limited

Does it help you to challenge each other? What kind of synergy do you have for each project?

The great thing is that everyone in our team has their own specialty. We all bring in something that each of us is really good at. It all comes together and we couldn’t do our work without each other.

What is the definition of art in the view of Unique & Limited?

Well I don’t think that art can be defined. There are so many different types of art and I don’t think you can really put a label on it. We struggle with that because so many people call our work photography, which it is not. Then they call it a painting, which it is not. There is no label for it. We always say it is a mix of photography and computer generated imagery or 3D artwork.

I try to define artwork by the emotion and feeling it conveys to the viewer. Your image of the Bugatti and the setting definitely does that.

Thank you. That’s the great thing about this technology, you can use it for everything.  Although we don’t just want to make car art, cars are a passion and there is a lot of passion behind our work. We don’t just do it to earn money. There is a lot of work involved and you have to enjoy it. We do and we also have a very broad vision.

Have you considered taking a Bugatti or a Ferrari and creating something of a more fantasy setting?

We have been approached about this and people would love to see the more newer cars in such a setting or in a nice environment. We think there is no point in doing this because you can actually take the car and put it in a nice environment and take a photo of it. We wouldn’t say no to a more fantasy setting but it should be a project which someone wants to do and where we have support.  There are people who know everything about cars and drivers and can tell us very interesting stories.  I’ve had so many customers come up during exhibitions and look at our work and tell us really interesting stories about the cars and its’ history.

Let It Rain by Unique & Limited

What is the dream of Unique & Limited.

One of our specialities is creating unique moments. Specific moments which happened back in history when no-one really knows what happened, or there are not many images to show the facts. We want to use our technology to change this and show what happened. It could be anything. Maybe it’s the starting of a big company moment or a beloved family member who did something heroic back in the days and they want to capture that moment in an art way. Kings and Queens have always had paintings of themselves. It’s even possible to recreate faces and use the technology to put it into a scene. There are great possibilities.

While you are capturing one specific moment, have you ever considered making short movies?

We do have ideas that we are playing around with but it’s different kind of work. Right now it’s only an idea which may materialize in the future. We don’t rule anything out.

So there are no limits to Unique & Limited?

Exactly. We were actually thinking at some point to change our name to Unique Unlimited. Our ideas are unlimited but the work we do is limited to limited editions.

To see more work by Unique & Limited, please visit their website: http://www.unique-limited.com/services/

The post Unique & Limited - Digital Automotive Art appeared first on CarArtSpot.

Bulli Forever. Liebeserklärung an ein Lebensgefühl by Jamie Tinney

Everytime one of my daughters spots an old Volkswagen Transporter they start dreaming out loud; “When I have my driver’s license, I will buy that car and travel around the world”.

How did this classic MPV achieve such a cult status? We accept that they are painted in beautiful bright colours, often conveying a view of 'life by itself'. And of course we respect the perfectly restored version in concourse condition. But that’s not it, this car has become a symbol of freedom, an icon of independent minds living their lives on their terms. A joy de fivre.

Bulli Forever. Liebeserklärung an ein Lebensgefühl by Jamie Tinney

"It is good to have a destination in mind but at the end, it is the journey that matters"  Ursula K. Le Guin

Bulli Forever. Liebeserklärung an ein Lebensgefühl by Jamie Tinney

"Travelling is not something you are good at. It is just something you do. Like breathing." Gayle Foreman

This new book on the “Bulli”, the German “nick-name” for the T1, tries to capture that feeling by images and quotes. This is not a car book, this is a book about a way of life, showing a way of life without people but only through the combination of cars and quotes and that's quite a challenge.

Did they succeed in this? Yes and no. Yes, when it comes to finding the right quotes and combining them with matching photos and colourful graphic designs.

But no, for the photos. The author made a selection from a wide range of photos and photographers.  But the majority of these photos have not been made with the intent of capturing the T1's joy de fivre.

Bulli Forever. Liebeserklärung an ein Lebensgefühl by Jamie Tinney

"Do not be afraid of perfection" Salvador Dali

Bulli Forever. Liebeserklärung an ein Lebensgefühl by Jamie Tinney

"Not all those who wander are lost"  J.R.R Tolkien

This book is published by Delius Klasing and available here. 

ISBN: 978-3-667-10464-9. Please note that all quotes are in German.

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Leica and Zagato, two brands with a long history combined in one book.

Zagato Leica USA Collectibles by Winston Goodfellow

One of the roles of art is to beautify our lives. Design has a similar role and we don’t always have to own the objects to enjoy their beauty. When going through this book, I began wondering what it was all about. What does a famous brand in lenses have to do with Zagato? But then it dawned on me that both brands have a long heritage in high quality and exclusive design. In the current trend of exclusive brands working together to create something unique, sharing each others strengths, this cooperation resulted in a pair of binoculars. This book is on one hand documenting the joint efforts designing these binoculars and on the other, a celebration of beauty.

It shows 33 Zagato USA collectibles in beautiful photos and quotes only. No historical details of the car, or its technical specifications. Just the plain beauty of the car seen through the lenses of Leica. This book demonstrates that you don’t always need words to tell a story.

