Vehicle

Design

Vehicle Design guides readers through the methods and processes

designers use to create and develop some of the most stunning vehicles
on the road. Written by Jordan Meadows, a designer who worked on the
2015 Ford Mustang, the book contains interviews with design directors
at firms including Fiat Chrysler Automobiles, Hyundai Motor Group, and
Ford Motor Company, among other professionals. Case studies from
Ford, Mazda, and Jeep illustrate the production process from research to
execution with more than 245 color behind-the-scenes images in order
to help readers create vehicles drivers will cherish.
Vehicle
Design
AESTHETIC PRINCIPLES
IN TRANSPORTATION DESIGN

JorDan meaDows
First published 2018
by Routledge
711 Third Avenue, New york, Ny 10017

and by Routledge
2 Park Square, Milton Park, Abingdon, Oxon Ox14 4RN

Routledge is an imprint of the Taylor & Francis Group, an

informa business

© 2018 Taylor & Francis

The right of Jordan Meadows to be identifi ed as author of this

work has been asserted by him in accordance with sections
77 and 78 of the Copyright, Designs and Patents Act 1988.

All rights reserved. No part of this book may be reprinted

or reproduced or utilised in any form or by any electronic,
mechanical, or other means, now known or hereafter invented,
including photocopying and recording, or in any information
storage or retrieval system, without permission in writing from
the publishers.

Trademark notice: Product or corporate names may be

trademarks or registered trademarks, and are used only for
identifi cation and explanation without intent to infringe.

Library of Congress Cataloguing in Publication Data

A catalog record for this book has been requested.

ISBN: 978-1-138-68559-8 (hbk)

ISBN: 978-1-138-68560-4 (pbk)
ISBN: 978-1-315-54314-7 (ebk)

Designed and typeset by Alex Lazarou ([email protected])

contents

p.viii > figures chapter 1 chapter 2

p.xiv > acknowleDgments p.1 > Vision p.15 > analyze
let the Journey unDerstanDing a
p.xv > statement of aims
begin! user anD Visually
p.xvi > introDuction p.1 > IDENTIFyING OPPORTUNITy, showing why an
DEFINING A VISION, SETTING iDea shoulD be
TARGETS useD in a giVen
experience
p.2 > VERBALIzING THE VISION:
p.15 > INTRODUCTION TO THE IDEA
IS A MENTAL PICTURE WORTH
OF NARRATIVE IN DESIGN
1000 WORDS?
p.21 > WHy IS A NARRATIVE
p.3 > IDENTIFy AND ANALyzE
IMPORTANT?
STRENGTHS AND
WEAKNESSES AND p.23 > HOW TO CONSTRUCT A
OPPORTUNITIES IN yOUR NARRATIVE TO ESTABLISH
PORTFOLIO MOTIVATION

p.5 > RESEARCH ExAMPLES p.27 > Q&A: ANGELA WELTMAN ON

OF PERSONAL DESIGN CONSUMER INSIGHTS
MANIFESTO AND DESIGN
MOVEMENTS

p.8 > IDENTIFy A CUSTOMER AND

chapter 3
MARKET OPPORTUNITy p.35 > Verbalize
BASED ON AN EMOTIONAL spreaDing the worD
ExPERIENCE anD generating a
mission statement
p.10 > Q&A: RALPH GILLES,
p.35 > SPREADING THE WORD AND
ExECUTIVE VICE PRESIDENT
GENERATING A MISSION
OF DESIGN, FCA
STATEMENT

p.36 > UNDERSTANDING THE

INTERPLAy BETWEEN BRAND
AND DESIGN BRIEF

p.37 > CREATING A DESIGN BRIEF

p.39 > CASE STUDy: MAzDA

MOTORSPORTS AND FURAI
CONCEPT MISSION AND BRIEF

p.53 > Q&A: ROBERT DAVIS, SENIOR

VICE PRESIDENT, MAzDA
NORTH AMERICA AND HEAD
OF MAzDA MOTORSPORTS

contents v
 chapter 4 chapter 5 chapter 7
p.61 > iDeate p.81 > implement p.109 > select
creating a uniQue selecting key refining proposals
Visual Dna baseD Directions anD anD making a final
on a Design brief iDentifying themes selection: forD
p.61 > GET GOING! STARING AT A p.81 > SELECTING KEy DIRECTIONS mustang case
BLANK PAGE AND IDENTIFyING THEMES stuDy, part 2
p.109 > REFINING PROPOSALS AND
p.62 > ExPLORE VARIOUS VEHICLE p.81 > DESIGN STRATEGy: A BRIEF
MAKING A FINAL SELECTION
PACKAGES AND TECHNICAL OVERVIEW
SOLUTIONS BASED ON THE p.110 > CASE STUDy: FORD MUSTANG,
p.83 > UNDERSTANDING
NEEDS OF yOUR TARGET PART 2
SEGMENTATION AND
CUSTOMER AND MARKET
COMPETITIVE BENCHMARKING p.111 > CREATING AN INITIAL DESIGN
OPPORTUNITy
PROTOTyPE
p.83 > MAGIC, RISK AND BALANCING
p.64 > CONSIDER THE POWERTRAIN
SCIENCE WITH SORCERy p.113 > FINAL THEME SELECTION
IMPLICATIONS ON BASIC
PACKAGING. IT’S PHySICALLy p.84 > Q&A: PETER SCHREyER, p.124 > THE FINAL CUT
MOTIVATING THE VEHICLE! CHIEF DESIGN OFFICER,
KIA/HyUNDAI
p.65 > STRUCTURE AND A
chapter 8
FRAMEWORK FOR VEHICLE
ARCHITECTURE p.127 > synthesize
chapter 6
bringing iDeas
p.68 > ExPLORE UNIQUE VISUAL DNA
p.93 > DeVelop together,
FOR A VEHICLE BASED ON
DeVeloping key component Design,
OBJECTIVES ESTABLISHED IN
themes: forD anD the application
yOUR DESIGN BRIEF
mustang case of ux
p.74 > BEGIN TO ExPLORE SURFACE stuDy, part 1 p.127 > BRINGING IDEAS TOGETHER,
LANGUAGE p.94 > CASE STUDy: FORD MUSTANG CREATING AN OVERALL
ExTERIOR, PART 1 COMPOSITION
p.74 > ExPLORE DETAILS, AND
UNIQUE SELLING POINTS AND p.94 > RELEASING THE WILD HORSE p.128 > Ux (USER ExPERIENCE)
FEATURES DESIGN IN OVERVIEW
p.95 > CHARACTER DEVELOPMENT
p.75 > CREATE A RANGE OF CHOICES AND PROCESSING IMAGERy p.130 > ExPERIENCES IN MOTION: Ux
FOR VEHICLES
p.76 > Q&A: FREEMAN THOMAS, p.96 > ESTABLISHING AN
GLOBAL ADVANCED DESIGN ARCHITECTURAL AND VISUAL p.133 > STRATEGIES AND METHODS
DIRECTOR, FORD MOTOR FOUNDATION FOR VEHICLE Ux
COMPANy
p.104 > THE MAJOR LEAGUE: DESIGN p.136 > LOOKING FORWARD: UNIQUE
DEVELOPMENT IN FULL-SIzE OPPORTUNITIES

p.137 > CASE STUDy: JEEP WILLyS

CONCEPT, COMPONENT
DESIGN

vi contents
 chapter 9 p.179 > Q&A: RAJ NAIR, ExECUTIVE chapter 12
VICE PRESIDENT, PRODUCT
p.147 > moDel p.197 > eValuate
DEVELOPMENT, AND CHIEF
making it happen taking stock
TECHNICAL OFFICER, FORD
anD translation to of lessons
MOTOR COMPANy
Digital anD 3-D learneD anD
p.147 > MAKING IT HAPPEN! looking towarD
the continuous
p.149 > VIRTUAL 3-D AND THE DIGITAL chapter 11
improVement of
DESIGN PROCESS
p.187 > launch the iDea anD its
p.154 > DIGITAL SKETCH MODELING power to the replacement
people: telling the p.197 > TAKING STOCK OF LESSONS
p.156 > THREE-DIMENSIONAL DATA
story, presenting LEARNED WHILE LOOKING
DEVELOPMENT
to management, AHEAD
p.156 > RAPID VALIDATION MOCK-UPS the public, anD the
p.197 > LOOKING FORWARD:
consumer
p.159 > CASE STUDy: CLAy MODELING, FACTORS CHANGING THE
p.188 > CRITIQUES, CONSTRUCTIVE
MAzDA KIORA CONCEPT FUTURE OF TRANSPORTATION
PRESENTATIONS, AND THE
p.165 > 3-D PRINTING, RAPID ExCHANGE OF IDEAS p.198 > FUTURE POPULATION
PROTOTyPING, AND HARD SCENARIOS
p.189 > PRESENTING TO CLIENTS,
MODEL FABRICATION
MANAGEMENT, AND KEy p.200 > NEW AND EMERGENT
p.167 > DEPLOyMENT STRATEGIES STAKEHOLDERS MOBILITy PARADIGMS
FOR DIFFERENT TyPES OF
p.190 > PITCHING TO PROSPECTIVE p.200 > CONNECTIVITy AND THE
MODEL-MAKING
USERS, SELLING NEW INTERNET OF THINGS
VIEWERS ON AN IDEA
p.201 > zERO EMISSIONS
chapter 10 p.191 > LAUNCHING A VEHICLE TECHNOLOGy

p.171 > builD p.192 > Q&A: MORAy CALLUM, p.206 > AUTONOMOUS AND
becoming a reality, VICE PRESIDENT OF DESIGN, DRIVERLESS SCENARIOS
engineering, FORD MOTOR COMPANy
p.209 > NEW QUESTIONS FOR
mastering, anD
DESIGNERS
sharing a Design
proposal with the p.209 > KEy IMPLICATIONS FOR
larger proDuct DESIGNERS
DeVelopment
community
p.171 > VETTING AN IDEA p.211 > about the author

p.172 > ENGINEERING, PROCESSING, p.212 > glossary

AND TESTING
p.216 > bibliography
p.177 > MARKET RESEARCH, CLINICS,
p.217 > inDex
AND GAUGING ACCEPTANCE

p.178 > EARLy-STAGE VETTING FOR

DESIGNERS

contents vii
figures

1.0 Process locator gauge 1.7 Industrial design powerhouse elements of a narrative, adapted
1.1 A typical brainstorming session IDEO developed this figure that from various open-source
involving imaginary personas, depicts an ideal blend of three storytelling guides
which cars they might enjoy, key attributes to deliver resonant 2.10 A typical journey map, a more
and keywords that express the and meaningful design work detailed way of developing the
emotional and pragmatic targets 1.8 Ralph Gilles, Head of Design, narrative in conjunction with
for the intended user FCA Global a storyboard, the image here
1.2 SWOT analysis can be a fluid 1.9 Design development sketches depicts off-road outing as an
exercise undertaken with Post-it from the team responsible for example
notes, and adds value to any the original Chrysler 300 M 2.11 Storyboards for Toyota Cross
brainstorming session 1.10 Chrysler Chronos concept Cruiser concept, depicting
1.3 The Dodge Kahuna concept, shown on the left, and the final usage scenarios for Gen y
front view, featuring a dominant application of the theme on families
truck-like Dodge graphic, robust the original Chrysler 300 M 2.12 Storyboards for Toyota Cross
crossover stance and pillars-less production car seen on the right- Cruiser concept, depicting usage
window aperture in which all hand side scenarios for Gen y singles
glass drops for open air cruising 2.0 Process locator gauge 2.13 Angela Weltman, cognitive
1.4 The Dodge Kahuna concept, 2.1 Graphic indicating central focus psychologist
rear view. Featuring a technical of the why part of the design 3.0 Process locator gauge
progressive lamp graphic that equation 3.1 Three key elements essential in
accentuates a forward-swept 2.2 Maslow’s pyramid of needs developing a brand philosophy
rear profi le hearkening back 2.3 Carl Jung’s archetypes depicted 3.2 Essential components of a
to classic American people in radial formation with their typical design brief
movers basic orientations indicated 3.3 Mazda Nagare concept,
1.5 The Dodge Kahuna concept, 2.4 Typical example of generational featuring body side textures
debuted at the North American chart outlining key groups, their inspired by nature
International Auto Show, is an formative experiences, and 3.4 Mazda Ryuga concept, sibling to
example of a design study that examples of defining products the Mazda Nagare concept, that
intentionally sought to elicit 2.5 The intended emotional explored different textures and
strong emotional reactions from experience for the concept proportions
its viewers. The creative team 2.6 A broad overview of the intended 3.5 Mazda Hakaze concept,
generated the concept through target user exploring an all-road application
strategic analysis of strengths, 2.7 An image board created to of the design DNA
weaknesses, opportunities, and display key product influences 3.6 Mazda Taiki concept, using
threats of the brand that was that provide the user the ability the DNA to express a sense of
known to be the design leader in to enjoy a particular intended lightweight, flowing elegance
the people mover segment experience 3.7 Mazda Furai concept, front tip
1.6 Design, being different from art, 2.8 Broad overview of market up view
is a blend of the personal vision analysis depicting a trend toward 3.8 Inspirational image created to
that seeks to offer a unique eco-friendly, zero emissions focus discussion on rotary and
experience for a user, the simple vehicles racing heritage
equation can form the foundation 2.9 A basic storyboard template 3.9 Mazda Furai concept, front view
for any design exercise outlining the compositional depicting deep arrow channels

viii figures
 sculpted to provide optimum Negare body side textures, 4.1 The key elements of vehicle
flow while also communicating accelerating through turn packaging
signature Mazda front-end 3.24 Mazda continues to look 4.2 Side view of typical driver
graphic DNA appearance forward considering how its mannequin with H-point
3.10 Mazda Furai concept, side view racing DNA may evolve in indicated by the circle
depicting dynamic body side the distant future with the 4.3 Package drawing featuring
sculpting and dominant rear wing Mazda Kann, experimental occupant and tactical layout for
3.11 Mazda Furai concept, front future electric racer, front view Toyota Cross Cruiser concept
three-quarter view showing the depicted 4.4 Supplemental copy of vehicle
impact of different color on rear 3.25 Mazda Kann experimental racer inspirations that depict the
of body side sculpture study took top honors winning desired Toyota Cross Cruiser
3.12 Mazda Furai concept, top view the prestigious Designers concept, user experience
showing extreme arrow channels Challenge at the Los Angeles 4.5 Image illustrating hypothesis
allowing optimal flow from front International Auto Show in 2008 of increased demand for zero
to rear and dramatic sculptural 3.26 Mazda LM 55 design concept, emissions vehicles of how to add
impact study executed for GT6 Sony emotional appeal to the genre
3.13 Early Mazda Furai concept, PlayStation videogame, rear 4.6 Toyota Cross Cruiser concept,
study depicting progressive view featuring advanced spoiler inspirational loose rapid ideation
sculpture with modern forms and diffuser sketches
complemented by colors 3.27 Mazda LM 55 design concept, 4.7 Toyota Cross Cruiser concept,
inspired by classic endurance study executed for GT6 Sony intermediate theme development
racing cars PlayStation videogame, front exploring proportion, form,
3.14 Mazda Furai concept, presented view featuring evolved Mazda graphic and signature lines
at Mazda Raceway Laguna DNA graphic 4.8 Toyota Cross Cruiser concept,
Seca, side view image captured 3.28 MNAO VP Robert Davis final two-dimensional side
as vehicle turns through hairpin 3.29 Mazda Rx Vision concept, view elevation drawing done in
corner displayed at the Tokyo Motor conjunction with the package
3.15 Mazda Furai concept, presented Show in 2015, pays homage to in preparation for three-
at Mazda Raceway Laguna classic rotary sports cars from dimensional validation via
Seca, rear three-quarter tip-up Mazda’s past while featuring the model-making
view captured on straight-way Kodo Design Language 4.9 Toyota Cross Cruiser concept,
3.16 Mazda Furai concept, presented 3.30 Mazda Rx Vision concept, front three-quarter sketch,
at Mazda Raceway Laguna rear three-quarter featuring showing design and appearance
Seca, side tip-up view captured sophisticated emotional body intent for the front end graphics
in pit lane side highlight composition and overall stance of the vehicle
3.17 Mazda Furai concept, engine 3.31 Mazda Cosmo 110, front view, 4.10 Toyota Cross Cruiser concept,
cover detail featuring micro illustrating roots of Mazda’s front three-quarter rendering of
rotary pattern graphic sporting DNA digital model
3.18 Mazda Furai concept, presented 3.32 Mazda Cosmo 110, rear view 4.11 Toyota Cross Cruiser concept,
at Mazda Raceway Laguna featuring lightweight, poised rear three-quarter theme
Seca, accelerating through turn athletic, sporting stance rendering depicting subtle
3.19 Mazda Furai concept, elevated common in almost all sports cars surface articulation and graphic
on integrated pneumatic pit to this day details
stands 3.33 Mazda Miatas racing through 4.12 Toyota Cross Cruiser concept,
3.20 Mazda Furai concept, interior turn one at Mazda Raceway three-quarter rendering of the
featuring key controls integrated Laguna Seca digital model
with removable steering wheel 3.34 Four iterations of Miata and 4.13 Toyota Cross Cruiser concept,
3.21 Le Mans-winning Mazda 787B 1 Mx 5 cup racers, making the side view rendering of digital
3.22 Le Mans-winning Mazda 787B 2 Mazda experience available to model
3.23 Mazda Furai concept, presented the masses through successive 4.14 Toyota Cross Cruiser concept,
at Mazda Raceway Laguna generations rendering of digital model
Seca, side view featuring 4.0 Process locator gauge featuring overboard concept and

figures ix
 design provision for storage in 6.5 Top view Mustang design 6.17 Members of a clay sculpting
the rear compartment themes sketch, indicating deep team executing Mustang
4.15 Toyota Cross Cruiser concept, rear haunch and progressive Design Study, full-sized model
final image of user enjoying window graphics development
experience of Cross Cruiser and 6.6 Front three-quarter design image 6.18 Mustang Design Study, model
overboard concept displaying Mustang character in being milled at one-to-one scale
4.16 Jordan Meadows and Ken a progressive way, yet without a 6.19 Jordan Meadows taping rear tail
Nagasaka pictured with final typical front bumper offset lamp graphics on clay model
model of Toyota Cross Cruiser 6.7 Influential Mustang front three- proposal, Mustang Design Study
concept quarter design image expressing 6.20 Mustang Design Study, clay
4.17 Freeman Thomas, Design Global front-end character model development work in
Advanced Design Director, Ford 6.8 Early-stage Mustang rear three- progress, complete with tape
Motor Company quarter image exploring alternate lines and graphics indicating
5.0 Process locator gauge rear and graphic alterations and changes
5.1 Info graphic depicting typical 6.9 Early-stage Mustang front 6.21 Mustang Design Study, clay
product development funnel in three-quarter image exploring model prepared with dynoc
that many ideas and proposals dominant central trapezoidal treatment for management review
are filtered and distilled down to opening 6.22 Mustang Design Study, clay
one 6.10 Mustang front three-quarter model study prepared with
5.2 Info graphic depicting an example image depicting dominant front dynoc, undergoing proportional
of a typical positioning chart trapezoidal opening that also alterations and changes
5.3 Peter Schreyer, President and explores headlamp graphics indicated with tape
Chief Design Officer (CDO), leaning forward in traditional 6.23 Mustang Design Study, rear end
Hyundai Motor Group Mustang fashion study undergoing clay model
5.4 Kia Soul concept, theme sketch 6.11 Early-stage Mustang design milling operation
5.5 Kia Soul, second-generation image exploring an aeronautical 6.24 Mustang Design Study,
5.6 Kia Soul, second-generation, roofline hearkening back to early one-to-one clay model, receiving
front three-quarter generation Mustang fastbacks an updated milling and detail
5.7 Hyundai Genesis, featuring 6.12 An early-stage Mustang side 7.0 Process locator gauge
signature front design DNA view design image exploring 7.1 Mustang Design Study, front
5.8 Hyundai Vision G concept, a linear body side treatment three-quarter comparison of final
interior executed without a rear fender proposals leading toward final
5.9 Hyundai Vision G concept, haunch selection
exterior side view, car created 6.13 Early-stage high-performance 7.2 Mustang Design Study, rear
to preview the Corporation’s Mustang design exploration three-quarter comparison of final
design language for premium featuring widened track and proposals leading toward final
Genesis brand extreme aero treatments selection
6.0 Process locator gauge 6.14 Early-stage high-performance 7.3 Mustang Design Study,
6.1 Mustang silver side view of 2010 Mustang design exploration illustration of the signature
model and basis for design illustrating progressive sequential tail lamp feature
development aerodynamic spoiler treatment, 7.4 Mustang Design Study, exploded
6.2 Mustang early-stage rear view traditional stripes graphics, and view illustration of tail light
themes sketch, indicating rear quarter light insert panel construction for design prototype
trademark try bar tail lamp and 6.15 Early-stage high-performance 7.5 Mustang Design Study, work-in-
tapering canopy Mustang design exploration progress prototype grill insert
6.3 Mustang rear early-stage study featuring traditional auxiliary featuring pony badge integration
exploring an alternate execution lamp inserts in grill graphic 7.6 Mustang Design Study,
for rear graphics and single 6.16 High-performance Mustang prototype hard model being
frame side glass graphic Design Study, illustrating prepared for surface milling
6.4 An early-stage Mustang rear progressive lower aero treatment 7.7 Mustang Design Study,
investigation exploring an and powerful hood bulge prototype grill inserts featuring
alternate rear and composition complete with upper air intakes possible lamp integration

x figures
7.8 Mustang Design Study, three-quarter image of one of a composition balancing
prototype hard model foam the final themes considered for traditional center gauge cluster
armature in process of being production, highlighting angular with progressive components
milled sections and unified lower 8.3 Jeep Willys concept, excerpts
7.9 Mustang Design Study, graphics from the build sketch book by
prototype being prepared for 7.19 Mustang Design Study, rear Jordan Meadows, featuring
final painting and assembly three-quarter image depicting steering wheel, door trim,
7.10 Mustang Design Study, one of the final themes seating, and instrument panel
illustrated without rear fender considered for production, component callouts
haunch treatment featuring a horizontal black 8.4 Jeep Willys concept, excerpts
7.11 Mustang Design Study, explored graphic unifying the signature from the build sketch book by
with rear fender haunch three-bar tail lamps Jordan Meadows, featuring rear
treatment 7.20 Mustang Design Study, side lighting details, HVAC controls
7.12 Mustang Design Study, front view comparison depicting one and retractable GPS navigation
three-quarter image of one of of the final themes considered screen
the final themes considered for for production, highlighting 8.5 Jeep Willys concept, interior
production, highlighting forward- the development and evolution seen here with removable
swept headlamps and vertical versus the outgoing car seating covers
side vents 7.21 Mustang Design Study, side 8.6 Jeep Willys concept, rear three-
7.13 Mustang Design Study, rear view comparisons of the final quarter top view.
three-quarter image of one of three themes which were 8.7 Example of the journey map
the final themes considered considered for production containing the essential usage
for production, highlighting an 7.22 Mustang Design Study, rear channels, touch points, and
aeronautical roofline and body three-quarter top view of post- emotional reactions
color treatment between rear tail selection theme, blending key 8.8 Jeep Willys concept, exterior
lamps attributes combined to create a front view featuring its
7.14 Mustang Design Study, side unified proposal unmistakable DNA
view comparison of one of the 7.23 Mustang Design Study, 8.9 Jeep Willys concept, exterior
final themes considered for side view of post-selection theme sketches by Jordan
production, highlighting the theme, blending key attributes Meadows
development and evolution combined to create a unified 8.10 Jeep Willys concept, exterior
versus the outgoing car proposal front three-quarter view, seen
7.15 Mustang Design Study, rear 7.24 The final production Mustang here fitted with hard top and
three-quarter image of one of released to the public multifunctional roof rack system
the final themes considered seamlessly blending the hard 8.11 Jeep Willys concept, excerpts
for production, highlighting a work and passion of a group of from the build sketch book by
tall proportion to the signature dedicated professionals Jordan Meadows, featuring rear
three-bar tail lamps 7.25 Rear detail view of signature lighting tow hook and lower
7.16 Mustang Design Study, front three-bar tail lamps from final fascia exhaust details
three-quarter image depicting production Mustang 8.12 Jeep Willys concept, exterior
one of the final themes 7.26 Front three-quarter view of rear three-quarter upper view,
considered for production, production Mustang seen here fitted with hard top
highlighting rear-swept 7.27 Rear three-quarter view of and multifunctional roof rack
headlamps and full hood production Mustang system
sections 8.0 Process locator gauge 8.13 Jeep Willys concept, excerpts
7.17 Mustang Design Study, side 8.1 Jeep Willys concept, featuring from the build sketch book by
view comparison of one of the an all-weather interior seating Jordan Meadows, featuring
final themes considered for concept eliminating traditional tracking wiper system, fuel filler
production, highlighting the upholstery and trim cap, and rocker step detail
development and evolution 8.2 Jeep Willys concept, interior 8.14 Jeep Willys concept, excerpts
versus the outgoing car theme vision sketch by from the build sketch book by
7.18 Mustang Design Study, front Jordan Meadows, featuring Jordan Meadows, featuring