Zagato Leica USA Collectibles by Winston Goodfellow

One quote in the book by Ansel Adams kind of summarizes it all;

“You don’t make a photograph just with a camera. You bring to the act of photography all the pictures you have seen, the books you have read, the music you have heard, the people you have loved.”

So what does this book give you?

The first chapter shows the design process of a unique collaboration between Leica and Zagato through the design of the Ultravid 8x32 “Edition Zagato” binoculars. A unique limited edition.

ZAGATO LEICA USA Collectibles

ZAGATO LEICA USA Collectibles

What follows are 130 pages of beautiful photographed cars. 3 Zagato’s from collections in the USA and photographed in their current habitat. The cars vary from the Fiat 8V Zagato Elaborata 1954, to an Alfa Romeo 8C 2300 Spider Aerodinamica from 1934 and a stunning Lamborghini Raptor (1996).

For those interested in the details of each car, the book ends with a short description of each.

ZAGATO LEICA USA Collectibles

This book is published at Delius Klasing and available here. 

ISBN: 978-3-667-10423-6

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Art of The Mustang. Photography by Tom Loeser and text by Donald Farr

The ultimate dream of any Muscle car fan would be to own a Mustang and preferably a Shelby version. Especially if that fan would be me. I fell in love with this car after watching Nicolas Cage drive it in Gone in 60 Seconds. “Eleanor” the 1967 Ford Mustang fastback depicted as a Shelby GT500.

Art of The Mustang - 2014 Shelby GT500

Art of The Mustang - 2015 Mustang 50 Year Limited Edition

In this book, photographer Tom Loeser pays his tribute to 50 years of Mustang. He knows how to highlight the specifics of each model by playing with dark and light to get the best photos. The strength of the photos in this book is the fact that there are no backgrounds distracting you from the car. They are pitch black which enhances and accentuates the colours and lines of the car.

Mustangs are cars which bring back memories and make you share stories. And that’s exactly what Donald Farr has done with this book, sharing the stories of guys like Jordan Besenburch who happens to be the proud owner of a Boss 302. His grandfather parked the car under a tarp in 1988 after blowing up the engine during a street race. David now plans to refurbish the Boss in tribute to his father.

Art of The Mustang. Photography by Tom Loeser and text by Donald Farr

Art of The Mustang - 1965 GT350 School Car

The combination of photos, stories and some technical background text works really well. Art deserves to be shared and exposed to a large audience and the Art of the Mustang is no different. A worthy tribute to the Mustang.

This book is published by Motorbooks and available here.

ISBN 9780760347867

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Porsche Sounds Special Edition

When we did our 'Porsche theme month' last year at CarArtSpot, I became intrigued by the famous Porsche 917. Possibly the most prestigious of all the Porsche race cars. Also for its' colours. I think I have seen virtually all possible colour schemes pass by in Porsche paintings and sculptures at CarArtSpot and although I watched the movie Le Mans in which Steve McQueen drove the car to success, I never really knew what the car would sound like. So when I received the book Porsche Sounds which includes a CD, I zoomed into the first track to see if the sound met up to my expectations. And I was surprised; the sound was far less brutal then I had expected and almost a bit sophisticated.

Porsche Sounds Special Edition

The title of this book says it all “Porsche sounds”. Going through the history of Porsche, starting with the Porsche 356 Roadster, it follows the several designs and models displaying images and texts with sound recordings which is a real added bonus and certainly enriches your Porsche reading experience. It includes the production models as well as cars like the 959 Paris Dakar and the RS Spyder. And while most Porsche fans will already know the brand history and possibly not learn anything new from this book, the accompanying CD makes it unique. Comparing the different sounds and trying to distinguish the models is just pure fun. A perfect gift for any Porsche fan.

Porsche Sounds Special Edition

Porsche Sounds Special Edition

Published by earBOOKS and available here.

- ISBN-13: 9783943573190

Author: D. Landenberger

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Ford Total Performance by Author Martyn L. Schorr

Ford’s racing tradition is older than the company itself and with their “Total Performance” program they created a line of race and high performance cars that have become legends on their own. Author Martyn L. Schorr has a distinctive publishing career as a photo journalist and is the right guy to create this book.

He covers the progress Ford made in racing throughout a period of 10 years ((1961 through 1971).

Ford Total Performance by Author Martyn L. Schorr

Starting in 1961 with the Starliner coupe that came with an optional performance package each year comes by highlighting the models, the technical details on the engine and the race results.

From the Galaxie to the Mustang and the Shelby Cobra Daytona, all those wonderful cars which we admire today are placed into the context of those early days. The amount of technical detail and the specifics on special models and packages is impressive. Everyone owning a Ford from this era should have this book, if only for the appreciation of all the engineering and dedication that was put into these cars.

Ford Total Performance

Ford Total Performance

Ford Total Performance

And of course there is a lot on the Ford GT, Ford’s answer to Ferrari at Le Mans, dominating this race in 1966. The author himself was one of the first driving the commercial version in 1967 and reminisces some notes from that day:

“Incredible throttle response as long as I keep the Rs up. Braking and handling, superb, like driving a fully sorted-out race car on the street. A little scary.”

This book takes you on a journey through the best years of American car design and racing history. A journey by the best guide you can find. Enjoy!

This book is published by Motorbooks and available here.

(Author and ISDN: Martyn L Schorr 9780760348581)

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