figures xi
 exploded view of headlight composition, rendered with 9.20 Mazda Kiora concept, full-sized
details, and grill inserts oxidized surfaces indicating clay model being evaluated in
8.15 Jeep Willys concept, excerpts recycled metal outdoor review yard.
from the build sketch book by 9.7 MetalBack Café Racer, digital 9.21 Mazda Kiora concept, full-sized
Jordan Meadows, featuring model, front three-quarter view, clay model being developed with
antenna, lighting, and grill mesh rendered with oxidized surfaces tape lines indicating changes to
inserts indicating recycled metal the key features
8.16 Jeep Willys concept, excerpts 9.8 MetalBack Café Racer, digital 9.22 Mazda Kiora concept, full-sized
from the build sketch book by model, upper side view, clay model being developed with
Jordan Meadows, featuring rendered with oxidized surfaces tape lines to indicate changes to
perforated header visor concept indicating recycled metal the key features, seen here with
8.17 Jeep Willys concept, excerpts 9.9 MetalBack Café Racer, engine BMW Mini as reference for scale
from the build sketch book by detail, rendered with oxidized 9.23 Mazda Kiora concept, full-sized
Jordan Meadows, featuring surfaces indicating recycled metal clay model being evaluated
rearview mirror and hood vent 9.10 MetalBack Café Racer, side view in outdoor review yard fully
details image, rendered with oxidized dynoced
8.18 Jeep Willys concept, exterior surfaces indicating recycled 9.24 Mazda Kiora concept, Jordan
rear view, seen here in open metal Meadows, design manager,
top configuration featuring 9.11 MetalBack Café Racer, side and Mickael Loyer, principal
lightweight aluminum frame quarter image, rendered with designer, with full-sized clay
construction made visible oxidized surfaces indicating model being evaluated in
through the rollbars and rear recycled metal outdoor review yard fully
compartment tie-down rails 9.12 MetalBack Café Racer, tank and dynoced
8.19 Jeep Willys concept, excerpts steering column detail, rendered 9.25 Mazda Kiora concept, full-sized
from the build sketch book by with oxidized surfaces indicating clay model with full dynoc for
Jordan Meadows, featuring recycled metal surface evaluation
multifunctional roof rack system 9.13 Rapid validation foam model, 9.26 Mazda Kiora concept, scale
8.20 Jeep Willys concept, exterior being milled in one-to-one and full-sized with full dynoc for
detail seen here featuring gray scale. Note indicator on milling surface evaluation
tires machine defining (y) plane. 9.27 Mazda Kiora concept, full-sized
9.0 Process locator gauge 9.14 Ford Start concept, rapid clay model being evaluated
9.1 MetalBack Café Racer, digital validation mock-up illustrating in outdoor review yard fully
sketch model, seen here seating configuration and dynoced
blending wireframe data and occupant package 9.28 Mazda Kiora Concept, side view
semi-rendered surfaces 9.15 Mazda Kiora concept, scale clay of hard model prototype being
9.2 MetalBack Café Racer, digital model, front three-quarter view developed
sketch model, seen here in 9.16 Mazda Kiora concept, scale 9.29 Mazda Kiora concept, detail view
orthographic views clay model being developed by of hard model prototype being
9.3 The xyz planes of the Cartesian clay sculptor. Note portions of developed
coordinates system, an essential the model have already been 9.30 Mazda Kiora concept, rear view
tool for all digital and analog covered with dynoc to evaluate of hard model prototype being
model-making the surfaces developed
9.4 MetalBack Café Racer, digital 9.17 Mazda Kiora concept, scale clay 9.31 Mazda Kiora concept, rear fascia
sketch-model, seen here with model with dynoc to evaluate the diffuser detail of hard model
digital tape drawing used to surfaces prototype
construct the basic surfaces 9.18 Mazda Kiora concept, full-sized 9.32 Mazda Kiora concept, final
9.5 MetalBack Café Racer, digital clay model being developed by a assembly of hard model
model, rear three-quarter view, sculptor prototype
rendered with oxidized surfaces 9.19 Mazda Kiora concept, full-sized 9.33 Mazda Kiora concept, rear three-
indicating recycled metal clay model being evaluated in quarter view of vehicle
9.6 MetalBack Café Racer, digital outdoor review yard with BMW 9.34 Mazda Kiora concept, front
model, side and front view Mini as segment scale reference three-quarter view of vehicle

xii figures
10.0 Process locator gauge 12.6 Connectivity between
10.1 Typical adult crash test dummy automobile functionality and
10.2 Typical frontal impact crash test smart phone applications 1
10.3 Typical crash test dummies 12.7 Connectivity between
representing various human automobile functionality and
body types, weights, and sizes smart phone applications 2
10.4 Robotic spot welding 12.8 Ford Mustang interior with Sync
mechanism in Tesla plant 3 infotainment system
10.5 Robotic assembly mechanism 12.9 Ford Sync image showing
10.6 Robotic painting mechanism connectivity between automobile
10.7 Tesla Model-S on assembly line functionality and smart phone
10.8 Market research attendants application
rating various images 12.10 Tesla Model-S, key components
10.9 Raj Nair, Senior VP of Product featuring battery pack located at
Development, Ford Motor the bottom of image, displaying
Company flexibility of upper body design
10.10 Ford GT, competition car testing 12.11 Tesla Model-S, key battery and
on banked racetrack technical components, side view
10.11 Ford GT, two competition cars 12.12 Tesla Giga factory, a key enabler
high speed testing at racetrack for providing battery technology
10.12 Ford GT, plan view photo at a mass scale
featuring radical aerodynamic 12.13 Tesla Model-S, electric motor
channels and battery pack components
10.13 Ford GT, front three-quarter view 12.14 Tesla Model-S, cutaway
photo view featuring ultra-compact
11.0 Process locator gauge packaging of technical elements
11.1 Chrysler 300 design team allowing for flexible space and
critiquing and evaluating clay added storage areas
model proposal 12.15 Tesla Home-Charging Station
11.2 Ford Design team members 12.16 Tesla Model-S, charging port
evaluating and critiquing student 12.17 Tesla Supercharger Station,
projects at ArtCenter College of featuring free connectors that
Design 1 charge their vehicles in minutes
11.3 Ford Design team members rather than hours
evaluating and critiquing student 12.18 Tesla Autopilot, illustration
projects at ArtCenter College of depicting array of vehicle
Design 2 sensors
11.4 Moray Callum, Vice President of 12.19 Autonomous technology
Design, Ford Motor Company possible adoption rates of
11.5 Ford Performance Vehicles moving forward in the future
12.0 Process locator gauge 12.20 Velodyne LIDAR sensor,
12.1 Composite image of future traffic essential for enabling
scenario autonomous vehicles to read
12.2 Composite image of future city their surroundings
scenario 1 12.21 Vehicle Design: Aesthetic
12.3 Composite image of future city Principles in Transportation
scenario 2 Design author Jordan Meadows
12.4 Spectrum of mobility and
transportation applications
12.5 Connectivity between objects,
applications, and transportation
modes

figures xiii
acknowledgments

It would be impossible to Very few vehicle designers publish

acknowledge all who made this so I must also name those who
book possible. However, special inspired me to give it a try. Jerry
thanks must be given to some Hirshberg, Chris Bangle, Stuart
key supporters who were actively Macey, Geoff Wardle and Daniel
involved in its creation. Each Simon, along with a special
of the interviewees are friends, personal acknowledgment to J.
colleagues past and present, Mays, all showed me the value
and truly inspirational for me as of sharing an intellectual point of
a designer. I thank Ralph Gilles, view beyond one’s contributions to
Angela Weltman, Robert Davis, a manufacturer.
Freeman Thomas, Peter Schreyer,
Raj Nair, and Moray Callum all for Finally, I must also cite my family,
lending time and personal wisdom friends, and colleagues who
in support of this book. challenged me to always learn,
grow, and create. Their love,
Special thanks also to the Design, friendship and support have
and Public Relations teams of enabled me to have a very special
FCA, Kia/Hyundai, Mazda, Ford career and share some of what
Motor Company, and Tesla. I’ve learned from it in the pages of
Without them and the special this book.
help from Dianna Gutierrez, Vera
Uhle, Jeremy Barnes, Francesca
Montini, and Craig von Essen,
much of this would not be
possible. Special thanks also to
the ArtCenter College of Design,
and to Christine Hanson, Stewart
Reed, Jay Sanders, Ken Nagasaka
and the entire Transportation
Design Department.

I also must personally thank John

Clinard and Tracey Grant, two
friends with an amazing amount of
knowledge about the world of cars
and publishing. Their guidance,
mentorship, and technical/editorial
assistance were truly invaluable!

xiv acknowledgments
Statement of Aims

Vehicle Design: Aesthetic and Design Directors of significant

Principles in Transportation automotive brands renowned
Design pulls back the curtain for top-level design. They reveal
on the secretive world of professional experiences, secrets
vehicle designers to reveal the of success, failures, and moments
methodology and processes of magic along the journey of
used in the conceptualization creating unforgettable cars.
and development of some of the
industry’s most visually stunning However, this book isn’t just for
vehicles. automotive designers, engineers,
and marketers; it has relevance
Turn the first page and enjoy and appeal to any creative-
a rare deconstruction of how minded student or professional
professionals satisfy the most who is committed to the creation
complex and demanding technical of meaningful images, objects,
requirements while delivering an spaces, and experiences. It is also
emotionally enriching experience. “must read” material for disciples
It provides an in-depth view of of car culture and automotive
what was previously considered enthusiasts of all ages and
a dark art among mainstream backgrounds. The images, words,
designers, something akin to and ideas are sure to empower
sheet-metal sorcery. There aren’t and leave you ready to “start your
many in-depth books about this creative engines.”
relatively small, focused, and
dedicated profession. There are
even fewer written by a designer
intended for all designers …
Vehicle Design arrives at a critical
time as the transportation industry
is now on the cusp of a dynamic
new era in mobility provided by
zero emissions technology and
autonomy.

Designer Jordan Meadows has

packed the pages with first-hand
insight and case studies from a
career spanning two decades
of creative involvement at some
of the world’s largest and most
influential auto manufacturers. He
also provides exclusive in-depth
interviews from leading experts

statement of aims xv
Introduction

In life, most of us have a job, the first bicycle, skateboard or Given that no two projects are
a career, and if we’re lucky, anything with wheels to that end, the same and that each individual
sometimes a calling. Jobs can help the fascination with transportation designer will always bring their
sustain you, and often are a great was a calling that I experienced own personal point of view to a
way to learn and maintain a skill or at a very early age. So for me, project, this book is not meant
trade. If you’re unlucky, sometimes the link between creating things to serve as a universal template
they can be a total bore. Careers and vehicles, no matter how for people undertaking this task.
can last long periods of our adult rudimentary, was quite natural. It’s not a vehicle design bible or
lives, and whether we enjoy them manifesto. It is also not about
or not can be an integral part of Many professional vehicle drawing techniques, digital tools,
our day-to-day lives. Whether designers and students of the or practices that an individual
you work to live, or live to work, craft share a very similar discovery can develop and apply to their
careers are always part of the of this unrelenting drive to create own effect. Rather this book is
equation. And then some of us, things that move. And for us it is a meant to offer proven techniques
a very rare few of us, are called very deep calling. for interpreting the twists, turns,
toward a particular task. Some challenges, and opportunities that
deep drive compels us to perform This book was created by a may come up along your quest to
a function. For this group, in a designer for designers who develop vehicles with emotional
sense there isn’t a choice in the understand that calling. It’s meant and aesthetic appeal.
matter. It’s about doing it or being to serve as a guide through the
relegated to seriously antisocial creative process of generating The information in the book
and unfortunate behavior! vehicle concepts. As with most is presented in three main
creative endeavors, the process modules. The first is about
For as long as I can remember, is in fact a journey. We begin with identifying interest and targets.
I have had a deep, compelling an intended destination or an ideal For students, this can be
drive for making things. Many of where we want to be, resulting honestly coming to terms with
children have an aptitude in one in a product or goal. However, strengths and weaknesses
direction or the other. Some going through that process can and areas for investigation in
are called to dance. Others are take us to places that we could their own personal portfolio.
athletic. Some feel a natural never imagine along the way. For working professionals, this
inclination to help others. We And ultimately, the true value is can be business opportunities
can probably blame or thank our not the destination or even the and defining a direction for
parents for the nature and nurture finished product but rather the their company or organization
aspect of our upbringing. For me, experience of learning along the to conduct a study. For
it was the unrelenting drive to way that is both valuable and passionate individuals, this can
create things. Somewhere along transformative. In the creative field, be the process of developing a
the line, shortly after walking, I no two projects are the same. The framework to help structure their
discovered the magic of vehicle thrill and excitement of discovery invention or passion project.
mobility. From a personal growth are undeniable. Perhaps this is Whether the goal is for academic
and development standpoint this the reason why it’s often easy to and learning purposes, or for a
was probably related to freedom remain passionate about making great business opportunity, or
and independence. Crawl, walk, things throughout one’s life. just a project that you’ve always
roll, ride, etc. ... Whether it was thought was cool and wanted to

xvi introduction
do, the first module is all about future vehicle that satisfies unmet
defining and articulating WHY it needs, and delivers a unique and
needs to happen. highly emotional experience for
the user. This is a blending of key
The second module is about insights developed in modules
identifying external factors. There 1 and 2, and is truly about the
is an old saying that necessity execution and delivery based on
is the mother of invention. Good your personal design philosophy
design and invention go hand-in- and values. Module 3 is all about
hand. Whether you’re a novice developing a tangible product to
student of design or a seasoned give the user WHAT they want
veteran of the creative game, it’s or need. Understanding these
always essential to understand three elements is the foundation
present and future market for any design project: first,
conditions. It is also crucial to be business goals and targets;
able to identify short-term trends second, marketplace opportunities
and macro movements that may and external factors; and, finally,
indicate an unmet customer appropriate execution and delivery
need. And satisfying that unmet of an experiential or physical
customer need from a pragmatic, product solution.
emotional, and visual perspective
is what good designers always In short, successful design
seek to do. In basic terms, is the result of a very clear
this module is all about deeply understanding of WHO the user
understanding WHO the design is, WHAT it will take to fulfill their
is for. needs, and WHY your offering is
different and more compelling than
In the real-world context these the competition’s.
two modules can in some ways
be intertwined and symbiotic. In The learning and insights shared
a certain way, it’s the chicken and in this book are based on over two
egg story. What comes first: the decades of personal experience
customer’s needs or the product in the automotive industry. It also
solution that addresses them? contains informed opinions from
One can make the argument influential figures in the broader
in either direction. History has world of cars and transportation
shown us that true visionaries design. Together we offer case
often provide solutions that studies and stories of vehicles
customers are not aware that that were made in the past.
they “need” at the moment BUT However, the focus and intent of
will become crucial later as their this book is looking forward. The
context and usage scenarios aim is to provide insight into how
evolve. For this reason, it can be the vehicle design industry gives
risky to base a design solely on emotional meaning to products so
existing consumer assumptions. that you, the reader, can build on
Conversely, not having any regard these techniques and strategies to
for customer wants or needs can create fascinating and memorable
yield a product that is irrelevant or design statements for the future.
obscure.

The third phase is dedicated to

giving shape and physicality to a

introduction xvii

1.0 Process locator gauge
source: image credit, jordan meadows. 2016.

vision
xviii let the journey begin!
chapter 1

Vision
Let the Journey Begin!

Identifying Opportunity, Defining can happen. Beginnings are

 Identifying a Vision, Setting Targets inherently exciting because it’s the
Opportunity, Defining A The design process is very much point in the journey when there is
Vision, Setting Targets a journey, and engaging in it plenty of room to dream and the
can be seen as embarking on possibilities are infinite.
 Verbalizing the Vision:
an exploration. In this regard the
Is a Mental Picture old proverb that says the longest Even if you’ve been given very
Worth 1000 Words? journey begins with the first steps strict constraints, a designer has
 Identify and Analyze holds a good deal of truth. This a duty to propose solutions that
chapter is about taking those first work within the constraints as well
Strengths and
steps. as offer ideas that challenge them.
Weaknesses and
In professional scenarios there will
Opportunities in Your Whether the reason for the be established parameters that
Portfolio exercise is user-inspired, define a brief. This will include a
 Research Examples business-oriented, or just plain set of assumptions to work within.
born of personal passion, there is Regardless of how pre-described
of Personal Design
always a vision! (See Figure 1.0.) or open-ended that brief may
Manifesto and Design
Knowing how to achieve it can be be, it’s often beneficial to initiate
Movements
quite cloudy or undefined at times. the earliest stages of a program
 Identify a Customer Other times it can be crystal clear, with a good understanding of
and Market succinct and laser-focused. But that brief while also identifying a
Opportunity Based
in any case, one of the first tasks margin and scope of opportunity
of the designer is to articulate a just beyond it. At the beginning
on an Emotional
vision and identify how it relates of any project always take the
Experience
to an opportunity to give a user a opportunity to brainstorm. Use it
 Q&A Ralph Gilles, meaningful experience. as a semi-formalized exercise to
Executive Vice allow ideas that fall within the brief
President of Design,
It’s helpful to engage in these and just beyond it to be discussed
first steps with a completely and entertained. Whether it’s
FCA
open mind. In the beginning conducted with a group, or as an
of the project almost anything individual, it’s a great way to kick
goes. Ideas that may seem off a project and allow the creative
radically divergent can lead to flow to begin. In a sense it’s very
unexpected solutions. In a sense, much about dreaming: Diligent,
this stage of the process is the semi-focused day dreaming about
most thrilling because so much a possible solution at this stage

vision
let the journey begin! 1
can literally and figuratively be your succinct. Sometimes a great idea might relate to each other
job! can be described like a joke with and offer some synergies and
an amusing punch line. In many interesting combinations.
Verbalizing the Vision: cases, great thought starters or
Is a Mental Picture Worth issues that are posed in the form In a sense, you don’t need
1000 Words? of a question can kick off idea thousands of words; you only
There are many techniques for generation and foster creative need a few words to verbalize the
brainstorming and different discussion. vision! Dreams and ideas become
schools of thought on how to thoughts. Thoughts transfer into
make the exercise truly effective. Whether you’re working with a words. Words eventually become
In any case, almost any project group or as an individual, there a series of actions. Actions
will need to go through a phase are some key things to keep in involve decisions, and decisions
of examining the widest range of mind: Establish a time limit and eventually lead to design!
possibilities, defining the creative clearly identify measurable and
vision, and setting targets (see specific goals for the exercise Every project begins with a series
Figure 1.1). As a design takes in terms of how it relates to the of thoughts and visions or feelings.
shape, the amount of constraints brief. Allow your mind to run wild Every designer has a responsibility
will rise, so in the early stages it’s with possibilities and refrain to dream about an ideal solution
fun to do some lucid dreaming from judging any of them until if only for a short amount of time
about possibilities of what after the exercise is complete. in the beginning of a program,
might be achievable. Most of Even nonsensical or seemingly regardless of the constraints
the established techniques for absurd ideas can trigger a fruitful involved. These are the first steps
brainstorming involve an individual discussion. And, finally, capture in embarking on any creative
or group figuratively draining and organize thoughts in a way journey, and giving relevance and
their minds of possibilities, and that’s easily shared. This will meaning to a design!
jotting these ideas down on allow you to organize the thoughts
Post-it notes. It’s helpful when in terms of relevance, and also
capturing these ideas to be very identify how different solutions


1.1 A typical brainstorming session involving imaginary personas, which cars they might enjoy,
and keywords that express the emotional and pragmatic targets for the intended user
source: image credit, jordan meadows.

vision
2 let the journey begin!
Identify and Analyze Strengths Even the most legendary sports cases one aspect of that product
and Weaknesses and car manufacturers now are also ... It’s not difficult to get burned
Opportunities in Your Portfolio producing vehicles such as SUVs out in this regard. So whenever
We all have strengths and and sedans. So it stands to reason possible, creative individuals are
weaknesses regarding the work that it would be beneficial to encouraged to stretch their wings
that we do. In the initial phases investigate other opportunities for and take on as much variety as
of our careers as designers, it’s different types of vehicles. Having they can.
best to gain as much experience a well-rounded portfolio that
as possible and present ourselves shows that you can tackle different To a certain extent this is quite true
as well-rounded and able to types of vehicles will always be with design-based organizations.
take on a multitude of different beneficial in the job hunt. Large organizations and design
challenges. One of the first steps groups are reflective of their
in identifying an opportunity or For individuals who are currently creative employees and vice versa.
a potential new project for your in a professional setting, variety is And in this case, having a diverse
portfolio is to analyze what you also good. Sometimes as creators portfolio can be beneficial from
already have, and examine where we can get stuck, pigeonholed, a business perspective. Offering
the deficiencies might be. For or overly focused. In this regard, different types of products in an
example, we all know designers designers are very similar to optimal range can allow a group
who are in love with sports cars; actors, and becoming type-cast to have a broader presence in the
and, as you would think and in a particular role can be a real marketplace. Almost any business
expect, they only have sports cars danger. Working on different manager will tell you diversity is
in their portfolio. And while their types of products periodically a good thing. This holds true for
enthusiasm, focus, and dedication keeps us fresh from a creative stocks and investments, and can
are enviable, the fact of the matter standpoint. Because the lead-time be said for hiring practices too.
is the scope of their portfolios and and development for vehicles are It also rings true for the types of
their range of focus are limited. quite long, professional designers design assignments that you take
In fact, some successful sports can go many years focused on on. Balance and some degree of
car manufacturers might agree. one type of product, and in some diversity are a key to success!

A common methodology for

achieving the right balance
and analyzing what needs to
happen in your portfolio involves
identifying strengths, weaknesses,
opportunities and threats: this
methodology is known as a SWOT
analysis (see Figure 1.2).

This is a popular method for

looking at the things that one
does well and identifying them
as strengths. Conversely,
weaknesses or areas that need
improvement are also outlined.
While looking inward and
identifying these dynamics, one
can also take an external view
and define opportunities in the
marketplace that are unaddressed.
 Finally, this methodology also
1.2 SWOT analysis can be a fluid exercise undertaken with Post-it notes,
and adds value to any brainstorming session allows for some understanding
source: image credit, jordan meadows. of competitive actions, threats

vision
let the journey begin! 3

1.3 The Dodge Kahuna concept, front view, featuring a dominant truck-like Dodge graphic,
robust crossover stance, and a pillars-less window aperture in which all glass drops
for open air cruising
source: image credit, fca design.

from others, and external forces From an individual perspective, For organizations that are overly
that may have a negative effect when designers position focused, one-dimensional, or
on personal goals and business themselves as stylists, quite often hedge their success on one
objectives. they can become very popular. If aspect, the same is also true.
their work gains traction, it can Understanding that a SWOT
While SWOT is a great strategy be viewed as in vogue. When a analysis has its shortcomings
for self-analysis, it does have its designer is viewed as an arbiter leads us back to the idea that
limitations. For example, what of style, their understanding of diversity is very important.
may seem like a strength could short-term trends can potentially Organizations will often
potentially be a liability. The be seen as a strength. Having experiment with a concept car
marketplace and competitive said that, if they become overly that addresses their strengths
landscapes in business and associated with a unique style or and weaknesses in the interest
design are fluid, volatile, and ever trend, they become irrelevant as of diversifying their portfolios
changing. What can be a strength soon as that look or style moves (see Figures 1.3 and 1.4). The
at one point can quickly be turned on or changes. They’ve effectively Dodge Kahuna was such an
into weakness. This holds true for turned their strength into a exercise I was responsible for,
organizations in a broader sense, weakness. while a designer at Chrysler. It
but also for individuals. was the result of a brainstorming

vision
4 let the journey begin!

1.4 The Dodge Kahuna concept, rear view. Featuring a technical progressive lamp graphic
that accentuates a forward-swept rear profile hearkening back to classic American people
movers. Complemented with a fully retractable roof and bespoke accessories for surfboards.
source: image credit, fca design.

session to examine the shifting Research Examples of Personal something was designed before,
people-mover segment that the Design Manifesto and Design are doomed to repeat it.
corporation dominated with its Movements
minivan offerings when the market The drive to create new For this reason, an essential step
was beginning to shift toward statements as a designer is in the journey is to have a good
cross-over vehicles. Individuals very strong. Accomplishing understanding of the history of
can use a similar strategy with something that resonates with the type of object that you want to
their own personal endeavors the user is appropriate, and design. You cannot move forward
to remain competitive. With this making it fit for task is even more without looking back. When
in mind, one can brainstorm of a challenge. None of this can searching for an inspiration for an
possible project directions and be accomplished without a fair alternative to the normal minivan,
begin to chart a path based on understanding of what already the team at Chrysler investigated
one’s personal vision as outlined exists, and why it was successful classic American wooded
earlier in this chapter. But it’s very or failed miserably before. In wagons as a source of inspiration;
important to do this with a clear this regard the various age-old this thinking led to the Dodge
understanding of one’s current sayings about repeating history Kahuna concept (see Figure 1.5).
context, and a feel for how key ring true; those who don’t have Sometimes you have to take a
aspects of it may shift or change. an understanding of why or how few steps back to get a running

vision
let the journey begin! 5

1.5 The Dodge Kahuna concept, debuted at the North American
International Auto Show, is an example of a design study that intentionally
sought to elicit strong emotional reactions from its viewers. The creative
team generated the concept through strategic analysis of strengths,
weaknesses, opportunities, and threats of the brand that was known to be
the design leader in the people mover segment
source: image credit, fca design.

vision
6 let the journey begin!
start forward. And because is unobtrusive. Good design controversy and rebel against the
design is an inherently competitive is honest. Good design is contemporary styling norms of its
business endeavor, it’s crucial to long-lasting. mainstream minivan competitors.
also look side to side to have an (Dieter Rams,
understanding of what your peers 10 principles of good design)1 Identifying a reservoir of visual
and competitors are doing. inspiration is essential in the first
In fact, so much of the visual DNA steps of the project. Utilizing
Corporations and groups have in Apple products has its roots and applying that visual imagery
various ways of doing this via in the clean Teutonic efficiency effectively is a subject covered
competitive benchmarking and pioneered by Rams’ work for later on in this book. Just as it’s
contemporary trend analysis. Braun. To dig even deeper, Rams’ important to source inspiration that
Individual designers can partake work was rooted in, and inspired relates to your vision and ideals,
in similar exercises on a smaller by, the Bauhaus and Modernist it’s also crucial to be mindful of
scale. However, in both regards, movements. These manifestos, imagery to avoid. And just as every
in the initial phase of beginning a developed and popularized by journey has heroes, teachers, and
project, taking a broad overview to Walter Gropius, Mies van der mentors, there are also villains and
position oneself in the competitive Rohe, and others, underpin a good demons to be avoided.
landscape is essential. This is deal of architecture and product
crucial to gain a 360° situational design in the Modernist and An extremely valuable exercise
awareness of the space that you’re minimalist movements of the mid- at this point is establishing and
entering, knowing what took place to late-twentieth century. verbalizing what you don’t want
in terms of history, understanding to do, and identifying results you
the competitive landscape from When setting out on the first steps will try your hardest to avoid.
a contemporary perspective, of a project it’s helpful to identify Most designers, whether they are
and then establishing goals and design manifestos and movements die-hard enthusiasts or not, have
attributes to work toward moving that have occurred as a source a vehicle that they can appreciate
forward. of visual inspiration for the and enjoy looking at. Conversely,
creative journey you want to take. almost everyone can identify a
With this in mind, it’s helpful to Understanding these movements vehicle that they really don’t care
identify who your heroes are and can also be valuable if you’d like to for and find visually awkward,
why. No creative person exists in rebel against them and create your difficult to look at, and unfortunate
a vacuum without influences and own. Whether it’s “modernist,” from a design perspective.
sources of inspiration. It’s also “deconstructivist,” “surrealist” But before we let the bashing
true that designers tend to put out or “abstract impressionistic,” begin, it’s worthwhile thinking
what they take in. Give yourself a most of these movements were about what it is that makes
certain type of inspiration or input: outlined in a manifesto or verbal those vehicles unsuccessful.
it will result in a corresponding proclamation of the ideology. The reasons that contribute
output. For example, it’s probably And while they can be described to a product being viewed as
safe to say that Jonathan Ive, in verbal terms, and their socio- trash or treasure are important
Apple computers’ influential cultural context is important, the to consider and analyze. Quite
leader of design, was inspired by immediate use for designers often it’s the result of misguided
the work of legendary industrial can be the visual inspiration and practices and assumptions in the
designer Dieter Rams. So many imagery they yield. Case in point, product creation. Or sometimes
of his 10 principles of good a vehicle derived from the thinking the issue lies outside of the
design are evident in all of Apple’s of mid-century Modernism will look designer’s scope of influence. In
products: very different from a vehicle that either case, these are the real-
subscribes to a deconstructivist world challenges that anyone
Good design is innovative. manifesto. The Dodge Kahuna may creating objects will face, so it’s
Good design makes a product be described as fitting a post- crucial to anticipate the demons
useful. Good design is a static. modern philosophy, or possibly and obstacles lurking along the
Good design makes a product retro-futuristic (see Figure 1.5). journey.
understandable. Good design This was a strategic move to court

vision
let the journey begin! 7
Identify a Customer and Market of designing a unique and your portfolio. There is always a
Opportunity Based on an meaningful vehicle. They need to research historical and
Emotional Experience include open brainstorming contemporary examples of what,
In this chapter we’ve discussed and verbalizing a designer’s and what not, to do. It’s also
various methodologies for personal vision. They also helpful to source visual inspiration
verbalizing the vision and include identifying and analyzing and name influential figures and
getting started in the process strengths and opportunities in movements. However, the most


1.6 Design, being different from art, is a blend of the personal vision that
seeks to offer a unique experience for a user, the simple equation can form the
foundation for any design exercise
Source: image credit, Jordan Meadows.


1.7 Industrial design powerhouse IDEO developed this figure that depicts an
ideal blend of three key attributes to deliver resonant and meaningful design work 2
Source: image credit, IDEO.

vision
8 let the journey begin!
crucial step at the beginning of • Which aspects of it were
any design process is to identify pleasurable?
and understand a potential user, • Which aspects were
and define a set of ideal emotions challenging, awkward or
you would like them to experience difficult?
(see Figure 1.6). • In a best case scenario, how
would that experience unfold
In business and design and what emotional response
publications, much has been would you have as a result?
written about the importance of
making an emotional connection Describe in a qualitative manner
with a user. For designers and how another individual would feel
creative types this is a bit of a partaking in this experience in
no-brainer: in fact, a basic instinct an ideal way. Through constantly
is to create objects that people referring to this series of questions
feel a connection with. After we can establish aspiration and
all, what’s the sense in doing desired outcomes. By transferring
something that nobody finds really these questions to a potential
cool? It may seem obvious that user’s interaction with our work,
successful products and services we launch our design projects
are ones that are designed to with a sense of empathy, and
appeal on an emotional level; empathy is the most powerful
nevertheless, it is easier said than and transformative component
done. It requires consistency, of any creative process! There
great timing, taste, and attention are, however, at least two other
to detail. True mastery of this components to consider in our
is something that all working work as designers. Business
professionals should constantly viability and technical feasibility
aspire toward throughout the are also crucial considerations,
course of their careers. and reconciling them will be part
of your creative journey moving
For the sake of the exercise we can forward (see Figure 1.7).
define a meaningful experience
as one that is memorable. We
can also say that an experience
is the act of encountering or
having contact with facts, objects,
actions, or events. Deconstructing
and analyzing any meaningful
human experience can yield key
insights on which direction to take
a project from asking a few key
questions.

Honest and true design always

comes from the heart. We know
our own hearts and emotions
better than anyone! For the sake of
this exercise, recall a meaningful
and memorable experience you
personally had with a vehicle:

VISION
let the Journey begin! 9
Q&A

Ralph Gilles
Executive Vice President of
Design, FCA

Ralph V. Gilles was appointed

Head of Design, Fiat Chrysler
Automobiles Global, in April 2015.
Ralph has also served as the
Senior Vice President, Product
Design and President and CEO,
Motorsports, FCA–North America;
President and CEO, SRT brand;
and President and CEO, Dodge
brand for FCA US LLC. He was
named Vice President, Design in
September 2008 (see Figure 1.8).

Ralph has graciously agreed to

share some key insights on how
his organization initiates projects,
identifies opportunities, and gets
the ball rolling!


1.8 Ralph Gilles, Head of Design, FCA Global
Source: image credit, FCA Design.

Question 1: Who are your department is aligned to the top of

personal design heroes/who do the house, so to me, people who
you most admire, and why? do that are very important.
 When I was young, just
learning about design, I really Later I learned one of my heroes
didn’t know who the movers and was Guigaro. When you think of
shakers were. It wasn’t until much Italian design, you think of these
later that I got to understand who design houses: Guigaro and
people like Harley Earl were— Italdesign, Pininfarina design,
people who got design to have Bertone, etc., you had all these
a prominent seat at the table in great independent studios. With
a corporation. There are other Guigaro and people like him, I
examples of that. A lot of people was amazed at how prolific they
like to use Apple—but in most were, that they could design an
successful companies, the Design Alpha Romeo one day, and a

vision
10 let the journey begin!
Volkswagen the next, and even understanding the marketplace, usually some sort of combination
taking on industrial design and not just putting pen to paper and of the two. We’d blend these
product design. One of the things drawing a cool car but first looking things together and then go talk
that I really admire about him was at the 360° picture. to people. We would show them
how he took on packaging and the ideas NOT to measure whether
technical side. I’m half-designer Question 2: The FCA group they liked it or not ... BUT rather
and half-engineer, so I have a has a history of identifying to actually measure the tension:
deep respect for engineers and new market opportunities and how and why they loved it versus
what they do. So when I came to seemingly inventing segments; how and why they hated it. It was
Chrysler, I quickly found out who in effect, changing the game. always fascinating to me, we
Tom Gale was. What I admired Take, for example, the original always used it to talk and discuss
about him was he was well minivan, or many Jeep products. about tension, tension, tension.
versed in business, design, and In the Chrysler, Jeep, or Dodge
engineering. And that’s kind of brand history, can you describe Typically, when you do something
how I modeled myself: that ability a turning or transition point that (new), most people don’t like it at
to speak to the various disciplines. you witnessed or were part of? first. Then they come to really love
It’s one of the reasons I went And what were the resulting it so you have to be very conscious
to business school and got a products that altered the brand of that as a designer. You are not
business degree. Why I feel like an perception? just doing something for yourself
engineer because of taking cars  I’ve been at Chrysler since but you’re actually trying to create
apart my entire life and rubbing 1992 and I remember seeing the and inform taste! I love the term
elbows with them daily. And then, minivan reinvented. In 1996, when taste-maker: fashion designers do
of course, why I trained formally as it became sportier than it had ever it, moviemakers, architects, etc.
a designer. been. It went on to become one of It’s definitely a challenge trying to
our best sellers ever. I witnessed convince a corporation to spend
So I think Tom Gale was probably the PT Cruiser being born—the $1 billion on an idea, but designers
a very influential figure for me: really interesting nostalgic car do it as well. I’ll never forget when
Because he really taught me a that also had this combination we were working on the 300; a
lot about the balance ... Because of hyper functionality. And then I lot of people didn’t get that car in
just styling alone isn’t enough ... saw the Prowler being created. the beginning. I got it the minute I
You’ve got to consider the whole And that was a vehicle that really saw it. We did research and there
picture. Holistically see a vehicle. had no segment at all. It was a was always a lot of tension around
One of the things that also really hot rod, it was a sports car, it was the grill. Its scale and size some
impressed me about Tom was an aluminum study, and it was people even found offensive. We
his business savvy and that he probably one of the more frivolous did the original Nassau concept
understood how to tug at the things that we’ve done. Pacifica and then evolved it into production
consumer’s emotions. How to set came along and tried to bridge the (see Figure 1.10). In fact, the final
up a brand using some paradigms. crossover question but probably grill wound up being almost as big.
Going right to the heart of people five years too early. And even the Which was the right thing to do
with nostalgia in their minds, while 300: mixing improbable luxury at because respondents had strong
also looking for white space in an incredible price with American feelings in one way or the other
the industry. Because Chrysler and German values fused together about it. Some would say: “That’s
was always kind of an underdog, (see Figure 1.9). the ugliest car I’ve ever seen.”
we really had to understand new Others would say: “That’s the best
opportunities and white space, There was a process applied to looking car I’ve ever seen.” There
whether it was minivan, PT those cars that was consistent. was always this strong dichotomy
Cruiser, Pacifica, Jeeps, etc. I can There was always a very in the discussion.
go on and on–there was always far-reaching concept first.
a focus on opportunities to look There was always a very clear The bosses, especially Tom Gale,
for white space. And that was understanding of the opportunity totally got it. For some, it was a
really based on understanding to satisfy a customer: their tough sell. Chrysler in the end
customer and latent needs. On emotional needs, functional needs, always gave us that ability to

vision
let the journey begin! 11

1.9 Design development sketches from the team
responsible for the original Chrysler 300 M
Source: image credit, FCA Design.


1.10 Chrysler Chronos concept shown on the left, the application of the theme
created by the advanced design studio for the Chrysler Nassau concept
executed for internal study, and the final application of the theme on the original
Chrysler 300 M production car seen on the right-hand side
Source: image credit, FCA Design.

explore and take chances because as a designer and it's part of our because of that reason. It’s not
we always had to be more relevant DNA, to tolerate the risk in a way, just risk; it all has to be very well
than everyone else. We always but also calculate it. It has to be calculated.
had to have another reason to calculated! It can’t be risk for the
purchase our product. And that’s sake of risk. There are vehicles
become embedded in who I am that literally sell in single digits

vision
12 let the journey begin!
Question 3: What types of And this transfers into the issue is to how to make people
customer needs did the design brainstorming that we do. feel at ease when not in control.
group consider in addressing It’s about also informative Another issue is how it will truly
those opportunities and conversations and talking to lots become a safety feature for cars
market targets? What type of of people. Good brainstorming beyond just accident avoidance,
brainstorming strategies and comes from discussions. As etc.
techniques do you encourage designers, we just have to
to get the design team going at remember to inform the discussion Because the future is unknown,
the very beginning of a project? with varied inputs. To never fall the only thing that’s certain
In terms of calculating risk, what into the trap of only talking to your is that designers will have to
methodology do you use for friends and designers. Speak accommodate a broad spectrum
understanding user wants and with engineers, speak to many of applications. There is a lot of
needs, addressing them in the different disciplines, they all have research done in places like Palo
design process? a very unique view on vehicles. Alto, and that will inform one point
 We like to call them latent To the student, even if you’re not of view. But we also have to think
needs. Needs that they are part of an organization, sometimes about how those vehicles will be
unaware they have. When it’s easy just to talk to someone used in an unknown city in China,
interviewing a frustrated minivan at Starbucks or a coffee shop for example.
mom, for example, we are very on campus. And always look for
indirect about it. We just let them the whole picture and identify The bottom line is we always
talk. the space where no one else have to keep the emotion.
has ... We do a lot of product Designers can never submit to the
For designers, it doesn’t positioning charts, quadrant commodification of transportation.
necessarily have to be at an charts as reference, and when I It’s funny sometimes—it does keep
organized clinic. It can even be see these I always ask myself, why me up at night—the idea of visual
friends at a cocktail party. I never is no one in that corner? But then pollution and people not caring
stop working whether I’m out you have to dig deeper, and be about how vehicles will look in the
socially, traveling or talking to a wary of repeating someone else’s future. But then I think brands will
journalist. I’m seeking data points mistakes. still be important, and aesthetics
all the time. It’s funny sometimes, in personal statements will still
you can freak a person out by just Question 4: Looking toward be important. It’s ultimately up
going up to a lady and asking her, the future, while considering to designers to always remain
“Hey, how do you like your bag?” new technologies, what are creative!
And you always sense a latent, the biggest challenges facing
you get a sense of stress when designers in identifying new
they talk about the styling or the opportunities and market Notes
way they speak about how they segments, and what is your 1 Lovell, Sophie. Dieter Rams: As
can’t put it between the seats advice to designers to conquer Little Design as Possible (London:
where there’s nowhere to place those challenges? Phaidon Press, 2011).
it nicely in a car. Or if there’s just  I think that autonomy will 2 IDEO. Design Kit: The Field Guide
to Human-Centered Design.
something about the vehicle that lead to a broader spectrum of
Available at: www.IDEO.org
doesn’t make them feel good. It experiences and products for
doesn’t jive with who they are as people. And, of course, for the
a person. This is because a lot of foreseeable future, we will have
people view cars as an extension a long period of semi-autonomy.
of themselves and who they are as And even within that, it will lead
a person. So it’s us that have to do to different things for different
the code matching. Connecting people. At the moment there are
their personalities to what they more questions than answers. The
want to achieve functionally and only thing for sure is there will be a
emotionally. long period of transition. We know
from our research studies that one

vision
let the journey begin! 13

2.0 Process locator gauge
Source: image credit, Jordan Meadows.

analyze
14 understanding a user
chapter 2

Analyze
Understanding a User and Visually Showing
Why an Idea Should Be Used in a Given Experience

Introduction to the Idea of What Specifically Is Narrative in

 Introduction to the Narrative in Design the Design Process?
Idea of Narrative in The design process is a journey The dictionary definition defines
Design that begins with establishing a narrative as such:1
creative vision. However, before
 Why Is a Narrative we go any further, it’s crucial to nar·ra·tive
Important? “analyze and understand” a user, ʹnerədiv/
 How to Construct a placing them at the center of the Noun
Narrative to Establish
endeavor (see Figure 2.0). When Noun: narrative; plural noun:
we combine a creative vision narratives
Motivation
with an understanding of a user’s • A spoken or written account
 Q&A Angela Weltman motivations forming a concept, of connected events; a story.
on Consumer Insights we can then effectively define the • The narrated part or parts of a
who and what targets (of where literary work, as distinct from
we’re headed for our journey). And dialogue.
though each of these is essential, • The practice or art of telling
the element that binds them stories.
together is the narrative. Narrative • A representation of a
establishes the why component particular situation or process
of the concept, and in a crucial in such a way as to reflect or
way, is the stage where the project conform to an overarching set
takes on a true human element. of aims or values
Having a narrative supplies motive
and enables the designer to bring The design process uses the same
meaning to the exercise. definition, only with visuals. And
in this regard, a narrative is the
means of organizing the functional
and emotional attributes of the
product experience to maximize its
meaning for the user.

Since we are dealing with a

physical and visual medium
rather than a verbal one, narrative
storytelling, or storyboarding
in the design process, is an

analyze
understanding a user 15
essential step for communicating intended functional attributes: selling points of your proposed
and clarifying key attributes of Modern-day vehicles are experience. Graphically call
the design that we’ve laid out. complex. They offer a wealth out the key features that will
Storyboarding the intended of possible functions. When be important to the user.
usage is a powerful tool, whether developing products to meet Illustrating why your idea offers
organized in a very sophisticated a user’s needs, it is essential a unique functional solution
modern form, or communicated that we take into account goes a long way to adding
in basic primitives with the the sequencing and order resonance to every step of the
directness of cave paintings–this of operations necessary to journey moving forward.
is where key elements of usage engage with our vehicles. 2. To show why something is
are illustrated. This holds true for a simple used regarding emotional
encounter with a door handle, attributes: As previously
Note: we’re not quite ready to start to a graphical layout with an mentioned, this is the stage
with sophisticated renderings instrument panel. No matter in the process where a
and sketches. We’ll get to that which aspect of the vehicle project develops a human
fun part shortly. At this stage it’s you’re focused on, at this stage quality. And just as humans
more important to concentrate of the process it’s important to are pragmatic and in need of
the creative energy primarily on define usage scenarios. When functional solutions, we also
illustrating why the idea is used developing a storyboard of make very important decisions
(see Figure 2.1). possible functional attributes, with our emotions. Again,
ask yourself why the user storyboarding is a great tool for
The aim and focus are: would be attracted to a organizing and communicating
particular solution that you are usage scenarios. Graphically
1. To show why something delivering. Map out the journey communicating why a proposal
is used, regarding your visually calling out the unique fulfills an emotional want or
need for a user is also essential
for the design process to move
forward. When developing a
storyboard for your intended
vehicle, one of the most
powerful questions you should
ask is why does this solution
offer a meaningful emotional
experience for the user?
Having a good answer could be
the ultimate key in making the
project successful! Conversely,
if this basic question isn’t
answered properly, it won’t
matter how cool the thing
looks. It won’t matter if it’s met
all of the business objectives
in the development process. It
will ultimately be unsuccessful
because it won’t resonate with
users. People simply won’t get
it: the user won’t understand
why they should choose your
vehicle above other more
 compelling options.
2.1 Graphic indicating central focus of the
why part of the design equation
Source: image credit, Jordan Meadows.

analyze
16 understanding a user
There’s a good deal of data to popularized a theory of human offer safety and be an essential
conclude that in the marketplace motivation defined by a hierarchy physiological service for
users are motivated with their of needs.2 The basic principle functioning in society. Alternatively,
emotions rather than pragmatic placed fundamental physiological if you are developing a vehicle
goals and objectives. In this needs at the bottom of a pyramid that provides esteem for an
regard, focusing the storyboarding of motivations that all people individual, or communicated self-
exercise on describing a means experience and understand. actualization, the storyboard could
for emotional fulfillment becomes Working upward in the pyramid, be composed quite differently.
mission critical. Maslow theorized that safety, love
and belonging, and esteem are Louis Cheskin, another influential
Many major transportation and needs that people would grow to psychologist and researcher,
vehicle providers understand desire after having met the core developed and popularized key
this fact and rely on the work of motivations below. Maslow also theories with regard to product
psychologists to decode user wants theorized that a need for self- marketing and the impact of
and needs. Much has been written actualization was at the top of design on users. Bringing
about the subject, and one could the pyramid, being the pinnacle scientific methodologies
spend an entire career focused on of needs that a person could developed through countless
this aspect of the vehicle develop- experience after all others had hours of consumer research,
ment process. However, some over- been fulfilled (see Figure 2.2). his consultancy (called Value
lying basics are essential for every Added) confirmed that not
designer to grasp when developing When developing a narrative for only do aesthetics and design
a strong narrative. your vehicle, consider which user affect perception, but the visual
needs you may be fulfilling. For semantics of a product could be
In the mid-1940s, psychologist example, basic public transport used to entice and speak to a
Abraham Maslow developed and or rudimentary mobility must user’s desires.3


2.2 Maslow’s pyramid of needs
Source: image credit, Maslow (1943).

analyze
understanding a user 17
These reoccurring deep-seated their users. Regardless of their by individuals based on age and
psychological desires appeared titles it’s important to understand life experience. These groups
again and again in countless that different users will require include: Generation Y, Generation
research sessions with tens a different balance of wants and X, Baby Boomers, etc.
of thousands of consumers, needs and narrative outcomes.
whether interviewing for what One way to define a user without As you can see, there are many
they wanted in the next Mustang looking at specifics such as ways to define a user, and the
or a Marlboro cigarette ad. These age, or geographic location, most comprehensive descriptions
core desires involve a user’s involves describing the user with include some sort of combination.
want for: “Accomplishment, archetypes (see Figure 2.3). For example: your targeted user
beauty, community, creation, duty, may be a “Baby Boomer” who
enlightenment, freedom, harmony, Swiss psychiatrist Carl Jung was displays an “explorer’s persona,”
justice, oneness, redemption, another hugely influential figure with orientation toward “freedom”
security, truth, validation, and in the first half of the twentieth and “self-actualization.” This would
wonder.”4 And while they have century, defining different traits warrant a completely different
different levels of importance that may dominate an individual’s approach from someone who
to different users, they refer to persona. He pioneered, is a “Generation Y,” a “care-
human desires that almost every developed, and popularized giver persona,” with a “very
consumer would and could such concepts as the “collective social” orientation and a need
experience at some point while unconscious” and “archetypes.”5 for “love and belonging.” Imagine
selecting a product. the storyboards for those two
Jung identified 12 key archetypes individuals and the different
Considering the work of through extensive research. wants and needs that you as a
psychologists like Cheskin and They included: the innocent, the designer would have to address.
Maslow in the storyboarding everyman, the hero, the caregiver, Compiling one’s user analysis
process allows us to create a the explorer, the outlaw, the lover, and research is an essential part
very comprehensive list of a the creator, the jester, the sage, of starting a project. Shown here
potential user’s wants and needs. the magician, and the ruler. With are examples generated by Ken
From an emotional standpoint, regard to storytelling in the design Nagasaka, a Toyota designer
they range from the nice to have process, it’s often helpful to who created a Toyota Cross
to the very necessary. Which consider if your targeted user may Cruiser concept car as a student
ones are more important for your have a persona that is aligned with participating in my class at the
brand to deliver? Which ones some of these archetypes. Jung ArtCenter College of Design.
resonate more with your targeted also theorized that when breaking Ken has graciously contributed
customer? Deconstructing and down these archetypes into four his work as reference for user
illustrating how they are delivered groups of three, one could see profile and narrative development
to your user form the function of natural orientations of these (see Figures 2.5–2.8). When
good storyboarding. Providing a personas toward freedom versus all combined together, Figures
means for your product to deliver order, and ego and the self, versus 2.5–2.8 indicate the general
on one or a combination is crucial the social and group. This gives direction in which to move the
to your vehicle’s success. yet another layer of understanding project, so targeted sketching can
as to which of your user’s wants take place. Examples of how you
As stated before, every meaningful and needs may be prioritized in the can apply this early-stage research
design exercise should place design process. will be covered in later chapters of
the user at the center of the this book.
endeavor. At this point in the Finally, yet another filter for
journey you should really have understanding, deconstructing,
a good understanding of who and defining different types
exactly that user is, and what their of users may involve looking
specific needs and wants are. at generational groups (see
Many organizations use different Figure 2.4). These may define
ways to codify and describe overarching tendencies displayed

analyze
18 understanding a user
 
2.3 Carl Jung’s
archetypes depicted
in radial formation
with their basic
orientations indicated
Source: image credit,
Jung (1947).


2.4 Typical example
of generational chart
outlining key groups, their
formative experiences,
and examples of defining
products
Source: image credit,
Jordan Meadows. Adapted
from Pew Research studies.

analyze
understanding a user 19

2.5 The intended emotional experience for the concept
Source: image credit, Ken Nagasaka.


2.6 A broad overview of the intended target user
Source: image credit, Ken Nagasaka.


2.7 An image board created to display key product influences that provide
the user the ability to enjoy a particular intended experience
Source: image credit, Ken Nagasaka.

analyze
20 understanding a user

2.8 Broad overview of market analysis depicting a trend toward eco-friendly,
zero emissions vehicles
Source: image credit, Ken Nagasaka.

Why Is a Narrative Important? instantly takes on a persona and us to explain the mysteries of life
In a world with so many different has a character whether intended and reoccurring symbols. In a
types of personalities, there’s or not. And as such, it has a sense this could form the basis of
simply no clearer way to define relationship in narrative form to its religion. Second: stories as passed
the nuances and subtleties user. down through the ages have acted
displayed in preferences and as a form of pseudoscience and
tastes. Added to this is the fact Narrative and storytelling are served to help humans understand
that humans are pack animals, also very important in that we as the Earth, nature, and reoccurring
hard-wired for social interaction. humans have a natural curiosity phenomenon such as the seasons,
And as primates we evolved to about us. Every child grows up tides and astrological functions,
have some tendencies that we asking why? Why is how we etc. Third: stories are key to
just cannot seem to shed. One inform ourselves and demystify sharing experiences, education,
of them is the idea that we often the world around us. Storytelling learning, and serve as a means
anthropomorphize the things we is an inherent part of education for depicting ideals. One can
see, feel, and experience. In short, and teaching. It’s how we relate hardly imagine going through
we are psychologically prone to experiences as individuals to school at any level without relaying
assign a human quality to the one another. It’s how we share a fable, tale, or anecdote. And,
things we see and encounter. common bonds as a group. finally, stories and narratives
Psychologists believe this is a serve a sociological function,
result of evolution, nature, nurture, Author, scholar, and mythologist bringing structure and order to our
language, and a multitude of Joseph Campbell dedicated his life communities, tribes, and governing
factors. Consider how easy it is to helping the world understand bodies.6
to describe the front of something the functions of storytelling and
as its face; so if fronts can myth. He theorized that we as With this in mind we can easily see
become faces, and beginnings a species have come to rely on how crucial stories and narratives
can become heads, then it’s quite storytelling and myth as a means are to us as human beings. And
easy to understand how two lights for survival in four key ways. In this with so many different types of
can become eyes. All of a sudden regard, stories serve one function: personalities, and the various
the vehicle you are designing a metaphysical function, they help combinations and opportunities to

analyze
understanding a user 21
perceive objects with personality, may not be able to remember and motivating a team around a
storytelling becomes the only way the horsepower figure for their particular idea, it’s important to
to establish and ensure patterns of favorite sports car, but one can remember that human beings
appreciation and understanding. definitely remember the feeling are also wired to rally behind a
Furthermore, psychologists have of exhilaration and sense of cohesive and heart-moving story.
also concluded that humans are empowerment that it gave. The simple fact is it is just easier
wired to remember stories more to get people to work collectively
easily than numbers, equations, Finally, and of particular relevance when following a narrative.
and figures. We inherently for us as designers, is the Belonging to a group with a
process them with our hearts and consideration that we exist in large shared vision and goal is natural
emotions, giving them a lasting corporate organizations. Vehicles to us, and storylines help us to
impact. This makes the idea of require large teams to produce communicate and understand
storytelling all the more relevant them. Key team members come these goals. It all comes down
when dealing with a product with and go over the long process to the simple idea that vehicle
complex extensive features, such of product development in the creators need to follow a script so
as a vehicle. For example, one transportation world. In organizing the users can enjoy it!


2.9 A basic storyboard template outlining the compositional elements of a
narrative, adapted from various open-source storytelling guides
Source: image credit, Jordan Meadows.

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22 understanding a user
How to Construct a Narrative to 1 Somebody. / 2 Wants. / 3 But. / structure delivered in a “quest” or
Establish Motivation 4 So. / 5 Then. “voyage and return” scenario. With
Storylines and narrative almost This is a common five-phase just that alone, we can imagine the
always follow a prescribed structure that works in design and type of vehicle we would design for
pattern. Using an established not coincidentally is derived from that person. We can even imagine
pattern has significant advantages a universal narrative pattern dating how they would use it. And we can
in that both the storyteller back to the Dark Ages: Exposition/ definitely imagine the type of brand
and user/listener inherently rising action/climax/falling action/ it might have. And with these few
understand the desired outcome. resolution. well-organized components we
This gives both parties the can then start to give shape and
opportunity for a shared bond, An even more succinct structure form to this concept. If required,
thus giving meaning to an can be broken down into three we can even be more specific
experience irrespective of user phases that work on the same and outline the basic UX “user
personality type. So in a sense idea. For example, Step one: experience” in the form of a journey
it doesn’t matter who you’re your user as you defined them map (see Figure 2.10).
designing for: if the subject/ experiences a want or need. Step
user/protagonist of the story two: they are confronted with an The use of these various concept
is appropriately matched and obstacle or difficulty in fulfilling building tools is essential in
aligned with the outcome of the that want or need. Step three: constructing the framework for
narrative, then the product is sure your product is introduced to them a user experience exercise. The
to deliver a meaningful experience. and gives them satisfaction. This application of these principles will
is a very common three-phase be explored later in the book as we
A common recurrent narrative structure that is composed around begin to dive into design execution.
structure can be deconstructed the idea of (1) separation; (2) Whether it’s in the form of journey
into five phases. When outlining transition; and (3) reintegration. mapping or communicated in
a storyboard for the sake of high-level storyboards like the two
convenience, one can illustrate To further add relevance for your examples from Ken Nagasaka’s
the narrative in these five sections. vehicle and align it with your Cross Cruiser concept, an analysis
Initially there’s an exposition or mission statement and brand, and understanding of the vehicle’s
description of the user. The next you can deliver this narrative in intended usage is the key objective
section involves a rising action the form of an established plot. at this point (see Figures 2.11 and
where the desired activity is Most of these are also pre-existing 2.12).
developed. The climax of the and commonly understood, giving
story then displays the issue or you another chance to develop In summary, narrative is the key
problem that needs to be dealt a strong connection between to loading a user experience with
with. The falling action introduces the vehicle’s intended usage and emotional meaning. It establishes
your product solution. And finally, its user. In storytelling, there are the motive and forms the why
the resolution depicts the desired seven basic plots: component of the design. Using
outcome for the user and indicates pre-existing structures allows
how your product has fulfilled 1. Overcoming a monster for infinite combinations of user
the necessary emotional and 2. A rags to riches scenario types to understand and visually
functional wants and needs. It’s a 3. A quest interpret how their wants and
common pattern that first shows 4. The voyage and return needs can be met by the product.
Step one (somebody). Step two 5. A farce or comedy
(wants). Step three (but can’t 6. A tragedy When the designer has an
have because). Step four (so you 7. A tale of rebirth.7 understanding of the user, their
provided them with). Step five wants and needs, and can develop
(then they can do___ and feel___) So just imagine, for example, that a strong narrative, they are
... (see Figure 2.9). female user that we earlier defined empowered with the tools to place
as having an “explorer’s persona,” that individual in the position of
with orientation toward “freedom” the protagonist or hero. When this
and “self-actualization” would really occurs, the user is certain to have
appreciate a simple three-phase a meaningful experience.

analyze
understanding a user 23
 
2.10 A typical journey map, a more detailed way of developing the
narrative in conjunction with a storyboard, the image here depicts
off-road outing as an example. Journey maps are essential in
outlining key touch points and providing emotional analysis.
SOURCE: IMAGE CREDIT, JORDAN MEADOWS.

ANALYZE
24 understanding a user
 ANALYZE
understanding a user 25
 
2.11 Storyboards for Toyota Cross 2.12 Storyboards for Toyota Cross
Cruiser concept, depicting usage Cruiser concept, depicting usage
scenarios for Gen Y families scenarios for Gen Y singles
Source: image credit, Ken Nagasaka. Source: image credit, Ken Nagasaka.

analyze
26 understanding a user
Q&A

Angela Weltman
on Consumer Insights

A cognitive psychologist,
Dr. Angela Weltman specializes
in examining underlying
motivations of behavior to inspire
automotive product design.
Much of her work focuses on
the deep-seated emotional
triggers tied to archetypal goals,
and the relevance of metaphors
and storytelling in consumer
understanding of objects and new
design. By marrying academic
theories (Jung, Freud, cognitive
science, etc.) with social and
demographic/generational trends,
Dr. Weltman finds creative
solutions to product development
and innovation. Over the last 24
years, Dr. Weltman has worked
with most of the major automotive
manufacturers. Dr. Weltman
received her B.A. from UC
Berkeley in English Literature and
her Ph.D. from UCLA in Cognitive
Psychology. 
2.13 Angela Weltman, cognitive psychologist
Source: image credit, Angela Weltman.
She has graciously agreed to
share some of her insights on
consumer behavior and the
importance of narrative in design
(see Figure 2.13). Question 1: Who are your Carl Jung.8 He was a Swiss
personal professional heroes? psychiatrist and psychotherapist
Who do you most admire, who broke boundaries in the
and why? How does this key way he looked at and studied
influence relate to, or impact the the world. Jung was very
work you do for automotive and introspective, and appreciated and
transportation companies? embraced the logic of science
 The people that I think about as well as the emotional and
and use as a North Star in my spiritual elements of our shared
work are people who brilliantly humanity. He risked searching
break barriers and help us see deep into the depths of his own
or understand the world in a new psyche and, in the end, illuminated
way. an incredible way to think about
identity and personal narratives
based upon archetypes and the

analyze
understanding a user 27
journey toward individuation. He logical approach to my work. objects and design, we need to
also developed ideas around the I am a scientist and I conduct understand elements that can be
eternal connections we have to research. The rules can be pretty seen or easily measured, elements
each other through a collective cut and dry. But the truth is poetic. such as space, horsepower,
unconscious. In essence, Jung Truth requires art and science. value/price. But we also need to
helped us think about our lives in To understand people and their understand elements that cannot
terms of a mythic journey. A life needs and desires revolving be seen or easily measured, like
path that requires overcoming around design, one must be the meaning and communication
obstacles to progress toward our disciplined as well as creative, of a design, or underlying
most true and ideal self as defined and open to the emotional emotional triggers. Kahneman and
by a deep archetypal construct. In underpinnings of our humanity. Tversky taught me to pursue new
modern times, Jungian archetypes And one must make it personal. approaches to “see” the unseen.
often go by names such as Hero, Like Jung did. I lean heavily on metaphorical
Jester, Sage, Lover, Rebel … language and reasoning (thank
They guide a person on his or Other influences include Daniel you George Lakoff, a masterful
her mythic journey and reflect the Kahneman and Amos Tversky, cognitive linguist), storytelling and
deep-seated motivations and goals two renowned psychologists, abstract visual stimuli (my own
of one’s ideal sense of self. who studied judgment and extension of a type of Rorschach
decision-making.9 Together test).10
My team and I use Jung’s ideas they developed breakthrough
about archetypes and striving experiments to examine how Which leads me to a couple
toward an ideal self in our work. people think and found that people of other influences: Antonio
We study who people are as well do not employ rational rules of Damasio11and Joseph LeDoux,12
as who they want to be. We study problem-solving, but instead use two neuroscientists who revealed
the deep-seated motivations and heuristics, cognitive shortcuts, the importance of emotion
goals tied to a target customer’s in their reasoning. Kahneman in cognitive processing and
archetype ideals, and examine and Tversky’s approach and decision-making. They show that
how these motivations and goals findings revolutionized the field personally satisfying decisions are
manifest themselves in relevant of Cognitive Psychology and largely dependent on emotions.
and compelling design. Over and Economics. Not only did they So to understand if a design
over again, we find people love uncover biases in our thought is relevant and compelling, it’s
design that communicates the processes, but they created imperative that we understand
deep-seated motivations of the brilliant methodologies that the emotional underpinning of a
archetype. For example, the Rebel allowed us to “see” how the mind design, and uncover the emotional
archetype feels passionate about worked, to see the unseen. narrative revealed in the archetype.
design that communicates the
rebel’s ideals: aggressive, tough, In my work, I often think of Question 2: Why are stories
set against the status quo; the Kahneman and Tversky, and and narratives so effective
Lover archetype loves sensual respect people’s seemingly in motivating individuals and
design, mysterious, warm and idiosyncratic attitudes and groups to act, use, or purchase
inviting. behavior that come from one vehicle versus another?
cognitive heuristics. For example,  Not all stories and narratives
People feel passionate about I understand that people’s motivate people. Narratives
design that engages the deeper, decision-making and choices are powerful, they motivate
emotional, motivations and goals can depend on context and people to act, use or purchase
of the archetypal self because it framing of the situation, and so I’m a vehicle, when they bring to
helps people become more of careful in setting up a context for life the deep-seated archetypal
who they want to be, and reaffirms design, and couch my analyses journey, and connect the vehicle
the ideals of the aspirational self. appropriately. Kahneman and to a target customer’s aspirational
Tversky also inspired me with their motivations and goals. These deep
Jung also inspires me to think clever research methodologies. To emotional narratives allow people
beyond the confines of a rational, understand how people perceive to envision the dream of what they

analyze
28 understanding a user
want to become. When the vehicle narrative based on the aspirations are also powerful, but typically
becomes tied to this dream, the of the Ruler-Lover. Her success dark. In the world of vehicles,
vehicle becomes a compelling came from being a warm and these narratives may create too
conduit that guides, realizes or generous leader, from developing much aversion and lose their
reaffirms the ideals in the mind deep relationships with those she ability to seduce.
of the customer. In this light, the worked with, and from her unique
vehicle (as conduit) becomes hard appreciation of design. She Question 3: Why do narrative
to resist. felt the narratives in luxury cars structures and plot patterns
focused on winner-take-all conflict recur around the world and
A great example: for a long time, and aggression of the Ruler- through the ages, and are
the cowboy narrative for trucks Warrior, and left her unfulfilled, they universal? Is there one
spoke to the archetypal aspirations and unwilling to buy a vehicle. more common to vehicles and
of rugged individualists. The Uninspired. transportation?
narrative brought to life the  To answer this question, I refer
cowboy myth and tied it explicitly Narratives that weave together back to Carl Jung and his theories
to the pickup truck. So when archetypal stories with the vehicle about a collective unconscious.
someone bought the truck, speak to those who aspire to the Jung developed the idea that all
they owned the powerful story archetype ideals as well as those humans, through evolution of the
too. They became more of who who appreciate the archetype. species, are born with instinctual
they wanted to be, rugged Ford Mustang drivers embrace the knowledge of the fundamental,
individualists. The truck, reinforced Rebel archetype and love that the and eternal, archetypes. He
by the narrative, realized and vehicle narrative communicates called this shared knowledge,
reaffirmed the ideal self. masculine cool and breaking free; the collective unconscious. And
fast, confrontational, and romantic. he argued that this inherited
Whether these narratives focus Rebels passionately cling to the and shared understanding of
on mythic quests or concrete user Mustang narrative. But people the archetypes has an important
experiences of the archetype, who appreciate the Rebel narrative influence on our psychic life.
all relevant stories speak to the are also drawn to the vehicle. For example, a newborn baby
aspirational self-ideals, and, with These people like the idea of the instinctively bonds with his or her
the vehicle as a key component, rebel and choose the vehicle so mother, because of an a priori
promise one’s progress toward the story, experience, image can recognition of the nurturing Mother
self-actualization. The narratives, be part of their life. Or they might archetype. And conversely, at
and the vehicle, inspire. be the ones who keep a Mustang any age, we intuitively know to
in their garage and take it out on be wary of the Dark Knight even
About 10 years ago, I spoke to sunny Sundays or for a weekend before we might ever meet this
a very successful Los Angeles get-away. They covet the dream, character. We see evidence
producer about her thoughts on even if they don’t live it. of the collective unconscious
luxury vehicles. She had very when we examine the narratives
differentiating taste, a clear and Finally, for a narrative to be and characters that show up
beautiful aesthetic, and loved to relevant and compelling, it must throughout time and throughout
express herself. She designed her also be true and coherent. The the world, and find that the
own home in the hills of Hollywood pickup truck and Mustang are same narratives and characters
and meticulously decorated each tied to relevant and compelling keep reappearing. Scholars
room. She dressed elegantly. narratives because the story and in fields such as psychology,
Collected art. When I asked her vehicle together represent an sociology, anthropology, and
about her car, she said “nothing honest and authentic expression even neuroscience, have found
inspired” her. And then she of the archetype ideals. that the same archetypal ideals
explained that no luxury vehicle appear over and over again in our
at the time “told the story” of how One last comment, there are also symbols, myths, religions, dreams,
she got to where she was in her narratives that serve as warnings, and fantasies. And so I believe
life. Essentially, nothing reaffirmed narratives that are based on that we see the same narratives
the ideals of her archetype, a archetypal fears. These narratives and characters throughout time

analyze
understanding a user 29
and throughout the world because Spiritual energy reflects the transportation partly because I
they all spring from the innate and moral standing of the archetypal think we believe, on some level,
instinctual, eternal and universal, ideals, and is expressed by vehicles are alive. As young
knowledge of the archetypes, from the metaphor around dark vs. children, we see vehicles on the
that deep well of the collective light. So we have our darkest road, moving around, seemingly on
unconscious. instincts, here it’s all Freudian Id, their own. Independent movement
represented by design centered is often attributed to an animal
Now you ask, is there one narrative on pleasure-seeking appetites— that is alive. I think on some
or character more common to cool, thrilling, explosive, naughty. subconscious level we continue to
vehicles and transportation? Or we have a quest for light, the believe, from our early experience
Freudian Superego, design that with vehicles, that they are indeed
From my experience, I would say clings to the collective sense of an animal that is alive.
no. There is not one narrative right and wrong—earnest, bound
or character more common to to others, civilized. Vehicles/ Furthermore, these tensions,
vehicles and transportation. transportation design can belong because they represent a life
Joseph Campbell’s Hero’s Journey to the dark or light world, or they force, are fundamental to creating
(see The Hero with a Thousand can represent a dance between that relevant and compelling story
Faces, 1949), overcoming our dark and light impulses. Light where both the narrative and the
obstacles to transcend, applies to coming through dark for those vehicle come together in an honest
vehicles and transportation, but it who crave redemption or uplifting and authentic expression of the
applies to everything else too. transformations. Dark coming archetypal ideals.
through light for those who want
But I do think there exist three to dive into secret indulgences, Question 4: Looking toward the
common tensions related to etc. The fundamental calibration future while considering zero
vehicles and transportation, around spiritual energy needs to emissions and autonomous
underlying the archetypal be defined. technology, what are the biggest
narratives and characters. These challenges facing designers
three common tensions revolve (3) physical energy: chaos vs. in delivering emotionally
around energy: order meaningful experiences to
users? What is your advice to
(1) psychic energy: aggressive/ Do the archetypal ideals center designers to conquer those
death (Thanatos) vs. sexual/love on high-stimulation, free- challenges?
(Eros). wheeling chaos communicated  The biggest challenge is
in design that’s surprising and having clarity. My advice is have
Do the archetype ideals embody unpredictable? Or does the clarity. To move forward into the
the need for aggression, archetype ideal appreciate the calm future, and deliver emotionally
communicated/celebrated by and control of order, represented in meaningful experiences to users,
vehicles/transportation design quiet design that’s straightforward designers must have clarity about:
that’s more angular, imposing, and and highly organized? Or is there a
robust? Or, does the archetype dance between chaos and order? • Context: the world we live in.
ideal embrace sensuality, For example, breaking out of a • Customer: the deep-seated
communicated/celebrated by controlling world, rebelling against motivations and goals of the
design that’s more curvaceous, the constraints of structured target customer.
inviting, and fluid? Or could there convention; or creating order in • Concept: what designers are
be a dance between Thanatos chaos, the hero’s ultimate act of actually designing.
and Eros? These fundamental overcoming.
questions around psychic energy Sounds easy. It’s very hard.
need to be answered. These three types of energy are
the tension points that create life First, context. To have clarity about
(2) spiritual energy: dark vs. light in the machine and the emotional the world we live in means seeing
triggers that connect to people. the world of today, unencumbered
They are common to vehicles and by the filters of what we think we

analyze
30 understanding a user
know, or of our memories of the the developing forward-looking revolutionary. As it turns out, in the
past. If we can see the world of design does indeed represent an example above, those innovative
today as if it were the first day we honest and authentic expression of designers and engineers were true
ever arrived on Earth, we will face the archetypal ideals. In the mind Magicians as well.
forward into the future and know of the customer, are we bringing
the true context of design. “I’m to life the deep-seated motivations Concept. Clarity of the design
not trying to predict the future. I’m and goals in the design? concept comes from clarity of
trying to let us see the present,” context and customer. Clarity
said William Gibson, science But take note: The customer can of the design concept means
fiction author, in the 1970s, long never tell us what to design, what designers know what they are
before the ubiquity of the internet the vehicle or experience should creating, in the context of the
in the 1990s, who predicted future be. Customers are not designers new world and in response to
worlds, and defined key language, and so they should never be put customers’ aspirations. A design
around computer networks— in the position of designing the concept should be specific,
he first introduced the term vehicle or experience. People can prioritize what’s important and
“cyberspace.”13 only reveal to us their dreams of what’s in and out of bounds. A
the aspirational self; it’s the deep- design concept is often best when
Suggestions on how to have clarity seated motivations and goals it’s metaphorical.
about context: look and listen; underlying these dreams that
read everything you can. You must guide the designer’s vision. Here’s an example of clarity
be constantly curious. Keep tons around design concept. Note: this
of hypotheses alive in your head, Imagine this example in the is a fictional example, and is not
and then let everything go and world of mobile phone design. meant to describe a real concept.
then let yourself be surprised at A target customer embodies
what you see and hear. Wonder. the Magician archetype and has • Context: The vehicle used to
a fundamental and overriding take us out to places. With
Next, customer. I have discussed aspiration, to continually change our vehicles, we moved along
the importance of the deep- and transform, to shape shift by the highway and discovered
seated motivations and goals of living without friction, living with the world. This discovery was
the target customer, represented flexible, versatile, fluid ease. If exciting and helped us fight
by the archetypes. When thinking you were designing a phone for off boredom in our lives. In
about moving forward into new that customer in the early 2000s, the context of the new world,
territory, clarity of deep-seated and used continually change everything moves toward us.
motivations and goals becomes and transform, to shape shift by We are now standing still, and
imperative for the motivations and living without friction, living with everything comes at us. It feels
goals of the target customer to flexible, versatile, fluid ease, daunting, and exhausting. The
direct the target’s path forward– you couldn’t offer a compelling Earth even feels exhausted
and thus direct us forward. They solution with simply more buttons. by all this activity. A tornado
are the blueprint defining where The Magician archetype requires of activity. In this context of
the customer wants to go as they sorcery, and this is exactly the the new world, there’s an
aim to realize the ideal self. In a type of solution an unforgettable overwhelming desire to escape.
very real sense, the future lives in group of innovators gave us with There’s a lot in the news about
the mind of the customer, in this a wafer-thin screen that performs other planets, the possibility of
aspirational path. We see where like magic. leaving the Earth and colonizing
the customer wants to go, and so somewhere else.
these deep-seated motivations The customer would never be able • Customer: In this example, we
and goals lead us to where we to tell a designer to get rid of the define the customer deep-
need to go. buttons on the old mobile phones, seated motivations and goals
but a customer’s deep-seated revolving around the Innocent-
Throughout the design process, motivations and goals could Lover. This customer finds
it’s also important to have the guide–inspire and prioritize–the power in a fiercely earnest
customer evaluate whether or not designer’s vision of something so desire to pivot toward the

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understanding a user 31
 positive and beautiful natural It’s a very exciting time for vehicles Notes
forces on Earth. In the context and transportation. In this example, 1 Merriam-Webster. Dictionary.
of the modern world, this group we stay in the world of vehicles. Available at
wants to break away from the But as we all know, it’s important www.merriam-webster.com
gravitational pull of the chaotic to stay open to what the concept 2 Maslow, Abraham. A theory of
human motivation. Psychological
tornado and fly toward: an open really might be. Do autonomous
Review, 50(4) (1943): 370–96.
field of flowers, a tall forest vehicles morph into robots? 3 Cheskin, Louis. Why People
of redwoods, white sandy Roving rooms? Clarity is key. Buy: Motivation Research and Its
beaches. Through an optimistic Successful Application (New York:
and relentless belief that Ig Publishing, Incorporated, 1959).
humans and nature, together, 4 Diller, Steve, Shedroff, Nathan and
can solve all problems, this Rhea, Darrel. Making Meaning:
group flies forward into the How Successful Businesses
future, to save Earth and Deliver Meaningful Customer
celebrate all its glory. This is a Experiences (Berkeley, CA: New
Riders, 2005).
group that appreciates flights
5 Jung, Carl. The Archetypes and
of fancy and the promise of a the Collective Unconscious
bright future, and avoids the (Jung’s Collected Works, vol.
overwhelming burden of fear 9a) (Princeton, NJ: Princeton
and anxiety. This group would University Press, 1959).
never abandon the splendor 6 Campbell, Joseph. The Hero with
of Earth for a life on another a Thousand Faces (San Francisco:
planet. New World Library, 2008).
• Concept: Butterfly. A 7 Booker, Christopher. The Seven
new-energy vehicle that must Basic Plots: Why We Tell Stories
(London: A&C Black, 2004).
be powerful enough to break
8 Jung, Carl. Man and His Symbols
away from the gravitational pull (New York: Dell Publishing, 1968).
of the oppressive society while 9 Kahneman, Daniel, Slovic, Paul and
expressing a deep commitment Tversky, Amos. Judgment under
to positive and beautiful natural Uncertainty: Heuristics and Biases
forces on Earth (implications (Cambridge: Cambridge University
for innovative materials). Like Press, 1st edn, 1982).
a butterfly, the design reflects 10 Lakoff, George and Johnson, Mark.
bold sensual forms, it’s bright Metaphors We Live By (Chicago:
and light, dynamic, flits about. University of Chicago Press, 2nd
edn, 2003).
This Butterfly pivots toward
11 Damasio, Antonio. Descartes’
the positive. Dynamically takes Error: Emotion, Reason and the
advantage of the weather, Human Brain (New York: Quill,
or the views. It filters and 2000).
organizes positive experiences 12 LeDoux, Joseph. The Emotional
and information coming at Brain: The Mysterious
the target. It communicates a Underpinnings of Emotional Life
renewed belief in the good with (New York: Simon & Schuster,
light coming through darkness 1998).
and creates a very quiet and 13 Gibson, William. Neuromancer
(New York: HarperCollins, 2011).
disciplined sense of order
to combat the chaos of the
modern world. It streamlines
the Innocent-Lover’s life, and
dazzles the target with a sense
of optimism about human
potential and natural resilience.

analyze
32 understanding a user
 ANALYZE
understanding a user 33

3.0 Process locator gauge
Source: image credit, Jordan Meadows.

verbalize
34 spreading the word
chapter 3

Verbalize
Spreading the Word and
Generating a Mission Statement

Spreading the Word and components, we also talked about

 Spreading the Word Generating a Mission Statement a need for situational awareness
and Generating a If the initial steps of a creative of the space that you’re entering
Mission Statement journey are about vision, and (getting a feel for what’s been
dreaming of an ideal design done previously and what’s going
 Understanding the solution to fill a user’s desires, on currently), and finally we
Interplay Between the next phase is about clarifying spoke about the need to source
Brand and Design that vision and assembling the visual inspiration and influence.
Brief raw materials and conceptual These key elements can then be
components to create a design combined in a way that suits your
 Creating a Design
brief to “verbalize” the vision (see personal goal or organizational
Brief
Figure 3.0). objectives. Assembling them in
 case study Mazda various ratios can lead to different
Motorsports and In the previous chapters we results; for example, if a project
Furai Concept mission discussed various methodologies is very much about your own
for verbalizing, clarifying the vision, creative vision, the design can
and Brief
and getting started in the process. become more of an artistic or
 Q&A Robert Davis, The main component was an conceptual exercise. If it’s defined
Senior Vice President, understanding of a potential user. by being strongly rooted in an
Mazda North America In professional settings a user existing market inspiration and
and Head of Mazda can be given to you. In academic influence, it may come across
settings, students can choose as contemporary and stylish.
Motorsports
or create a potential user. In the If very much oriented toward a
later example, selecting a profile past movement or individual, it
that is interesting and engaging may be seen as an homage or
is essential, as the brief will evolutionary. Very easily one can
follow suit. If the user profile already see how composing an
is predictable and mundane, understanding of user needs,
you’ll have that much more of a creative vision, situational
challenge creating an interesting awareness, and visual inspiration
brief to suit that user. can yield different types of
framework for your project. So it’s
In either case, it’s your creative important to get the mix right and
vision and the empathy you have aligned with your personal goals
for that user that will set the or organizational objectives.
groundwork. Along with these two

verbalize
spreading the word 35
Whether these goals and trendsetting technologies, Furthermore, in some cases,
objectives are driven by an outstanding products and made- corporations will define their brand
individual designer or by a to-measure services. goals as well. Mazda’s statement
collective group, ultimately they of brand essence reads as follows:
should be reflective of a mission Some corporations use vision
statement. Mission statements statements alongside or instead Celebrate Driving
in a corporate context are used of mission statements. Mazda’s
to succinctly communicate the corporate vision statement is as Mazda’s Brand Essence is
core attributes for the brand. follows: 2 “Celebrate Driving.” “Celebrate
These typically include a set of Driving” delivered by Mazda
cultural beliefs and behaviors We love cars and want people to is not just about driving
with regard to its employees. A enjoy fulfilling lives through cars. performance. Choosing a Mazda
description of a value equation for We envision cars existing prizes the owner with confidence
its customers and shareholders is sustainably with the earth and and pride. Driving a Mazda and
needed. And, finally, an indication society, and we will continue to developing the urge to take on
of the role played in a broader tackle challenges with creative new challenges. Not just our
socioeconomic and environmental ideas. products but every encounter
context (see Figure 3.1). For 1. Brighten people’s lives with Mazda evokes the emotion
example, Daimler’s mission through car ownership. of motion and makes customers’
statement reads as follows:1 2. Offer cars that are hearts beat with excitement. All
sustainable with the earth of these are contained in our
As the inventor of the and society to more people. brand essence of “Celebrate
automobile, we believe it is our 3. Embrace challenges and seek Driving.”
mission and our duty to shape to master the Doh (“Way” or
the future of mobility in a safe “Path”) of creativity. Mission statements, corporate
and sustainable manner – with visions and statements of brand
essence/values can be used in
combination with the specific
business goals and objectives of a
program to create a design brief.

Understanding the Interplay

Between Brand and Design
Brief
Branding is a study unto itself that
every designer should have a feel
for. For that matter, we can all think
of examples of strong brands that
we appreciate and are drawn to.
Which are your favorites in the
world of transportation and why?
Likewise, we can easily recall
brands that have done quite a poor
job of managing their image and
leave a lot to be desired. Consider
why some go through highs and
lows and some just lose their mojo
and never get it back. This occurs
because they either fail to deliver
the promise made to their users,

3.1 Three key elements essential in developing a brand philosophy or adjust to meet their evolving
Source: image credit, Jordan Meadows, adapted from open source info. needs.

verbalize
36 spreading the word
The degree to which an existing Creating a Design Brief prioritize the enjoyment of driving
brand heritage and DNA is The design brief is effectively a would not be aligned with Mazda’s
leveraged when generating a mission statement specifically corporate vision or brand essence.
design brief is a result of the for the intended design project. A good design brief should also
relationship of three key factors: It’s meant to succinctly clarify outline key goals with regards to
the objectives and goals of a budget, scheduling and timing,
1. The design brief’s effectiveness program. With most design briefs, standards of the type of work
in meeting a business “less is more” and having some to be done, and define an end
objective. inherent flexibility and room for deliverable. For example, a project
2. The business objective’s interpretation is good. However, that is intended for internal study
alignment with the brand. it’s important to be clear, concise, in advance research may call for
3. The brand’s fidelity in honoring and have some key aspects well digital animation. This will involve
its mission statement. articulated (see Figure 3.2). The a completely different timeline and
most important aspects are a budget than a project that calls for
Managing these three components definition of the target user, and an a one-to-one model intended for
is an ongoing process. Sometimes alignment with a broader mission an engineering group.
brands drift off message. statement or vision. For example,
Remaining competitive requires people who do not enjoy some Another essential component of
constant focus on core users and aspects of driving are not Mazda’s a design brief is to identify the
a willingness to adjust to their targeted users, and coming up available technical resources
evolving wants and needs. The with a design brief that doesn’t versus required resources. In
bottom line is, the user has to trust
a brand. Trust is the foundation
for any relationship. Creating and
delivering products that honor a
brand’s promise is the main way
that user confidence and trust are
maintained.

From an individual’s perspective

it’s not always essential to
begin a program with a specific
badge or brand in mind. With
student design projects, and with
independent passion projects,
the key factor is having a personal
vision and strong point of view
in lieu of a corporate mission
statement. In this case you are
your own brand in a sense. To
create a design brief, one needs
to be able to clearly state: what
you believe in and stand for; and
how the vehicle you will design is
a reflection of those beliefs and
values!


3.2 Essential components of a typical design brief
Source: image credit, Jordan Meadows.

verbalize
spreading the word 37
vehicle design programs, quite aluminum and carbon fiber would enables clear communication
often there’s a given engineering be required. This would have an between client and consultant.
package layout based on technical impact on cost and govern the When combined with a contract,
assumptions for power plant, types of shapes that could be it can safeguard against cost
driveline, vehicle dimensions, produced. If one were designing overruns and awkward disputes
storage, etc. A good design brief an interior of an open vehicle that with regards to payment and
should also spell out a margin needed to be waterproof, and deliverables. For designers who
for these assumptions and how offer extreme durability, this could are direct members of staff, a brief
much deviation, evolution, and also affect the look and feel of the can allow for creative initiatives
change can be considered design, the materials used, etc. to be presented to the broader
appropriate for the project. For organization. It can be used as
cost reasons, many corporations Finally, it is also quite helpful in an effective tool for outlining
also use carryover components some cases to have a brief that and translating a creative vision
when assembling subsystems. offers a table of do’s and don’ts. to members of a development
So it’s important to have an This can be a simple document team who are not designers in
understanding upfront of what that provides a general list of what a way they can appreciate and
might be new versus what is the project is, and what it is not. understand.
pre-existing.
Establishing a design brief is With all of these obvious benefits,
An effective design brief should essential for getting started having a good brief that a team or
also provide some quantitative with a program, whether it is for individual sticks to would seem to
standards for measuring an individual as a student or in be common sense; however, the
the success of the program. any professional setting. In a reality is it’s easier said than done
For example, if there is a key sense it's a conceptual compass and many of the stumbling blocks
competitor in a segment the for the program. It gives both and demons that pop up along
vehicle needs to outperform individuals and groups a clear the journey are a result of having
from a technical standpoint, this reminder of where you are going a flawed brief or lack of discipline
should be clearly spelled out in the and why. For large and small in following one. Pick any ugly
beginning as one of the objectives. organizations, it represents a vehicle that you hate to look at,
The brief should offer a description drumbeat or marching orders and it’s guaranteed that this is
of appearance objectives and for a team. Freeform creative part of the reason for the eyesore!
aesthetic assumptions. This thinking is essential for the design Conversely when a brief is well
can be indicated often with process, but so are structure and developed and followed faithfully,
some qualitative descriptors; discipline. A solid brief safeguards the results can be very effective.
for example, a Jeep should against delays, distraction, and
undoubtedly look tough, robust, miscommunication. The first two
and capable. Conversely, a can easily plague individuals as
design brief for Rolls-Royce would well as large organizations. To that
obviously outline a premium, end, an effective brief can display
upscale, and noble appearance as the tangible application of goals
one of its objectives. and objectives for stakeholders.
In academic settings, having an
Vehicle design briefs often give effective brief clarifies and focuses
quality metrics and targets to be a student’s learning objectives. It
considered, as these can have can ensure that you are working
an effect on the aesthetics. Case in accordance with a lesson plan.
in point, if a sports car had a Having a well-written brief that you
weight requirement that would followed in a professional manner
in turn affect the driving quality can showcase creative thinking
and performance characteristics, as well as discipline for a potential
this would in turn affect the employer. For independent
assumptions of materials. Perhaps designers and freelancers, a brief

verbalize
38 spreading the word
case study

Mazda Motorsports
and Furai Concept Mission and Brief


3.3 Mazda Nagare concept, featuring In 2005, a relatively small but could be applied to the brand’s
body side textures inspired by nature strong, spirited Mazda Corporation forthcoming product. A decision
Source: image credit, Mazda Design.
was about to enter a short lull in its by the design leadership was
image product cycles. Effectively made to use movement in nature
there was a short gap between as a source of visual inspiration
product launches for its brand for the visual aesthetics. Vehicle
Halo vehicles. At the same time, designers have often sought to
it identified a growing threat from create a dynamic quality in their
emboldened challenger brands in creations. In fact, there isn’t much
Asia. To promote its sporty core new about a vehicle looking like
message and further endear itself it’s moving while standing still.
to enthusiasts, Mazda decided However, fluid material movement
to embark on a series of concept in nature, how wind shapes sand
cars to clarify its competency as a in the desert, or how water can
builder of lightweight, agile, fun-to- carve stone in a valley, were
drive sports cars. The design types of visual dynamic that had
team was tasked with creating a not been explored. The visual
new DNA or visual language that semantics of this phenomena

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spreading the word 39
 alluded to a sense of power and
efficiency. At the same time, it
communicated a sense of respect
for ecology, making it socially
relevant and aligned with the
brand.

This design DNA was developed

internally and titled Nagare, the
Japanese word for flow, or the
embodiment of motion. It was
presented with the debut of the
Nagare concept car shown at the
Los Angeles Auto Show in 2006
(Figure 3.3).

The aesthetic language evolved

through successive studies that
were unveiled around the globe
at international auto shows in the
form of the Ryuga (see Figure
3.4), Hakaze (Figure 3.5), and
Taiki (Figure 3.6) concept cars.
Finally, the series culminated
with the Furai concept that was
unveiled at the North American
International Auto Show in January
2008 (Figure 3.7).

I was fortunate enough to be a

member of the design team that
generated and executed this series
of concepts. The design images
which accompany this case study
are a selection of my contributions
to the Furai project. The creative
process is a dialogue. In a studio
environment many points of view
need to be entertained and heard.
The aesthetic language was very
unique, especially when it took the
form of literal textures stamped in
sheet metal on the body sides of
the vehicles. A criticism, however,
was that the DNA would be even
more relevant if it were supported
by a technical function. This would
effectively close a conceptual
loop and unify the unique aspects
of an aesthetic with its technical
   attributes. This would give the new
3.4 Mazda Ryuga concept, 3.5 Mazda Hakaze concept, 3.6 Mazda Taiki concept, DNA true substance, not just style
sibling to the Mazda Nagare exploring an all-road using the DNA to express a but actual function (see Figures
concept, that explored application of the design sense of lightweight, flowing
3.8 and 3.9).
different textures and DNA elegance
proportions Source: image credit, Source: image credit,
Source: image credit, Mazda Design. Mazda Design.
Mazda Design.

3.7 Mazda Furai concept, front tip up view
Source: image credit, Mazda Design.

verbalize
spreading the word 41

3.8 Inspirational image created Mazda is a company of automotive bluntly, motorsports particularly
to focus discussion on rotary and enthusiasts. Mazda North America built on endurance racing is deep
racing heritage is also the home of Mazda’s in the brand’s heritage. In fact,
Source: image credit, Mazda Design.
motorsports operation. On any in the basement storage of the
 given weekend in North America, R&D facility there is a wonderful
3.9 Mazda Furai concept, front view more Mazdas participate in road collection of vintage Mazda race­
depicting deep arrow channels racing than any other brand; cars. These authentic examples
sculpted to provide optimum flow
while also communicating signature this is evident in the spirit of of vehicles dedicated to winning
Mazda front-end graphic DNA every car that comes off the provided excellent inspiration for
appearance assembly line. Mazda racing the design team members but also
Source: image credit, Mazda Design.
is accessible to everyone from offered the link for giving the new
the weekend enthusiast to the design DNA true substance (see
professional driver. To put it Figures 3.10 and 3.11).

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42 spreading the word

3.10 Mazda Furai concept, side Racecars are dependent on an and ultimately on the track, the
view depicting dynamic body side understanding of aerodynamics. industry continues moving toward
sculpting and dominant rear wing
Source: image credit, Mazda Design.
Physics define the shapes. At the computational fluid analysis as
same time the design industry is a means of testing advanced
 constantly moving toward digital aerodynamics. We found the
3.11 Mazda Furai concept, front and computer-aided models for shapes generated with this
three-quarter view showing the
impact of different color on rear of testing and creating products. digital exercise to be progressive
body side sculpture While aerodynamics need to and new looking but also, not
Source: image credit, Mazda Design. be proven in a wind tunnel coincidentally, reminiscent of the

verbalize
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
3.12 Mazda Furai concept, top view
showing extreme arrow channels
allowing optimal flow from front to
rear and dramatic sculptural impact forms we were developing for to communicate an evolving visual
Source: image credit, Mazda Design. the Nagare DNA. Computational DNA. However, if world-class
fluid dynamics as used in the racing is part of your heritage

3.13 Early Mazda Furai concept, development of racecars became as with Mazda, it’s crucial to
study depicting progressive the link to unify the Nagare visual send a strong message about
sculpture with modern forms study with a high performance performance. To make good on
complemented by colors inspired by
classic endurance racing cars technical function (see Figures this promise, the final concept
Source: image credit, Mazda Design. 3.12 and 3.13). was built on a Courage C 65
chassis. Going with a proven
To further underscore the idea winner with one victory and nine
that the exercise would not just podium finishes in 15 ALMS
be a stylistic one, the brief for events during the 2005 and 2006
Furai was written to promote seasons meant the concept was
and proclaim a commitment to predicated on real-world results
rotary technology. Due to cost (Figures 3.14–3.20).
and complexity constraints, many
concept vehicles do not run. This
is not essential if the focus is just

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44 spreading the word
 
3.14 Mazda Furai concept, presented at Mazda 3.15 Mazda Furai concept, presented at Mazda
Raceway Laguna Seca, side view image captured Raceway Laguna Seca, rear three-quarter tip-up
as vehicle turns through hairpin corner view captured on straight-way
Source: image credit, Mazda Design. Source: image credit, Mazda Design.

verbalize
spreading the word 45
 
3.16 Mazda Furai concept,
presented at Mazda Raceway
Laguna Seca, side tip-up view
captured in pit lane
Source: image credit, Mazda Design.


3.17 Mazda Furai concept, engine
cover detail featuring micro rotary
pattern graphic
Source: image credit, Mazda Design.


3.18 Mazda Furai concept,
presented at Mazda Raceway
Laguna Seca, accelerating through
turn
Source: image credit, Mazda Design.


3.19 Mazda Furai concept, elevated
on integrated pneumatic pit stands
Source: image credit, Mazda Design.

communicate a commitment to
rotary technology while working
toward an eco-friendly future.
Using visual inspiration derived
from nature and combining it
with an alternate fueled rotary
engine allowed them to display a
commitment to enthusiasts, while
addressing critics who suggested
high performance vehicles are
environmentally irresponsible. (2)
The very shape, silhouette, and
positioning of the vehicle, halfway
between high performance exotic
and track-oriented racecar, were
certain to communicate the brand
The team utilized an ethanol- dating back to the original Mazda message. Mazda still had the
fueled 450 hp RENESIS-based Cosmo. strong soul of a sports car and
R20B three-rotor rotary engine. would continue to prioritize fun-to-
This ensured that from a technical The team at Mazda generated a drive vehicles that were competent
standpoint the vehicle would strong brief and followed it with on and off the racetrack (see
honor the Mazda 787B, the first extreme rigor. This allowed the Figure 3.23). (3) The visual DNA
and only Japanese car to ever win Nagare series and Furai concept was not just a visual style, but
the 24 hours of Le Mans in 1991 to be successful for three key was rooted in a technical function.
(Figures 3.21 and 3.22). It would reasons: (1) the brief was well That technical function was also
also be a worthy centerpiece to aligned and timed with their aligned with the brand objectives.
the 40th anniversary celebration of business objectives. The brand In fact, its heritage went back to
the brand’s use of rotary engines needed to attract attention, and the 787B.

verbalize
46 spreading the word
 verbalize
spreading the word 47
 verbalize
48 spreading the word
  
3.20 Mazda Furai concept, interior 3.21 Le Mans-winning Mazda 787B 1 3.22 Le Mans-winning Mazda 787B 2
featuring key controls integrated with Source: image credit, Mazda Design. Source: image credit, Mazda Design.
removable steering wheel
Source: image credit, Mazda Design.

verbalize
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
3.23 Mazda Furai concept, presented at Mazda Raceway
Laguna Seca, side view featuring Negare body side textures,
accelerating through turn
Source: image credit, Mazda Design.

Looking forward, the group a brand message about their 55, Mazda extends the range of
continues to promote its heritage manufacturers and sponsors. The its motorsports offerings from
with the LM 55. And even Mazda Furai was again a valuable professional machines through to
further in to the future with ultra- communication tool that fulfilled production based club racers, all
progressive design studies like the its brief to spread the word about the way to virtual competition cars
Kann electric racer (Figures 3.24 an evolving position for the brand. for gamers. In all cases, talented
and 3.25). In 2014, the group reminded the designers following a strong
world of its heritage and long-term mission statement and design
When we view all of these cars message with another concept: brief provided the opportunity to
together in a continuum, we the LM 55. And while this vehicle enjoy the thrill of competition and
can see the common thread of is obviously connected to the two soul the brand!
the brand DNA. In 1991, the examples previously mentioned,
organization needed to show it was displayed and presented
credibility and proved it at Le as a digital concept intended
Mans, one of the most legendary for the Sony PlayStation GT 6
racing events. To this day, the videogame (Figures 3.26 and
787B is a very special vehicle. 3.27). This vehicle continues
Racecars and concept cars the tradition and introduces an
are very similar in that they entire new generation to the
both have the duty to promote Mazda experience. With the LM

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50 spreading the word
 
3.24 Mazda continues to look forward 3.25 Mazda Kann experimental racer
considering how its racing DNA may evolve study took top honors winning the
in the distant future with the Mazda Kann, prestigious Designers Challenge at the
experimental future electric racer, front Los Angeles International Auto Show
view depicted in 2008
Source: image credit, Mazda Design. Source: image credit, Mazda Design

verbalize
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 
3.26 Mazda LM 55 design concept, 3.27 Mazda LM 55 design concept,
study executed for GT6 Sony PlayStation study executed for GT6 Sony PlayStation
videogame, rear view featuring advanced videogame, front view featuring evolved
spoiler and diffuser Mazda DNA graphic
Source: image credit, Mazda Design. Source: image credit, Mazda Design.

verbalize
52 spreading the word
Q&A

Robert Davis
Senior Vice President, Mazda
North America and Head of
Mazda Motorsports

Robert T. Davis is Senior Vice

President of U.S. Operations
in Mazda North American
Operations (MNAO) (Figure
3.28). Davis oversees all
company operations within
the USA that affect Mazda’s
customer and dealer-partner
experience. Prior to this
appointment, Davis served
as Senior Vice President of
Research and Development,
responsible for vehicle
research and development,
manufacturing, product
quality, and future product
plans for all Mazda vehicles
in North America.

Since joining MNAO in

1991, Davis has held various 
3.28 MNAO VP Robert Davis
vice president and key Source: image credit, Mazda Design.
management positions in
sales, marketing, strategy,
and field operations. Under of the MAZDASPEED Driver Question 1: Who are your
Davis’ direction, Mazda US Development ladder that was personal design heroes? Who
Operations launched its the first time a manufacturer do you most admire, and why?
sixth generation of models to had ever charted and How does this key influence
strong customer and critical supported young drivers as relate to the work you do for
acclaim. they climb the ladder from Mazda?
amateur to professional  As for personal design heroes,
In addition to his business road-racing. I could never answer with just one
acumen, Davis is a true person as they do different things.
car enthusiast and racer. Prior to joining Mazda, Davis When I look at design heroes, I’d
Under his leadership, Mazda held multiple roles at Chrysler have to say Harley Earl. He had
became—and still is—the Motor Corporation, as well as not only a vision for design but
leader in North American spending time at a Chrysler also a feeling for the appropriate
motorsports, with the dealership. Davis earned his design for the appropriate market.
company participating in bachelor’s degree in Finance He had a sense of balance and
the sport at all levels from from Clemson University and this is during the time when you
youth-karting to the highest an MBA from Georgia State could change the sheet metal
levels of sports-car racing. University. on a car per model year almost.
He also oversaw the creation Inventive and ridiculously creative

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
3.29 Mazda RX Vision concept, displayed at the Tokyo Motor Show in 2015,
pays homage to classic rotary sports cars from Mazda’s past while featuring the
Kodo Design Language
Source: image credit, Mazda Design.

with jet inspirations, having to see the design evolve all the or overdone with a bit too much
responsibility for Buick and way up through the mid-1960s and going on.
Oldsmobile and several brands. as they transitioned to the muscle
We all forget about the time when car era, that was a side of Chrysler With Maeda, knowing his history
General Motors had all of these that was really interesting. On and the history his father had
different divisions because a lot the modern design front, if you with Mazda and what he did in
of them aren’t around any more, look at what Maeda-san has done the 1970s, there is a really nice
but leading them, understanding particularly on the Asian and connection. Even when you look
them, and understanding the Japanese side of the business, at the Nagare era during your
evolution of the design process it’s really left an impression (see time with Mazda, Jordan, we
and the business process is really Figure 3.29). went from a very fixed design
interesting to me. style with prescribed guardrails
When I look at the Tokyo Auto almost, to Kodo where Maeda has
Then Vergil Exner out of the Show in introducing Kodo, he allowed the designs to be very
Chrysler camp is a good one. He revealed this really awesome soft and very appropriate for each
did a lot of really interesting stuff combination of not design for individual model. [Kodo is Mazda’s
that was the next generation of design sake, but also design that current design DNA, preceded by
that era. I’m kind of a Chrysler matches the brand presence Nagare.] So those are the three
guy family wise. [Having personal and is not overdone (see Figure guys I would say would be my
connections and previously 3.30). And when I look at a lot of three role models or heroes on the
working for the brand.] So we had other Japanese design without design side.
them growing up and it was great naming brands it feels gimmicky

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54 spreading the word

3.30 Mazda RX Vision concept, rear three-quarter featuring sophisticated
emotional body side highlight composition
Source: image credit, Mazda Design.

Question 2: While being a next would be Mario Andretti. I bulldozer. And I thought, really?
business leader you are also think a man whose dream was Bulldozing at your age? Wow!
an avid racer; who are your the American dream. No money in
personal motorsports heroes? the beginning, sometimes racing From a pure racecraft standpoint
Who do you most admire, and under an assumed name, being and admiring the commitment, I
why? How does this influence an immigrant and racing anything grew up during the Senna era. So
relate to the work you do for and everything he could get into. knowing what he did, and how
Mazda? His versatility alone brought huge he did it, and how much he was
 As far as racers—there are a admiration from me because it personally committed to his craft is
few that come to mind and some just doesn’t exist any more. I had really inspirational. And I think he
that I have had the pleasure of the pleasure to meet him a few was the first quintessential modern
meeting. I think the combination times. And then another is A.J. racecar driver. Fit, focused,
of the personalities and what Foyt and Foyt was the opposite just really doing everything very
they’ve done on the racetrack of Mario in terms of background well. Certainly the numbers, the
is pretty inspirational. The first but again was a very strong records, the results, and the way
of that is Phil Hill. I had the personality. I had a chance to he went about things were very
chance to know Phil and just meet him and his grandson when inspirational.
his pure versatility, and the fact I lived in Texas. Both Andretti
that he existed during his era and Foyt now belong to this era And then, finally, Katayama-san;
was amazing; just a pure role of racers that had a different way He was a Mazda driver who
model not only in terms of how about them. I remember reading recently passed away. I had the
you race, but how you lived. The that A.J. had a heart attack on his pleasure of meeting him a few

verbalize
spreading the word 55
times and he was always such a
pleasant, really warm and nice
man. And even though he was
up in years, when he drove our
cars recently, watching him on
the track was so silky smooth.
He was very Japanese in his
driving style in the way that he
was able to apply his craft. Even
in a foreign country, with a foreign
language, in a car that he had
not driven in 20 years, it was a
pretty impressive thing to watch.
So when you see someone in
that context, after not driving
competitively but they still have a
spark, is pretty inspirational.

Question 3: Mazda has a

history of creating great
sports and competition cars.
These vehicles in general
have very clear and direct
mission statements: “perform
well and win! ” How does the
brand deliver a unique and
differentiated experience to
its customers from a design
perspective?
 Talking about great sports
cars and competition cars that
perform well, the easy thing for me
to say is “Great road cars make
great racecars!” If you look at
all the driving principles of what
composes a great Mazda road car,
it’s all about oneness: the Jinba 
Ittai experience. The connection 3.31 Mazda Cosmo 110, front view,
between you and the car. [Jinba illustrating roots of Mazda’s sporting DNA
Ittai is a term relating to traditional obviously Miatas, all tell you and Source: image credit, Mazda Design.

Japanese horse-mounted archery.] show you why they are such great 
cars to drive on the street and why 3.32 Mazda Cosmo 110, rear view
You and the car, the car and the they’ll bring you joy on the street. featuring lightweight, poised athletic,
sporting stance common in almost all
road, or for that matter whatever sports cars to this day
visceral task that you take on. So I And what drives people to make Source: image credit, Mazda Design.
think that success in development them race cars? You know we as
of streetcars, whether it’s the a brand have 53 percent market
Cosmo sport 110 (see Figures share in amateur racing. So not
3.31 and 3.32), or the RX Three discounting the hard work of a lot
that I have now, to the first of people to get that done, but the
generation or all generation of base car is so good that it enables
RX Seven, even RX Eight, and that 53 percent to capitalize on

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56 spreading the word

3.33 Mazda Miatas racing through turn one at Mazda Raceway Laguna Seca,
offering thrills and excitement for spectators as well as drivers
Source: image credit, Mazda Design.

it. And then the position that to execute the goal and deliver it. but the influence it has on your
we’re at in the marketplace that And I think the latest iteration of life, and what it makes you feel
allows those cars to be available the Miata is a great example of that like are a very important thing.
to enthusiasts. Sure, a lot of (Figure 3.33). That puts a smile on your face.
people would love to be driving So, for example, I spend almost
a Porsche or late-model BMW Question 4: When designing two hours a day to commute in
on a racetrack, but the price and vehicles other than sports cars, my car. And I’ve got a really nice
affordability to get there are an what type of customer needs, car at the moment, a Mazda Six
issue. So the combination of the aspirations, and emotional GT. Now my driveway at the end
cost, the car accessibility, and experiences does the design of my commute is really fun, and
the great programs the motor group consider in delivering the the drive at the beginning part is
sports guys developed has driven Mazda experience? really fun. And driving that car on
success. But if you boil it all down  As far as vehicles other an exciting twisty road is really
to the very first step, it’s to develop than sports cars, I think what enjoyable and puts a smile on
a great car. And this requires a consumers need is to satisfy your face. For guys like us, when
clean, clear mission statement. their aspirations. Yes, it’s true you have that type of situation,
A concise vision of where you that not everyone can own a you can focus on the things you
want to go. This allows everyone sports car in every stage of life, want to change. For example, my

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
3.34 Four iterations of Miata and MX 5 cup racers, making the Mazda
experience available to the masses through successive generations
Source: image credit, Mazda Design.

new pet peeve is when you hit the points. Ken and Julian (in design 200 miles an hour. So those are
sport button (to enjoy the best leadership Mazda North American things we all see.
part of my commute) that lights up Operations) and our design team
yellow. Now it really ought to light use the 787 as inspiration along I think from a student of design
up green! Sport mode should be a with a lot of our other racecars. standpoint, or for the readers of
positive thing, not cautionary. Just Julian Montouse’s specialty is this book, it’s about understanding
understanding all the small details interior design. And I’ve known whatever the passion is and letting
in a car and how they add up to a him to sit down and look at the that guide the development of
great experience can make a big interior of racecars because the ideas and execution. Whether your
difference at the end of the day. layout is very functional. It’s all very passion is motor sports, or horses,
dedicated to being lightweight and or whatever, just allow yourself
I think that also you see the designed around being able to to go with it and be taken away.
heritage from the racing side come find things with your hands with a Because I think there is beauty
through in the details of some helmet and gloves on at 2 o’clock in all the natural and functional
of the road cars, whether it’s in in the morning at Daytona or Le elements coming from motor
the lighting signatures and touch Mans racing down the straights at sports, it’s just about transitioning

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58 spreading the word
that beauty into what your style is. passion in products. If we allow Notes
For example, motorsports evolving ourselves to listen to Wall Street, 1 www.daimler.com/company/
in the aerodynamic age from or trade publications, or people strategy/. Web (accessed March
787B, to Furai, and even in the with different agendas, we will 2016).
PlayStation LM 55 car, that beauty wind up designing the best 2 www.mazda.com/en/about/vision/.
Web (accessed March 2016).
of airflow is very interesting. Now compartment for a La-Z-Boy or
there are people who execute it Barcalounger. And I don’t think
the right way, and there are people any of us want that to happen!
who execute it the wrong way. For And while the population, and
example, some of the WEC (World the mobility space, are going to
Endurance Challenge) cars are change significantly in the coming
absolutely stunning and beautiful. years, there is still plenty of room
And then some of them are not. for excitement. There will still be
Obviously they’re doing very plenty of room for sports; plenty
similar things in the wind tunnel, room for the passion to execute it.
right? But why do some look good
and others don’t? As Weldon So I think it’s more around staying
Munsey [Manager for Mazda North clear to your vision, trusting
America Partner Affairs] once said: instinct, and staying clear with
“Everyone has to put plastic in a what you’re going to do. On the
car but that doesn’t mean you have autonomous side, our position is
to use cheap-looking plastic!” how can we use the technology to
aid the driver? To make his or her
There are obviously people who drive easier or more comfortable,
want to have beauty and function. not taking the responsibility of
So someone has to commit to it the journey completely away from
as a priority. And so you come to them.
the same conclusion: WEC, like
Formula One these days, they all We’re not about just moving from
have very strict parameters that point A to point B.
they are working within. And as in
F1, some of the cars are absolutely Now if that’s lane assist, or
hideous to look at, and others crash avoidance, or whatever
really look great. In both cases the technology involved, we still
someone is making a decision, want it to be fun, and we still think
and the car that looks good, and is there will be plenty of room in the
actually competitive, that’s a great marketplace for that. Now some
combination. companies will choose to go
another route. But I think of that as
Question 5: Looking toward the an alternative to a subway or a taxi,
future while considering zero but not a Miata (Figure 3.34)!
emissions and autonomous
technology, what are the
biggest challenges facing
designers in delivering high
performance vehicles for racers
and enthusiasts? What is your
advice to designers to conquer
those challenges?
 I think what students and
readers of this book have got
to consider is how to keep the

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
4.0 Process locator gauge
Source: image credit, Jordan Meadows.

ideate
60 creating a unique visual dna
chapter 4

Ideate
Creating a Unique Visual DNA Based on a Design Brief

 Get Going! Staring at a

Blank Page
Get Going! Staring at a Blank developed a rock-solid narrative
 Explore Various Page that matches a defined archetype
Vehicle Packages and This section of the book is with the corresponding wants and
Technical Solutions dedicated to the vehicle ideation needs, we can then get on with
Based on the Needs process. This is the exciting the business of designing that
of Your Target and sometimes daunting point solution which provides the user
Customer and Market in the journey when we actually with the vehicle of their dreams.
Opportunity put pen to paper and commit to And since we’re now about to get
creating a concept. Many authors, tangible, the next step is to identify
 Consider the screenwriters, and novelists speak a literal architecture and structure
Powertrain in great depth about the sheer for the idea.
Implications on horror of staring at a vast white
Basic Packaging. It’s page and having to generate The modules in this book are
Physically Motivating brilliance. For many designers, very similar to most product
the Vehicle! this stage of the game can be just development strategies. Each of
as terrifying. Fortunately though, the ideas generated is intended
 Structure and a
if we’ve followed some of the to interlock and align with each
Framework for
methodologies in this book, there’s step along the way, giving meaning
Vehicle Architecture nothing to fear. We’ve initiated the to the next (see Figure 4.0). So
 Explore Unique Visual effort with a well-defined vision. before we actually start creating
DNA for a Vehicle We’ve given ourselves a well- shapes, lines, and beautiful curves
Based on Objectives tuned compass for the concept in and sections, we need to develop
Established in Your
the form of a design brief, and a an architecture and package for
mission statement. And as we a vehicle, and that architecture
Design Brief
discovered in Chapter 2, we have should be defined and aligned
 Begin to Explore armed ourselves with a detailed with all of the work we’ve done up
Surface Language understanding of our targeted until now. The aim at this stage
users’ wants and needs. So of the game is literally to let the
 Explore Details, and
moving forward should be easy! archetype of the user define the
Unique Selling Points
architecture of the vehicle.
and Features
Good design is about satisfying
 Create a Range of not only the head but the heart
Choices as well. As designers we’ve got
to appeal to functional concerns
 Q&A Freeman Thomas,
as well satisfying deep-seated
Global Advanced
psychological desires. Once we’ve
Design Director, Ford
Motor Company

ideate
creating a unique visual dna 61
Explore Various Vehicle segment and product type in mind, 5. the manner in which the
Packages and Technical then the focus of the work can be components of a computer or
Solutions Based on the Needs shifted to what type of architecture computer system are organized
of Your Target Customer and should be implemented. and integrated.
Market Opportunity
If a particular vehicle segment or The dictionary defines architecture All of these definitions apply to
product type has not been given as such:1 vehicle design. However, the
or defined in the initial design common term used to describe
brief, then the first stage is to 1. the art or science of building; the vehicle’s architecture is known
establish an understanding of the specifically: the art or practice as “packaging.” This simply refers
scale and size of product that your of designing and building to how the designers have created
user would want or need. Vehicle structures and especially a means to tackle three main
markets around the world define habitable ones. issues: (1) people; (2) the stuff
vehicle classes in several different 2. a: formation or construction they need to carry and use; and
ways. For example, in Europe, resulting from or as if from a (3) the power for propelling and
there is a letter designation that conscious act <the architecture controlling the driving experience.
aligns the vehicle weight, width of the garden> b: a unifying or No matter how daunting and
and length to an [A], being a coherent form or structure <the complex vehicle engineering can
segment that is subcompact. The novel lacks architecture>. seem, it all boils down to these
[B] segment is around 4 m long. 3. architectural product or work. three simple subjects: people,
The [C] segment is around 4½ m 4. a method or style of building. power, and stuff. Within this,
long. The [D] segment is around
5 m long. Mercedes’ Smart being
an example of an [A] segment car.
The Ford Fiesta being an example
of a [B] segment car. The VW Golf
is an example of a [C] segment
car, while the BMW 7 Series is
an example of a [D] segment car.
Different regions have different
segments to consider. In North
America, midsize trucks versus
full-size trucks are segmented,
the Toyota Tacoma being an
example of a midsize versus the
Ford F150 being an example of
a full-size. Many vehicles other
than cars are classified in similar
ways. For example, the cruiser
class of motorcycle being typified
by Harley versus the sport bike
class being typified by the Ducati
superbike. Furthermore, these
motorcycle classes can be
broken down into subcategories
based on their power, weight,
and size. Regardless of the type
of segment, the key is to focus
your energy moving forward with
an understanding of a relative

scale, size, and basic purpose the 4.1 The key elements of vehicle packaging
project requires. With a vehicle Source: image credit, Jordan Meadows.

ideate
62 creating a unique visual dna
however, vehicle engineering narrative. For example, for more aerodynamic silhouette.
can then be broken down into five the longest time, the Jeep Shifting the driver H-point [hip
corresponding areas of activity. Wrangler in two-door form was point] downward may be a
Arranging and orchestrating these the gold standard for off-road proposed solution. Conversely,
systems is both a science and an vehicles. However, when Jeep perhaps you wanted to propose
art that even the most gifted can identified a want or desire for a a sports car for a user who had
take an entire career to master particular type of user to carry a want or need to carry gear,
(see Figure 4.1). more passengers with them, sporting equipment, or luggage.
they investigated the idea of Sketching a side view silhouette
These basic systems include first updating the traditional Wrangler that showed the occupant’s
and foremost how the driver and two-door package with a longer H-point raising slightly along with
the occupants are literally and wheelbase, seating for four, and the wheelbase extended slightly
figuratively placed in the equation. two additional doors. The result may be a way to increase the
Second, the power and energy was the Wrangler Unlimited, vehicle’s functionality by providing
systems used to motivate the which now outsells the traditional more storage room. In both of
vehicle. Third, the basic features two-door Jeep by a significant these cases, the amendments to a
and function of the interior used margin. As is the case with many traditional sports car package will
to organize the user experience. traditional vehicle packages, be based on specific wants and
The structure and body that tie the the fundamentals can be used needs established in the design
entire equation together are the as a great point of departure. In brief and the narrative.
fourth. And fifth are the wheels, professional scenarios, vehicle
tires, and suspension elements development teams spend a Quickly sketching out these
delivering a specific ride type. good amount of time analyzing options in side view, plan, and
There are several publications and evolving their packages, and end view establishes the driver’s
that cover vehicle architecture in many cases small incremental and occupant’s location, locking
and engineering in-depth. One changes can lead to a radically in the most crucial component
of the best reference books for different user experience. of the vehicle architecture.
designers is entitled: H Point: Philosophically, and literally, the
The Fundamentals of Car Design With this in mind, sketching user is the center of the endeavor.
and Packaging. Co-authored by out the package with its main So it’s crucial at this point to
Stuart Macey and Geoff Wardle, it architectural volumes is one of see mannequins placed in the
provides a wealth of information on the first steps in familiarizing vehicle having a posture that
the subject. Packaging, however, yourself with what goes where, is aligned with their wants and
is only one component of the and where the opportunities for needs. If you’re intending to do
ideation process that we will cover improvements might be. If the a vehicle for a Hero archetype
in broad overview in this chapter of package is pre-existing, then who is interested in a high
this book.2 iterative sketching with transfer performance vehicle, then the
paper and overlays can quickly occupant should be drawn in the
With 100+ years of automotive establish some of the basics. And shape of a low-slung sports car
and vehicle engineering then if adjustments or package with an H-point quite low to the
development there are some enhancements need to be made ground. Conversely, if you are
remarkably good packages based on a specific user want doing a vehicle for an Explorer
that now exist. And again, if or need, one can quickly see in archetype who is interested in
your design brief has already side view and plan view what the off-roading, the occupant should
prescribed one, embrace it. issues may be. For example, if be drawn in an upright posture
Analyze the things that it does you were designing a sports car that affords command of the
well, or poorly, and consider the for an enthusiast, and realized road with great vision angles for
opportunities for how it might there was a want or need for the tackling unique and unknown
be improved or evolved. These vehicle to be more efficient than its off-road driving scenarios. The
enhancements or updates to predecessor or competitors, one vehicle architecture stems from
the package should ultimately might propose that the occupant the posture and location of the
be aligned with the story or package be lowered to gain a user in both cases and establishes

ideate
creating a unique visual dna 63
a set of assumptions for all of the
remaining subsystems. Vehicles
are driven and ridden, but they are
also worn. The architecture of the
vehicle’s body is predetermined by
the user’s posture, placement, and
priority (see Figure 4.2).

Consider the Powertrain

Implications on Basic
Packaging. It’s Physically
Motivating the Vehicle!
Once you have figured out what
type of position is best for the
driver and occupants, the second
step is to select powertrain and
location if that has not already
been predefined in your package.
Many conventional packages,
even in hybrid application, call for
some sort of combustion engine
generally located in the front of
the vehicle; this is accompanied
by a transmission that drives
the wheels. In most vehicles,
two-wheel drive is utilized. But
in several applications all-wheel
drive is utilized. With combustion
engines, powered conventionally
by gasoline or some alternative
fuel, placing the main block
longitudinally along the length
of the vehicle, or mounting it
transversely along the width of the
vehicle can have a great impact
on the vehicle’s architecture.
And as you guessed, if the
powertrain selection, location,
and mounting have not already
been defined or given to you, it’s
best to establish where they are
packaged based on your user’s
wants and needs. For example,

if your Hero archetype user is 4.2 Side view of typical driver mannequin with H-point
obsessed with performance, indicated by the circle. Lower parts of image illustrating
then there’s no better place to different H-point locations and driver and occupant
configurations for a typical sedan seen at the top, a typical
put that engine and transmission SUV depicted in the middle, and a common people mover
than just behind his back in a package, featuring a third row of occupants in the lower
very low-slung, mid-engine, high package side view drawing
Source: image credit, Jordan Meadows.
performance package. After
all, the weight distribution of a
mid-engine set-up is very well

ideate
64 creating a unique visual dna
balanced, concentrating the mass the occupants’ sightlines and Structure and a Framework for
between the wheels and offering vision angles. In almost all cases Vehicle Architecture
the best handling. Conversely, if having a windshield touchdown Through sketching various
you are designing for an Explorer and angle can be a big part of overlays, you are naturally coming
archetype who needs a high the user experience. The faster up with a silhouette that is defined
degree of vehicle capability, then windshield is more aerodynamic by the user’s wants and needs
a front longitudinally mounted and appropriate to sports car and indicative of a particular
engine driving all four wheels may configurations, while a more body structure. Most vehicle
be the way to go. upright windshield placed closer body structures are created in
to the driver is more appropriate two ways: the original being
Battery electric powertrain for high H-point and all-road a frame structure that carries
technologies offer vehicle vehicles. Also, be mindful to the powertrain, occupants, and
architects a good degree of sketch the vehicle architecture in wheel and tire and suspension
freedom for packaging. By end view and plan view. Having systems. This frame is created
containing the batteries along a wide vehicle with three across with all of the rigidity and strength
the floor of the vehicle and seating and a very upright body necessary to effectively provide
mounting the motors within section will give a drastically basic mobility. The glass, sheet
the tire envelopes at the ends, different impression than having metal, bodywork, and interior of
a good degree of flexibility for two occupants placed closely the vehicle are placed on top of
various occupant placements together. the frame. The industry term for
can be achieved. In some cases, this type of construction is called
the batteries can be mounted Finally, in creating these vehicle body on frame. It’s used most
down the center of the vehicle silhouettes that can already send frequently on trucks and SUVs. It
utilizing a backbone-style chassis very strong messages about the also offers a great deal of flexibility
that allows the driver’s H-point intent of the usage, it’s time to since most of the engineering-
to be placed even lower. In any consider where the rubber meets intensive components can be
case, selecting the powertrain the road. And as with all of the grouped together and carried with
technology and coming up with other key elements of the vehicle the frame, while the bodywork
an optimal layout should be the package, if it hasn’t already been can adapt and change to different
result of understanding the vehicle predefined and given to you in styles and applications.
usage scenarios. For example, if the design brief, then make sure
you were designing a long-range to align the wheel and tire and A second and more commonly
traveler, and the user required the suspension capability to fit the used structure by the industry
flexibility of not being limited by customer narrative. is known as a uni-body
battery range, some sort of hybrid construction. This application
configuration might be best. Or Remember our Explorer archetype is used for passenger cars, light
alternatively, if that same user who demanded high capability? SUVs, and some light duty vehicles.
also wanted a zero emissions It stands to reason that this user In this case some of the actual
solution, then hydrogen could be would need a very tall tire and bodywork is loadbearing while
explored. In that case your vehicle suspension set-up with a good only the aperture elements such as
packaging should also take into degree of travel. This would the doors, hood, and deck lid are
account the special needs for ensure that that vehicle can take nonstructural. And third, some high
packaging hydrogen fuel tanks on multiple situations. Conversely, performance vehicles use a cage
safely. for the Hero archetype who was type or monocoque construction.
obsessed with high performance These structures can be fabricated
Optimally placing the vehicle’s on the track, it goes without in high tech carbon fiber, or welded
occupants in position, and saying that their package would and bonded aluminum. This allows
selecting an appropriate require a very low-profile tire with for a good degree of rigidity while
powertrain will already give you a wide aspect ratio, providing also being lightweight. With this
an impression of the vehicle’s good grip in a fairly wide track in application all of the bodywork can
silhouette. As you continue end view. also be made as light as possible.
sketching the overlays, consider While continuing to sketch more

ideate
creating a unique visual dna 65
overlays, consider that the body indicated in your initial design brief. user narrative. If the low-slung high
construction will also have an The user’s ability to carry cargo performance sports car needs to
implication on the look, shape, will also have a massive impact compete, it stands to reason that it
and feel of the vehicle. “Body on on the silhouette, and look of the may also have spoilers, diffusers, or
frame” cars tend to be taller and basic packaging. If your intended wings. Conversely, perhaps you’re
require a higher H-point, whereas user needs to go to Home Depot designing a vehicle for low-speed
the low-slung sports car may and carry a 4 x 8 sheet of plywood city usage where aerodynamics
require a lightweight monocoque or several other things to care for is less of a concern. In this case
construction. their home, then having provisions having an optimal aerodynamic
accommodating these objects shape would be less of a necessity.
As the ideation process continues, could be essential. For example,
consider how your occupant a large open bed on a pickup of a And, finally, as you are
gets into, and sees out of, the certain width and length. Or a rear continuing rough overlays to
vehicle. It’s important to consider hatch of a certain width, length, establish packaging and vehicle
closures, apertures, and occupant and height coupled with folding architecture, you must also
vision early on as this will inform rear seats, for example. consider safety requirements.
the graphics and shapes of the Some of these can be defined by
windows and daylight openings. Whether fast or slow, vehicles are laws. Others can be defined by
moving objects that are influenced corporate objectives for insurance
Also, begin to define the cargo by aerodynamics. The optimal compliance. In any case, if it’s not
space for the vehicle. Again, this is speed of the vehicle and impact prescribed in the design brief, one
also based on the usage scenarios of aerodynamics on its shape are must ultimately take into account
and customer narrative if not also a result of the design brief or safe operation for the vehicle.


4.3 Package drawing featuring occupant and tactical layout for Toyota Cross
Cruiser concept. Note provisions for special hydrogen tanks and battery
packaging required for hybrid hydrogen powertrain.
Source: image credit, Ken Nagasaka.

ideate
66 creating a unique visual dna

4.4 Supplemental copy of vehicle inspirations that depict the desired Toyota
Cross Cruiser concept, user experience
Source: image credit, Ken Nagasaka.


4.5 Image illustrating hypothesis of increased demand for zero emissions vehicles
of how to add emotional appeal to the genre
Source: image credit, Ken Nagasaka.

Having front and rear crush zones can separate your vehicle from in creating tangible solutions,
and bumper beams, for example, its competition (see Figure 4.3). and crucial to the success of the
will also impact the design and The package shown in Figure 4.3 vehicle!
shape of the bodywork. Many is how Ken Nagasaka developed
modern cars also have airbags and vehicle architecture to support his Having defined the vehicle
significant structures to protect project goals and objectives. package and established a
the occupants in the event of a framework for the functional
rollover accident. These elements In summary, having a flawed or objectives of the vehicle, the next
can affect the shape of the inappropriate package is the step is to identify and collect
daylight openings, sections of the easiest way to disappoint a imagery that suits the user’s
roof and rails, and thickness of the user. When the architecture and tastes. This visual inspiration
pillars. It’s important to note these packaging are arranged well, the should also be aligned with the
regulatory and safety elements vehicle will have a great basis user’s storyboard outcomes and
early in the process. Taking them to conduct further design work. aspirations. And even though at
into account and designing a Getting the basic compositional that stage of the process, the
unique way to deal with them elements in place is the first step aim was to provide an emotional

ideate
creating a unique visual dna 67
experience, a designer should relevant imagery, we’re ready to the figure drawing methodology of
assemble images that express explore proportion, form, graphics, quickly capturing an impression or
those ideals in the form of objects. and lines. Modern-day vehicles are gesture is a great analogy.
These images will provide complex mechanical organisms.
inspiration and reference for the The frame and structure are the In the mid-1970s perceptual
vehicle’s specific morphology (see bones. The powertrain and key psychologist James J. Gibson
Figures 4.4 and 4.5). elements are the heart and organs. developed a widely accepted
With these in place, the next theory that some objects by their
For example, if one is designing stage in their creation is to define very nature exhibit the possibility
a vehicle for a family led by a the muscle, flesh, and skin. Any of an action.3 “Affordances,”
female, mid-30s Gen X (Caregiver aspiring artist who's taken a figure he theorized, describe the
archetype) with two children, a drawing class knows that one of relationship between an object
vehicle package with third row the basic techniques in capturing and stimuli; for example, a wheel
seating for six may be desirable. a subject visually is to imagine that naturally affords turning. This
The question then becomes the skeletal structure is supporting theory has evolved into different
what type of imagery would be its mass. The process of sketching sub-definitions that are applicable
appropriate for that project? What vehicles is exactly the same. As to design, with the key being
types of shapes and forms would you put pen to paper, always that an object or shape can
resonate with that user? Again, the consider two main things initially. communicate naturally its possible
narrative provides the means to First, that the organism that action. Don Norman in his book
balance and align the values of the you’re sketching has a structure, The Design of Everyday Things
brand, and the buyer. or architecture, and, second, the further developed the theory
shapes, forms, and graphics that to take into account that a user
In Chapter 2 we learned that the you visually convey should send can interpret these affordances
world we create around us can a message that is aligned with differently based on their own
be viewed as an extension of our the narrative and corresponding point of view and context.4
psyche and persona. We could imagery. Semiotics, the general study of
then theorize that all the choices signs and their meaning, should
that our Caregiver archetype Explore Unique Visual DNA for also be considered when visually
user would make and the a Vehicle Based on Objectives communicating an intended action
nonautomotive objects that she Established in Your Design Brief or behavior. For example, a red tail
would enjoy, support her narrative One technique for getting lamp on a vehicle is a commonly
of being a person who strongly many ideas out on a page for recognizable and understood
aspires toward looking after her evaluation is a process of rapid symbol. While cranking out many
group. If you were to select a visualization. This involves very sketches, take into account the
piece of furniture for her, you’d be quick sketching to block in the vehicle narrative and consider
sure that it would be warm and basic compositional elements of the inherent messages that
inviting to a group of people. The the vehicle. In this regard, it’s a the basic shapes may afford.
shapes and edges would likely be challenge to see if you can convey Use the commonly understood
round and soft to accommodate an attractive message in as few symbols to convey your message.
children. The same would go lines as possible. Provide only Then challenge them when
for the other objects in her life. the absolute minimum amount necessary. A cube, for example,
With these assumptions, we can of information to convey the will in most cases look stable. If
assemble a collection of images theme. Generate a wide variety of
and things this person would memorable silhouettes that align
enjoy. And provided these images with the given visual inspiration 
4.6 Toyota Cross Cruiser concept,
were aligned with the values of the and user narrative (see Figures inspirational loose rapid ideation
brand, it would make for a great 4.6 and 4.7). They can have the sketches capturing key themes,
image board. simplicity of woodblock prints early exploratory work done to
or can be conveyed in simple capture unique visual DNA for
the vehicle based on objectives
Having established the basic black-and-white images with the established in a design brief
architecture and armed with the immediacy of signage. Here again Source: image credit, Ken Nagasaka.

ideate
68 creating a unique visual dna
stability is a value that is aligned
with your core message, then a
cubic compositional element is
the perfect way to go. If a soft,
friendly character is a value that
you’re trying to convey, sketching
graphics, shapes, and forms with a
good degree of roundness may be
appropriate.

Assembling these various shapes

around your vehicle architecture in
a memorable way that is aligned
with your narrative is the designer’s
main aim at this point. Most of
the architectural information
is conveyed in side view. Cars
are very easily understood in
side view. For this reason, it is
quite helpful to rattle off various
iterations in side view (Figure 4.8).
However, much of the personality
of a vehicle is understood in
front view. Again, we refer to the
fact that from a psychological
standpoint, our natural tendency
is to anthropomorphize the
object. So in conjunction, it is
important to spend a good amount
of time assembling the various
compositional elements in front so
they communicate your intended
message. Front views convey a
brand message that can also be
important.

Front views also have a high

degree of technical and regulatory
features that can define the
composition (see Figures 4.9
and 4.10). Added to this, the   
percentage of those elements 4.8 Toyota Cross 4.9 Toyota Cross Cruiser 4.10 Toyota Cross Cruiser
relative to the overall scale of the Cruiser concept, final concept, front three-quarter concept, front three-quarter
two-dimensional side view sketch, showing design rendering of digital model
elevation drawing done in and appearance intent for Source: image credit, Ken
conjunction with the package the front end graphics and Nagasaka.
in preparation for three- overall stance of the vehicle
 dimensional validation via Source: image credit, Ken
4.7 Toyota Cross Cruiser concept, model-making Nagasaka.
intermediate theme development Source: image credit, Ken
exploring proportion, form, graphic Nagasaka.
and signature lines. Note the ever
important face of the vehicle is
being investigated, with unique
selling points such as the side
window shape that allows for
increased visibility
Source: image credit, Ken Nagasaka.

ideate
creating a unique visual dna 71
 
4.11 Toyota Cross Cruiser concept,
rear three-quarter theme rendering
depicting subtle surface articulation
vehicle in that view can be quite plate placement and brand
and graphic details
significant. For instance, the signature are essential. And again Source: image credit, Ken Nagasaka.
average midsize sedan will require with some applications such as
a front license plate, lighting of a sedan, all of this is going on 
4.12 Toyota Cross Cruiser concept,
a given size, air intakes, bumper a relatively compact area of the three-quarter rendering of the digital
beams, and safety features, on vehicle. During the vehicle ideation model
a relatively compact area of the process it is helpful to sketch out Source: image credit, Ken Nagasaka.

vehicle. Added to this, there is a these various elements in different 

very clear intent to make a brand arrangements to explore multiple 4.13 Toyota Cross Cruiser concept,
statement. The designer must effects. side view rendering of digital model
arrange all of these elements Source: image credit, Ken Nagasaka.

in such a way that a particular While the front view, rear end 
character is conveyed. And view and plan side view are 4.14 Toyota Cross Cruiser concept,
because of this, a good degree coming together, one can rendering of digital model featuring
overboard concept and design
of personal taste is required to also explore perspective and provision for storage in the rear
attract potential drivers. Needless quartering views that can convey compartment
to say, front ends are an area a dynamic quality and gesture of Source: image credit, Ken Nagasaka.

of the car that demand a good the vehicle. Perspective views are
amount of attention. also effective in roughly outlining
key features, and graphics.
Conversely, the rear end of Quite often these are also very
the vehicle can leave you with helpful in understanding how the the form of a concise side view
an impression that is lasting sections and formal nature of elevation package drawing. In
and memorable (see Figure the corners of the object can be the classical automotive design
4.11). The tail lamp design is executed, and how the vehicle studio environment, these package
another opportunity to send a sits on its wheels. A designer drawings were executed with
key message. Quite often the should assemble the key isometric tape in scale model form initially
rear of the vehicle will need to views and constantly reference and then in full size. Using tape
fulfill defined requirements from them so that all are aligned and gives a graphic quality that
an aerodynamic perspective. derived from the same idea (see can be clearly understood and
Accessibility to cargo must also Figures 4.12–4.16). Ultimately recorded with digitizers. And
be considered and rear license these views should culminate in while quite often they are today

ideate
72 creating a unique visual dna

4.15 Toyota Cross Cruiser concept, final image of user enjoying
experience of Cross Cruiser and overboard concept
Source: image credit, Ken Nagasaka.

performed with digital media using the surfaces can be completely final step of the composition is
two-dimensional computer-aided appropriate if designing for an to add the subordinate details.
tools, tape drawings are still a archetype that would appreciate With vehicles, the finishing details
fantastic way to communicate such an aggressive, sporty can add a good amount of value
the key fundamentals of a statement. These shapes could to the visual equation. Many
vehicle’s design. It is the key express their narrative beautifully. professional designers focus on
graphic representation used Conversely, if one were seeking them exclusively, such as lighting,
to communicate a design’s to convey a calm, refined, and components, and hardware.
relationship to its architecture relaxed impression, fit for a luxury However, for the overview and
and construction. It is also the statement, the sections and high-level vehicle ideation exercise,
main means for translating the surface language would be very it’s only necessary to identify
two-dimensional representation of different. Added to this is the fact the key elements and give them
a design into 3-D, be it virtual data that there is a visual compositional enough definition and clarity to
or clay modeling form. dialogue between form, graphics, support the impact of the theme.
and their supporting architectural In the front view, illumination
Begin to Explore Surface structure. For example, having a can be key to communicating a
Language very rounded surface language vehicle’s character. The old saying,
Once the basic elements of the combined with very fluid graphics “the eyes are the window to the
vehicle’s composition have been may be too repetitious. The soul” is very much the case. And
established, and the designer is elements may have more harmony as you can guess, that character
confident that the proportion and if they complement each other; and soul needs to be aligned with
execution of the volumes over the fluid graphics with a more the archetype and narrative of the
vehicle’s structure feel aligned structured surface language, vehicle.
with the goals and objectives or vice versa. Hard versus soft,
of the project, the next step is angular versus smooth, reflective Other hardware and subordinate
to consider the development of versus matte, semi-gloss versus formal elements of the vehicle are
the surface language. In this transparency... Sketching out also very important. Side view
regard the transitions, nuances, one’s ideas in the vehicle ideation mirrors, for instance, add visual
and subtleties of the vehicle’s phase of the process is very much width and offer an opportunity to
sculpture can have a profound the same as composing notes, draw the viewer in. Door handles
impact on its impression. melodies, and phrasing to a song. are a key touch point. One must
Consider the different sections consider not only how they look
and the different messages they Explore Details, and Unique but also how they feel, and how
convey. Again, we refer back to Selling Points and Features they are placed on the vehicle to
the earlier described theory that With the architecture established, support the overall gesture and
the surface language can also the basic composition blocked composition. Tail lamps offer a
convey a message. Having a very in, a complementary surface similar opportunity to headlamps
angular or chiseled approach to language identified, the last and but on the rear of the vehicle.

ideate
74 creating a unique visual dna
Many designers use them to add the ideal, one needs to review and that shift and adjust architectural
visual interest and intrigue to the evaluate different choices. Having assumptions; (2) explore
rear end view of the composition. established these choices, one possibilities that shift formal and
Finally, nomenclature, badging, can then compare the strengths aesthetic assumptions; and (3)
and textures offer yet another and weaknesses of each. Creating explore possibilities that shift and
opportunity to add a level of a bandwidth of ideas and solutions adjust both formal aesthetic and
interest to the vehicle’s aesthetic is part of doing due diligence for architectural assumptions. This
composition. any problem-solving exercise. will automatically yield at least
The easiest way to accomplish four choices. Having established
In terms of aesthetic principles, this is to repeat the steps in a bandwidth of solutions, one
the objective is to imagine and the vehicle ideation process can then select the perfect
illustrate the vehicle so the viewer but with three key objectives in combination to move forward.
reacts and reads it in three mind: (1) Explore possibilities
sequential phases. First read,
second read, and third read.

Architecture and proportion being

the first read, graphic and surface
language being the second read,
textures and details being the
third read.

There should be a dominant main

message, complemented by
subordinate elements, followed
by additional defining details.
This three-stage process is a
common way of delivering the
aesthetic messages so they are
complementary to each other, and,
when taken altogether, each is in
harmony with the visual narrative.

Create a Range of Choices

Repeat the process of vehicle
ideation adjusting compositional
elements to create a bandwidth
of solutions that address the
predefined narrative in different
ways. Human beings are
hardwired to recognize subtle
differences in visual relationships.
The ideation process is about
selecting compositions and
relationships that suit a user’s
wants and needs in a way that
is empathetic. To do this most
effectively, one needs to examine
different approaches. Subtle
changes and alterations in 
4.16 Jordan Meadows and Ken Nagasaka pictured with final
compositional elements can yield model of Toyota Cross Cruiser concept
vastly different effects. To create Source: image credit, Jordan Meadows.

ideate
creating a unique visual dna 75
Q&A

Freeman Thomas
Global Advanced Design
Director, Ford Motor
Company

Freeman J. Thomas joined

Ford Motor Company in 2005
(Figure 4.17). He serves as
Global Advanced Design
Director, Ford Design. Thomas,
who is based in Southern
California, is responsible
for the company’s advanced
design studios in London,
Dearborn, Irvine, and Shanghai.
After graduating in 1983
with a bachelor’s degree in
transportation design from
ArtCenter College of Design
in Pasadena, Thomas began
his design career at Porsche
AG in Weissach, Germany,
working under Anatole Lapine
and Dick Soderberg. Of the
many Porsche projects he
worked on, being a part of
the 959 design team was a
highlight. In late 1990, he 
was asked to join Audi AG 4.17 Freeman Thomas, Design Global Advanced
Design Director, Ford Motor Company
as chief designer, followed Source: image credit, Ford Design.
by Volkswagen AG, where he
worked as chief designer under
Hartmut Warkuss. Thomas is
credited with co-creating the At Ford, Thomas has led Question 1: Who are your
VW Concept 1/New Beetle design teams on such personal design heroes? Who
that was presented in 1994, memorable futuristic show do you most admire, and why?
and then led the iconic Audi cars as the Ford Airstream How does this key influence
TT concepts in 1995. In 1999, Concept, Ford Interceptor relate to the work you do for
Thomas joined DaimlerChrysler Concept, Ford Explorer transportation and vehicle
as Vice President, Advanced America Concept, Ford design providers?
Design Strategy and Vehicle Start Concept and Lincoln  I have a few heroes in design.
Architecture. In this role, he C Concept. His teams have The one that I most relate to is
led the team that created also contributed to design Erwin Komenda. The reason
the Noble American Sedan, themes and strategies for the I relate to Erwin Komenda is
which became the iconic new Ford F-150, the new Ford because I was first introduced to
new Chrysler 300. In 2002, Fusion and Mondeo, and the his legacy when I was working
ArtCenter College of Design new Ford Mustang. He plans as a designer at Porsche. I
awarded Thomas an honorary to retire at the end of 2017. was inspired by the Auto Union
doctorate for his work.

ideate
76 creating a unique visual dna
racecars from the 1930s, the sense of completeness to it. So he of thinking, the simplicity, and this
Volkswagen Beetle, the Porsche is one hero, and I could go on for edited way of life. And everything
550 Spyder, the Porsche 356, and hours about his designs and how that was designed in his structures
also in other areas of industrial they impacted me. How they’ve is an “ah-ha” moment, down to
design such as the Porsche influenced me, and how he visually every detail. So you have Erwin
tractor and Porsche four-cam created honest stories. Komenda, on one end, and you
motor. These were objects that could say that he was a designer
I just fell in love with! And once My other hero is Frank Lloyd and engineer, and Frank Lloyd
I fell in love with these objects, I Wright. And the reason for him Wright as well. Now there is my
wanted to learn about how they is because his iconic designs third hero but I’ll get to him in a
were created. As I did more such as Fallingwater or the bit ...
research, I kept coming across the Guggenheim give an almost
name Erwin Komenda. So when I religious experience when you Question 2: When generating
started working at Porsche, I kept see them. They were and are new ideas for vehicles, how do
asking questions about him. Many still disruptive. The other thing you balance customer wants
of the older modelers in the studio that was really impactful about and needs with brand goals
worked with him in the 1950s Frank Lloyd Wright was when and objectives while ultimately
and 1960s and kept mentioning he did them. He did Fallingwater delivering something new, fresh,
him. He was always true to in the 1930s! He was looking and unexpected?
the philosophy of form follows at cantilevered construction  My thought process is
function, but there was always an way before the technology probably less structured and
endearing animated whimsical existed: he had to come up with more organic. It always has been.
character to his lines. What you technology to support his ideas, I know there are designers and
witness in nature. and I always thought that was researchers and engineers who
really interesting. For instance, want complete structure to how
And this is what introduced me Fallingwater, even though they go about things, but I tend
early on to the idea of storytelling very advanced, doesn’t have to look at things organically and
and character development. air-conditioning. The Kaufmann intuitively. And I always look at it
Without my really knowing about family wanted the place built as by creating an original story. And
it, he created a foundation for me a weekend house or summer sometimes it’s just by being in the
subliminally, and it was only later vacation house and envisioned it environment, being exposed day
as I started to develop my own as something that would overlook in, day out. I don’t look at it from
design language and the way that the waterfall. And Frank Lloyd the standpoint of all of a sudden
I looked at things philosophically Wright looked at the site and doing the research. Because
that I saw these parallels. Then said NO, it has to be ON the for me, research is ongoing, it’s
I was inspired to research him waterfall! That was an amazingly observation, it’s listening, it’s not
even more. Because he wasn’t a brave risk. He used the water just looking at it from your own
designer or stylist, but Porsche’s flow to create a form of natural air angle and brand goals. It’s looking
Chief Construction Engineer; conditioning. The stairway goes holistically at the way a brand is.
he was the one who created not right to the river just before the To me, brand is a religion, it’s a
only the design and shape of the fall, and the airflow caused by the story. It is these things that make
body, but also the chassis, the water allows cool air to circulate it worthy of being called a brand.
construction, and the holistic idea. through the house. Now stereotypically we look at
Even when it came to working brand as a name of a company.
close with the other engineers, Another interesting characteristic But brand transcends that.
for example, in the development of Frank Lloyd Wright was his Brand is a country, it is a place, it
of the four-cam motor, he was full control of design and the represents objects, experiences
responsible for creating the shape customer. He wasn’t so much and it’s a state of mind almost. It’s
of the fan shroud for that motor designing for the client. In a way, all of these various things that we
that was functional, but again he was affecting the client. He believe in that are worthy of being
there is a whimsical charismatic imposed his design philosophy so called a brand.
quality to the design. There was a that the client would adopt his way

ideate
creating a unique visual dna 77
Now how to deliver something a naturally beautiful shape, it has about why they need to support
fresh and new? Again I come back a story to tell why it’s that shape. this technology with unique
to creating an original story! It’s So when I look at Kelly Johnson or platforms and unique packaging
about character development. look at his objects like the SR-71 and investment. So that’s on
A lot of times “fresh and new” Blackbird, it has this incredibly one side. The other part is the
are about giving the customer intimidating presence, but is also a visual communication for why this
something they didn’t know that symbol of future thinking. This is a technology needs to go beyond
they wanted. It’s a bit like, if you great reference for a designer. just normal research and focus
listen to a customer they will tell groups. It has to be immersive;
you exactly how they want their On the other side you look at a it has to come back to creating
meal made. But if you come in and P-38 Lightning or a Lockheed designs and forms that support
say, hold on I’m going to let you try Constellation and nothing talks the story. Let the engineering
something new! They smell it, and about the romance of flight support the story and vice versa.
they say, that smells good! What more so than these. Again, And at the same time have it so
is it? And you say I’m not going the foundation of the story is endearing that you not only want/
to tell you what it is. I want you authenticity. Now today, if you look desire it but you need it.
to just try it! In fact, I’m not even at an aircraft it’s just an extrusion,
going to let you look at it! Then because it’s designed for cost The other part that is going to be
before you know it, it’s something and that’s the best way to get two very important is communication to
that they’ve never experienced! or three or four hundred people the customer. Again it’s not unlike
I think those are the types of inside without changing the shape. the previous question. It’s so new,
experiences customers have that But when cost is not an object, it’s so fresh that the customer
make them loyal to the brand. there is emotion. And a lot of might even be slightly afraid of
Because it’s an original story, it’s times people are willing to pay the it because they’ve never seen it
an original character development, cost. And this is really a human before ... We have a saying in the
it’s an original experience, and response. So that’s how I balance industry that we call “easy to love.”
it’s something that can’t be customer wants and needs. I start
replaced. That’s really the goal with their wants and desires. I “Easy to love” can be dangerous
for a designer. It’s to create that want to know what is possible! because it only buys you a short
ultimate holistic experience. That Because I believe that what they time. It’s reactive, like day trading.
goes away from just creating the need will be supported by the It really doesn’t start the story
façade like in architecture (going wants if it’s done correctly. from the original standpoint. I
back to Frank Lloyd Wright) or think things can be beautiful, they
with engineering such as Erwin Question 3: Looking toward the can be endearing, they can be
Komenda, or for that matter, my future while considering zero functional, they can be socially
third hero, Kelly Johnson. emissions and autonomous conscious, they can be all of these
technology, what are the biggest things, but at the same time, the
Kelly Johnson led all the design challenges facing designers in most important thing is when
and engineering for Lockheed the vehicle ideation process? you fall in “love” with it! When
Skunk Works. He was an What is your advice to designers you fall in love with something,
aerospace engineer but had an to conquer those challenges? you protect it. You defend it, and
amazing sense of aesthetic and  I think the technology is you will take care of it. There is
intuition. And that’s really the best the easy part for an industrial nothing more important than what
kind of engineer. It’s kind of like designer because it’s basically you care about. And I think that’s
when you look at nature, nature a creative packaging exercise. when a normal appliance object
is beautiful from the standpoint The most difficult challenge transcends into something that we
that form always follows function. for a designer is going to be can say is alive.
It has evolved over millions of communication. When talking
years to be what it is. If you take about communication, what I’m
a river stone that has had water referring to is a couple of different
crashing against it for thousands things. One is communicating
of years and eventually forms into to leadership in a company

ideate
78 creating a unique visual dna
Question 4: What type of to eventually have a plot, and you
vehicle ideation strategies and want to be sure that by the time
techniques do you rely on to get the plot comes along everything
the design team going when surrounding it will still be relevant!
they’ve decided on a target user Products, especially vehicles,
and have received a design are complex with many layers. An
brief? endearing and iconic product is
 For me, when I get a design like an onion that you can slice
brief, I question it. The first thing through all those layers to find
I instill in the designers is to an authentic and true center. If
question and to use their insights. an object doesn’t have this, the
Leverage their intuition and vision. chances of failure are much higher.
On the one side, respect the
target user and the assumptions
given in the design brief. But don’t Notes
take it as something that’s written 1 Merriam-Webster. Dictionary.
in concrete, because people make Available at: www.merriam-
mistakes ... webster.com
2 Macey, Stuart and Wardle, Geoff.
H-point: The Fundamentals of
I believe the role of a designer is
Car Design and Packaging (Los
to be a storyteller holistically. To Angeles: ArtCenter College of
create! you’re born with insights, Design, 2009).
imagination, and vision. On 3 Gibson, James J. The Ecological
the one side, I challenge them, Approach to Visual Perception
because I believe that designers (New york: Taylor and Francis,
have got to become accountable. 1986).
Accountability is where you’ve got 4 Norman, Don. The Design of
the responsibility to create what Everyday Things (New york: Basic
the solution is to the problem. But Books, 2002).
also I believe they need room and
I allow them to fail, because as
they grow and time goes on, an
experienced designer will slowly
fail less, and succeed more.

It’s also really about learning from

each other. Not just coming from
your own perspective, talent, and
initiative, but being open. I believe
in working loosely. It’s important
not to work too tight, especially
in the beginning. When you’re
establishing the goals and when
you first put the design brief up on
the wall, ask how many different
ways you can look at it. Ask how
many different ways you can
challenge it. Question the target
user! Is that a moving target? Is
the target going to be gone in
the near term, or even in the long
term? So you’re building the story

IDEATE
creating a uniQue Visual dna 79

5.0 Process locator gauge
Source: image credit, Jordan Meadows.

implement
80 selecting key directions
chapter 5

Implement
Selecting Key Directions and Identifying Themes

Selecting Key Directions and the funnel (Figure 5.1). This is the
 Selecting Key Identifying Themes thrilling point when a designer can
Directions and Design is a process of making begin to get excited about how
Identifying Themes calculated decisions in a cool the vehicle might actually
sequential manner to arrive at a be. It’s also the stage where
 Design Strategy: desired outcome. In the previous strengthening the propositions,
A Brief Overview chapters of this book we have double-checking the competitive
 Understanding discussed the vehicle ideation landscape, and focusing the
Segmentation
process. Through sketching and design strategy become crucial.
visualization, we’ve arrived at the
and Competitive
point in the journey where an Design Strategy: A Brief
Benchmarking
idea has been given an image. Overview
 Magic, Risk and Through a process of making To a certain degree, this
Balancing Science subtle changes in the combination entire book is about design
with Sorcery of the basic assumptions we can strategy and its many phases of
then generate multiple choices to implementation. However, this
 Q&A Peter Schreyer, form a bandwidth of ideas. Having particular point in the process
Chief Design Officer, a range of possible solutions is is a good stage to highlight the
Kia/Hyundai essential to giving the process due subject and its importance. The
diligence. After all, design is about design strategy is effectively the
decisions, and decision-making actualization of one’s creative
is how strategy is “implemented” agenda. It is often easy to confuse
(see Figure 5.0). it with a mission statement or
design brief, both of which frame
In this chapter we will explore the the objective. The design strategy,
thinking that goes into narrowing however, is how to approach the
the bandwidth and identifying decision-making in generating
the key themes to move forward. and deciding on solutions. For
In most cases the amount of many people in the creative field,
choice in the beginning of a it’s possibly when the head and
program is widest with a broad heart truly start working together
range of possibilities. This is in unison.
known as a development funnel.
In implementing a plan of attack Design strategy involves
or design strategy, one can then addressing objectives that are
begin the process of narrowing crucial to moving a program

implement
selecting key directions 81

5.1 Info graphic depicting typical product development funnel in that many ideas and
proposals are filtered and distilled down to one. The design strategy, in conjunction
with the objectives of each stage, guides and informs the selection process.
Source: image credit, Jordan Meadows.

forward. When implementing the it’s often the outlier that could far-reaching and could take some
brief, it helps prioritize the most hold the most potential for the time to adjust to from an aesthetic
important questions that need to brand. Because design strategy or technical standpoint. In this
be asked. These are a direct result informs all the touch points in regard, the design strategy is a
of the organization’s business a vehicle’s design, it effectively crucial part of the long-range plan
strategy. It’s the moment that a translates into actionable solutions for a brand. Vehicle manufacturers
designer can begin to generate or governing how to address quite often are very focused on
evolve a visual DNA and aesthetic technical challenges. It highlights a particular user. Having a clear
principles. So, for example, the opportunities to differentiate. vision of how a design strategy
after a range of ideas have been Form can follow function OR form could evolve can illuminate the
sketched out, one can then ask can follow fun! Design strategy way to endearing a brand to
which ones are most appropriate resulting from a strong narrative new customers. For example,
to the brand from an aesthetic informs how that choice can be Mercedes-Benz in the past was
point of view. Which ones have made. acknowledged as a venerable
the most family resemblance to manufacturer of mature luxury
the pre-existing vehicles created Finally, design strategy, when cars. Understanding this caused
by that manufacturer? Which implemented in conjunction with them to evolve their design
ones feel the freshest and most the brand DNA, can inform the strategy to become much sportier
inventive versus predictable or order in which products and and target a younger buyer. This
evolutionary? services can be launched. For shift in design strategy governed
example, once a bandwidth of the selection of the sketches,
Implementing a design strategy ideas has been sketched out, models, and themes they chose
can also foster the adoption it’s quite often the case that to pursue. The result currently is a
of technology and promote some solutions are more near- range of cars that are sportier and
innovation. When a range of term, having relevance for today more dynamic than they’ve ever
ideas has been established, versus other solutions that are been. Having a design strategy is

implement
82 selecting key directions
 Magic, Risk and Balancing
Science with Sorcery
Because no one can truly predict
the future, it’s important to have a
good range of possible solutions
that fit the brief, align with the
design strategy, and reflect the
product narrative. One way to
do this is to identify at least
three different directions, giving
coverage from complementary
yet opposing perspectives. In
selecting key themes to move
forward, one of these directions
should include a proposal that
is market-focused and oriented
toward what is certain to do well
against existing players, given
current assumptions. The second
theme, however, should honor the
purest vision, the sentiment of the

5.2 Info graphic depicting an example of a typical positioning chart. brand, and be designer-focused.
Design strategy and product planning are used to assess the vacant Finally, the third should be a
areas with intent to inform a theme selection process. disruptive outlier derived from a
Source: image credit, Jordan Meadows.
radical shift in future assumptions.

essential to understanding existing General Motors are benchmarked It is important to note that all three
problems, ongoing challenges, for appearance and functional of these must have relevance
and enabling a group to achieve attributes. To some degree this to the user. The first two will
their long-term goals. helps establish the strengths and admittedly be more comfortable
weaknesses of themes created for and address the pre-existing
Understanding Segmentation the next generation Ford. business goals in a direct way.
and Competitive Benchmarking The third, however, should feel
Another consideration in weighing Anticipating how competitors may unexpected and challenging. This
choices and making decisions evolve and predicting their future will be the proposal that pushes
involves understanding the position within the segment is an the boundaries. In embarking on
target segment. This requires a important part of product strategy any creative journey, one must be
certain degree of competitive and identifying key themes to prepared to make discoveries.
benchmarking and overlaps move forward. Forecasting what Many discoveries by nature are
the field of product planning and may look cool from an aesthetic unexpected. For this reason, it’s
positioning (see Figure 5.2). While point of view, along with unique crucial to embrace tension and the
most designers are not typically selling points for packaging unknown. It is these exploratory
responsible for this, it’s important and functionality, is critical. This ideas that are often uncomfortable
that they have an understanding is based on good quantitative in the beginning, yet prove to
of what it implies. Most vehicle research, an understanding of be the most informative and
segments have a core with key market trends, and a fair degree rewarding. In the end, it’s the one
players. For example, the Ford of intuition and qualitative gut feel. that may turn out to be pure magic!
Fusion is a popular offering in These traits all apply to selecting
the midsize CD segment. When key themes to move forward in the
developing a replacement, the design process. It’s an exciting
main competitors from companies point where a future classic can
such as Toyota and Honda and be given its first consideration.

implement
selecting key directions 83
Q&A

Peter Schreyer
Chief Design Officer,
Kia/Hyundai

Peter Schreyer, President and

Chief Design Officer (CDO)
of Hyundai Motor Group, is
responsible for the design
activities for the company’s
Kia, Hyundai, and Genesis
brands (Figure 5.3). Schreyer’s
automotive career began
in 1980 with Audi, and his
25 years at the Volkswagen
Group saw him successfully
participate in a wide range of
projects, becoming one of the
driving forces behind the image
change of the Audi brand.

Schreyer has received

numerous recognitions and
honors throughout his career,
including “Design team of
the year” in 1999 for Audi. In
2003, he also received the
highest personal recognition
for his unique design talent: the 
Design Award of the Federal 5.3 Peter Schreyer, President and Chief Design
Officer (CDO), Hyundai Motor Group
Republic of Germany. Source: image credit, Hyundai Kia.

Schreyer was born in Bad

Reichenhall, Germany, and
grew up on his parents’ Meadows: Regarding the Kia it started as a show car presented
farm, developing a passion Soul, what made you guys go to the top management. They were
for cars and airplanes. He about an MPV in such a cool so excited about the show car that
studied industrial design at the way? everyone rallied around the idea
University of Applied Sciences Schreyer: To go back to when and said let’s do it! And this is how
in Munich, followed by a course the first version of the car was it came into production.
in transportation design at the launched, it was created as a
Royal College of Art in London. show car; the first Soul was At that time the company was
He also received an honorary actually developed as a concept. looking to set themselves apart
doctorate from the Royal And the concept was actually and it was just around the time
College of Art in recognition of very close to what the production that I arrived. I was only a part of
his contributions to automotive wound up being. the development of the production
design. car about halfway through the
It was more of an SUV or CUV type process of the first Soul. The
of car that came from design and top management wanted to set

implement
84 selecting key directions
themselves apart from other
companies through design and
they really wanted the production
car to be like the show car. We also
went through a lengthy discussion
about the name because there
were some concerns about the
name in some regions and how
the word translated into different
languages was something that we
considered (Soul).

I also feel that the name has

something to do with the success
of the car. Some people think
that the name doesn’t matter but
for me it makes a big difference.
I remember back at Audi and
working on the TT project; for a
time, some in the organization
considered calling it an A3 Coupe!

In the end, the name is such

a part of the character and it
helped guide the entire project. I
think when the name tells a story
and fits with the story of the car,
somehow it becomes meaningful.
And when the combination is right
it makes a big difference.

Meadows: What’s interesting

about the Kia Soul is that it has
such a strong graphic statement
on the road (see Figure 5.4).
The wrap-around glass with a
blacked-out pillar. A flat roof,
minimal wedge stance combined
with a strong C-pillar. It is very
memorable, and has quite a
following. (see Figure 5.5).
Schreyer: It is quite a strong
statement. It is also one of those
cars where maybe some people
hate it but then there are a lot of
people who love it! This is the
thing that happens with a car that
has character. And that friction   
can make the car last longer, 5.4 Kia Soul concept, 5.5 Kia Soul, 5.6 Kia Soul, second-
more relevant, and get people to theme sketch second-generation generation, front
Source: image credit, Source: image credit, three-quarter
talk about it. They discuss it (see Kia Motor Corporation. Kia Motor Corporation. Source: image credit,
Figure 5.6). Kia Motor Corporation.

implement
selecting key directions 85
Meadows: In your career history, could also put skis and golf clubs do an internship back then to
is this something that you’ve and you could take an exciting complete our studies and one of
always tried to push for? holiday perhaps. And this is how my instructors worked in interiors
Schreyer: I think maybe I do. For the story or idea of an “Avant” at Audi so it kind of came together
me it’s always important, as I said came along. This storyline is also that I got an internship. Things
before, that a car has a story, how Avants became a lifestyle were very different back then,
if possible, everything that we vehicle. This is also how wagons and the image of Audi was very
do should have this. This is also transformed and became so different than it is now.
important for the designers, if it’s successful.
just about some lines up or down Meadows: Not quite as sexy?
forward or back: sometimes I have Meadows: Do you remember Schreyer: Not at all, I still
to tell the guys (my designers), I what year it was? remember the moment I walked
just don’t care. I care about the Schreyer: I remember exactly. in the door and saw a hard model
proportion, and I care about what 1978! That was the year that I of the original Audi Quattro! This
expression the car has. I need to went to start my internship! was the first time I had seen a
recognize it when you see from design model. I remember it was
a distance whether it has a line Meadows: There is still painted in white like a racecar,
on the side or not, well, whatever somehow a difference and then they told me that this car
... This of course is part of what between a wagon and an was going to have over 200 hp!!! I
we do but it’s not at the core of “Avant,” somehow what you thought to myself how cool is that!
what we do. The question is, does guys did back then made that It was all very top secret at the
the car have tension and does silhouette very desirable. With time, there were very impressive
it have a forward movement? Is the exception of the Dodge designers working there. Martin
it aggressive or laid-back and Magnum, or Cadillac CTSV, that Smith was there, Peter Birtwistle
relaxed? What kind of statement type of vehicle actually never and John Heffernan. They, along
does a project need to make? really caught on in mainstream with some others like Gerhard
car design in America. I suppose Pfefferle, were basically the core
Meadows: Looking back on the marketplace just feels team. The internship was an
which project did you begin to differently about them here in experience that basically changed
develop this idea of storytelling, the United States. my life. Bertie and John Heffernan
or was it something that you Schreyer: Yes, I’ve waited for and Martin Smith knew about
learned from someone else, a them to get traction for a while the Royal College and Martin
leader or mentor figure, perhaps now. If you still want style and Smith took the time to speak
Mr. Warkus?1 functionality. But prefer an to Mr. Warkus and he basically
Schreyer: I think this is something alternative to an SUV, an Avant or initiated and helped to convince
that maybe came from working some sort of cool station wagon is Mr. Warkus to send me to the
together and from learning from such a great machine. The Dodge Royal College. I still remember
several people. Mr. Warkus was Magnum you guys did at Chrysler him asking me if I was interested
one of them. I remember when was a great take on the idea with a in going to the Royal College of
we first started working on the cool name as well to fit that story. Art. OF COURSE I WAS! Before
very first Audi Avant. He came in my internship I didn’t even know
and said we need to do a wagon. Meadows: What made you begin the place existed but it sounded
Remember, at this time wagons your career with Audi? very impressive! It was the most
weren’t very desirable. They Schreyer: It was a bit of a happy prestigious college in the world.
were usually for people who had and lucky coincidence. I was
a business, a baker, or butcher, at school in Munich for product And it was all very exciting, so
etc. They were for someone who design and industrial design. I went and I’m still grateful to
needed to deliver things and he Cars were always something this day that they gave me that
basically said he wanted to do a that attracted me, but for me sponsorship and that opportunity.
wagon where not only a decorator the car industry was a bit of I always felt grateful for them that
could put their materials and a different world—very distant they believed in me, and after that
things in the back but where you and not accessible. We had to there was no question of any other

implement
86 selecting key directions
company, Audi was the place for were superior technically, they just has a level of respect now that
me so of course I stayed for a long didn’t have an emotional draw. it didn’t actually have back in
time. Some customers used to say that 2006. What cars would you say
an Audi had the character of a were the most significant in
Meadows: I think in a way German shepherd or even a police terms of earning that respect?
that path you took was very dog. Very reliable, and can do a Schreyer: From the Kia side, it
influential for me personally lot of different things well, but you was definitely the Optima and
because I also did product just wouldn’t want to cuddle it. At the Sportage and the Soul. But
design and I wanted to be an that time, we had a very special overall the entire line of cars
automotive designer. In the group of designers who also earned a lot of respect. I think
design community and at my had a feeling for what the brand we also managed to have great
school, there was always a needed. It was a super group of success not only on the exterior
philosophical divide between people who have gone on to be but on the interior side also, so the
car designers and product hugely influential. We somehow customers viewed the cars more
designers. The place where had a similar view and common holistically. Hyundai was a bit of a
designers managed to span and sense or feeling amongst us all of different story because I was not
bridge that divide was the Royal what needed to happen. In a way directly involved in a lot of the work
College. During my undergrad this was all due to Mr. Warkus there until recently. But I will say
work at RISD, I remember selecting the right people who had what they’ve done with the fluidic
reading about how you went this common vision and shared sculpture design language was
there and many other influential sensibility. quite a daring move for a company
design chiefs also attended. I that was not established like a
also think the product design Meadows: So, in a sense, Mercedes or BMW. For example,
approach is very much apparent much of the way you give if they had done such a bold move,
in the work that you guys direction or implementation everyone would’ve said, “Sure;
did at Audi. At that point in strategy is putting the right looks great.” But for Hyundai at the
time, did the company have a designers together? Rather than end of the day it was a very daring
strong strategy from a design prescribing and saying, “Guys, move. Of course, in this game, no
standpoint? go out to do this,” a lot of it is guts, no glory, as the saying goes.
Schreyer: After the RCA I finding the right personalities And they’ve made it work and it
returned to Ingolstadt and started and putting them together and has made a big difference for the
in exteriors. I think, yes, at this time letting them discover on their brand. The first fluid Sonata was
Audi had a strategy but still had a own? quite extreme for its time but in a
very small product range. It was Schreyer: Yes, I often wonder if way it paved the ground for a lot of
just the Audi 80 and Audi 100 you can do this as a strategy, or if other companies. In this case a lot
and both had a wagon variant and it’s a matter of happy coincidence. of other companies have actually
that was about it. We also had the Or somehow the right people been following the car’s look and
Quattro, that was very special. At come together at the right place appearance, and this is maybe the
that time in the mid-1980s it was and time. In any case, I do think a first time where the reputation of
still very much about technology: bit of this is actually happening at a Korean car company became
“Vorsprung durch Technik” was Kia and Hyundai right now. established as a leader.
the slogan. We were very much
about aerodynamics, aluminum, Meadows: There are very few Meadows: Bold moves for sure,
lightweight, and a fun sporting people who would argue with and I think the amount of time or
character. But at that time we the success of Kia and Hyundai the speed that it takes you guys
were challenged with an image from a business and also a to create and bring your vehicles
that wasn’t as desirable as BMW design standpoint. Much of to production is also pretty
or Mercedes, so we did a lot of the success has happened amazing.
research on what our strategy under your guidance in the last Schreyer: Yes, that’s correct, the
could be for differentiation, and to 10 years. Since then it’s been speed of the company is quite
make our mark. A lot of customers steadily growing in significance. remarkable. I see it in many of
felt that even though the cars By every measure, the company the projects that we are doing

implement
selecting key directions 87
even now. We will have an initial
presentation and then literally a
few months later we are looking
at finished hard models and the
content is really amazing. It’s
all there ready for production,
proper prototypes with full design
intent. I can tell you one example
of the Genesis G90, our large
luxury sedan. The project began
with quarter scale models that I
selected when I started at Hyundai
in my official leadership role. It will
be three years to date in January
2016 and the car will debut in
about a month’s time on the
market. So from the quarter scale
model development it was about a
36-month process from the start
(see Figures 5.7–5.9).2

Meadows: At Hyundai and Kia,

how are the selections made
from different proposals? How
do you and the other executives
decide what design direction
to take and which proposal to
move forward?
Schreyer: Very often we have a
process that is kind of a global
competition amongst all the
design studios. We have four
models in the beginning and then
pretty soon we reduce it down
to two, and very quickly reduce it
down to one and go from there.
The decision-making is very quick
and sometimes it is indeed quite
stressful for us. Sometimes we will
need an alternative but generally 
we have to be quite sharp in our 5.7 Hyundai Genesis,
decisions. featuring signature front
design DNA
comes together and makes an Source: image credit, Hyundai
Meadows: And it relies mainly agreement. This is quite good Motor Corporation.
on intuition, your experience, because the chief designers and
and your understanding of the designers are involved. We all 
marketplace and customers? meet and get together from the 5.8 Hyundai Vision G
concept, interior
Schreyer: Yes, of course. And different studios that are also in Source: image credit, Hyundai
then we also have presentations competition. Though we’re spread Motor Corporation.
that take place in Korea. We out around the globe, it gives us a
get feedback from everyone chance to have a common sense
because that’s where everyone and common understanding.

implement
88 selecting key directions

5.9 Hyundai Vision G concept, exterior side view, car created to preview the
Corporation’s design language for premium Genesis brand, debuted at the
Pebble Beach Concourse d’Élégance, August 2015
Source: image credit, Hyundai Motor Corporation.

And also feel as if we belong to they make adjustments for the not mind it but there are some
the same team and are moving European market. We also have challenges with visas and work
forward with our decisions a test center at the Nürburgring permissions in that regard.
together. that gives us the opportunity to
do research on high performance Meadows: I found personally
The main studios are in Germany, vehicles. that the creative chemistry in
California, and of course our most car design studios is like a
headquarters is in Korea. There Meadows: Do you have rotations see-saw; effectively a balancing
is also a China operation, along and designers moving among act between competition on
with a research group in India and studios? one side and collaboration on
other contributing offices. The Schreyer: We have designers the other. Because designers
organization is quite widespread moving from Europe to Korea are naturally competitive and
with a large footprint. Some of our and vice versa and then also they also have a good dose of
regions also have individual R&D from California to Korea and vice insecurity, they will usually try to
centers; for example, we have a versa, but very few from Germany show that they can do a better
technical center in Europe where or Europe to California. I would job than a counterpart. What

implement
selecting key directions 89
end of the spectrum would you This is something that is very This part should change here or
say that your team works on important and we need to keep: there ... I tape it on and we agree
more? Leaning more toward The key idea that leads to a model on a change. He’ll say that he
the collaboration method or are and is the target. Often we will sees that the line needs tension
they more competitive with one have a wall full of sketches but we and what needs to change, but
another? need this key sketch to refer back will want to make a change in the
Schreyer: I think it’s like almost to in the process; for example, computer. The problem is, when
every other studio, every single sometimes designers will have lots you transfer back into digital mode
person always wants to win. and lots of sketches and will have so much is lost …
But I do think within the studios a model as well but when you look
they have a good atmosphere at the clay—the model is not the Cars are sculpture–you have to
and people do feel like a team. sketch. They haven’t translated it ... touch them! you have to walk
When something is chosen and Something is missing ... around them. Now, of course,
is selected for production, they there are time constraints and
can all stand by it. It comes from Sometimes you can even look at resource constraints and you
their group as a whole so everyone a rear three-quarter sketch and have to move the data back and
feels very proud of it. you can see the character of the forth so it can become tedious,
window graphic. The attitude of but if you sketch it with tape on
Meadows: In some the side view, etc., it promises the model, and if you can do a
organizations you can point to you something and gives an rough tape sketch in 3-D on the
one individual and say he or impression of what the front might clay, you can read it for yourself
she did that car. But in other be even though it’s a rear view. and estimate how much needs to
organizations one can’t say this The viewer has a vision or wish for come off the model and how much
because it is very much a team what’s on the front. needs to be put on. It’s real time
effort. The dynamic is similar and you get the relationship to
to sports. Some are very much Meadows: It’s almost like when real life and the body rather than
about individuals like tennis or you see the silhouette of a guessing at a screen. Ultimately
golf, and others are about teams person at night or from the side a car is a 3-D thing that you’ll see
like baseball or football. you think of what their face on the street and you have to have
Schreyer: yes, it also sometimes might look like? an understanding of it. Now the
depends on the project. Like in Schreyer: yes, and sometimes process has changed and evolved
exterior studios, for example, it is a disappointment. This is and some are able to translate
you have one designer who something that we also learned their ideas into 3-D data very early
did a quarter-scale, and then a in the early days from Warkus: on.
different one had to follow it up (You look at the sketch and try to
into production. There are others capture it!) Sometimes I feel a bit Meadows: When you’re
involved like the team leaders and disappointed that designers now selecting a sketch, are you
directors or people like myself work too much with Photoshop looking at what will make for a
who are helping and supporting or they’ll take something that’s good model or do you look for
the creative process. Sometimes pre-existing and they start an image that has a bit of magic
there is a more experienced changing and shifting it around. on its own?
designer joining in for guidance, And I’ll say, “Okay, where is Schreyer: Both.
so finally the ownership lies your idea?” Whereas if you do a
with several people in the team, sketch, it still has your handwriting When you look at a sketch, you
but you can trace it back to and feeling to it. The same is true cannot avoid the impression that it
one individual. The final car is with a tape drawing. Perhaps it gives you. you can’t look at it like
the result of everyone working is a bit old school and I might a computer and just analyze what
well together. But many times it be a dinosaur but at the moment line goes where. A good sketch
traces back to an individual who we’re losing the culture of taping has that bit of imagination and
executed the sketch. (The key on the model. Often I’ll talk with a allows the viewer’s imagination to
sketch!) designer and will put a line on the start. When looking at it you say
car and say, “What do you think?” to yourself, “I would try this and

IMPLEMENT
90 selecting key directions
I would do that ...” you complete Notes
it in your mind, and this is what I 1 Hartmut Warkus, former design
want to try to communicate to my executive for the VW Group and
designers. longtime mentor to many VW
Group design chiefs.
2 Figures depict key design direction
Often they will do the sketch but
for Genesis brand as the G90
they don’t see the same things production car images were secret
that the viewer does. Sometimes at the time of this interview.
I get a presentation and the
designers will show the side view,
the rear three-quarter, the front
three-quarter, etc., along with the
final idea, fully rendered. And then
I’ll go to the little small doodle
or thumbnail and I say, “Look at
this one!! It’s here! The answer is
here!”

It’s almost like when they do the

final image and they become stuck
or paralyzed and it’s completely
lost the character of the sketch.
BUT the key sketch has it!

Meadows: Something about the

magic of the moment when the
hand moves across the page
that makes it special?
Schreyer: Exactly!

IMPLEMENT
selecting key directions 91

6.0 Process locator gauge
Source: image credit, Jordan Meadows.

develop
92 developing key themes: ford mustang case study, part 1
chapter 6

DeVelop
Developing Key Themes:
Ford Mustang Case Study, Part 1

In Chapter 5 we talked about Once the key themes have been

 case stuDy FORD how selecting key directions selected, one can then begin the
MUSTANG ExTERIOR, PART 1 and identifying key themes are important process of refining and
important in the process. We (developing) those key themes (see
 releasing THE WILD
learned through an exclusive Figure 6.0). In Chapter 6 we will
HORSE
interview with Hyundai and explore how this is done using the
 character Kia Chief Design Officer Peter example of the 2015 Ford Mustang.
DEVELOPMENT AND Schreyer how this is done. Once This project is a prime example of
PROCESSING IMAGERy
we’ve given ourselves several how key themes can be refined and
choices to choose from, we can developed because quite frankly a
 establishing AN narrow down to the strongest sporty coupe is the type of vehicle
ARCHITECTURAL AND VISUAL proposed directions. Many factors that almost everyone has some
FOUNDATION can contribute to the selection familiarity with. The discussion and
process but ultimately it’s focus can then shift away from the
 the maJor LEAGUE: governed by a design strategy for type of product and its attributes
DESIGN DEVELOPMENT IN that individual program. to the specific design execution
FULL-SIzE and (development) of the selected
themes.

DEVELOP
deVeloPing key themes: ford mustang case study, Part 1 93
case study

Ford Mustang Exterior

Part 1

 The word iconic can be an design work that is now on the

6.1 Mustang silver side view of overused term especially with road. The Mustang is not only a
2010 model and basis for design
development. It was agreed that the regard to some automobiles, but car but also a cultural artifact. It
replacement would be lower, wider, once in a while the description is a true piece of American pop
and more dynamic in almost every actually fits. There are few culture. This case study tells how
respect.
Source: image credit, Ford Design.
automobiles with historical and the design team updated and
cultural significance to rival the re-imagined a modern classic
Ford Mustang. Tackling this using the process of refining and
subject matter alone would be a developing key themes.
very daunting task for an individual
designer to take on. Fortunately, Releasing the Wild Horse
the process of designing any car In early 2009, discussions began
is almost always a team effort. to take place at Ford about how
In the example of the 2015 Ford the design team would tackle the
Mustang, this was very much the 50th anniversary of one of the
case! The final car was a seamless most popular cars the corporation
blend of the efforts of many had ever created. Ford Motor
talented team members. On that Company had done a remarkable
point, I’m proud to say I contributed job of outlining core vehicles that
to the program along with Tyler would deliver financial success
Blake and Kemal Curic as one of for the company by selling in
the three key exterior designers. volumes of upwards of 2 million
However, the entire design team units annually. Though these core
of Ford North America helped to products are essential, one cannot
deliver the sensational piece of mention Ford without also thinking

develop
94 developing key themes: ford mustang case study, part 1
Ford Mustang. The project would becomes very important when So it became clear very early on
debut at the 50th anniversary determining the shape of the what the car had to be: fast, fun,
of the brand. So everyone knew vehicle. Are you surfing through and attainable, ensuring a sense
it had to be nothing less than life? Are you slicing through the of freedom, expression, and
amazing. On top of that, the air? Mustang doesn’t do either: individualism.
project held a special place in the Mustang confronts and leaves an
hearts of our senior management impression, and how beautiful Coming up with keywords that
with the Ford family included—no is that! So understanding the an entire organization can rally
pressure whatsoever, right? It was narrative and aspirational around is very important in the
clear in these discussions that the motivations and goals revolving development process. The
project was going to be passion- around the customer is key. It’s keywords that defined the 2015
based, and elicit the A+ game not just about the numbers or Mustang were:
from all of the team members. the rational functionality. The
vehicle is a symbol of how you 1. Breaking Out
Character Development and want to move through the world 2. Masculine Cool
Processing Imagery and realize, or reaffirm, your 3. Power and Control
Mustang was beautiful because ideals. This is the thing that is
the car perfectly reflected the so unique and beautiful about Automobiles are unique in that
archetype ideals of the Sexy cars. They embody the poetry they portray a character. When
Rebel. It represented this fist of movement, a type of ballet. you develop an automobile, it’s
smashing through a glass And they can reflect our deepest sometimes helpful to imagine
plane. Breaking conventions, dreams and aspirations. and visualize a story that the
and leaving an impression. It (Angela Weltman, character is involved in. We’ve
also had to be cool. Not just cognitive psychologist, on explored these ideas in the first
any type of cool. Not like a researching Mustang) few chapters of this book. From a
rapper or a hipster, or someone historical standpoint, many on the
contemporary, but very much In Chapter 2 of this book we team always viewed the car as a
like Steve McQueen. That Steve discussed the importance of perfect fit for a Steve McQueen
McQueen reserved, masculine, analyzing and understanding character. Cool, sophisticated,
cool. Imagine McQueen’s heavy the wants and needs of the with a masculine confident
brow with calm eyes and strong, customer. With regard to the persona. If you’re a car lover and
chiseled jaw. That’s Mustang. Mustang, this was even more a movie lover such as myself, how
That’s the Sexy Rebel. The face important as Mustang owners could you ever forget the 1968
of the vehicle, with its heavy and customers tend to be very classic Bullitt? In fact, looking at
brow and reserved masculine passionate about the car that they the car, one can almost hear the
cool, confronts the air in a very purchased. Fortunately, the team score from Lalo Schifrin playing as
intentional way. Vertical and was comprosed of enthusiasts. In it cruises by.
flat, it busts through the air, a sense we were designing a car
like a fist. I would even argue for ourselves or at least something It had been decided by the
the taillights with the signature that we would always want to have. program development team quite
verticals are like knuckles. This made the process of engaging early on that the next generation
They leave an impression on customers to elicit their insights Mustang would not just simply
the viewer and in the air. And and wants and needs for a new be a better pony car. From an
again, this is the Sexy Rebel, Mustang relatively easy. On the one engineering standpoint, the group
wanting to confront and leave a hand, the Mustang is a car created wanted to focus on benchmarks
mark. With Mustang, it’s so clear by enthusiasts for enthusiasts. But that were at least a class above;
that a vehicle moves through we also had the ambition to expose for example, the Porsche 911 and
the world with great intention new customers and buyers to the other international competitors.
and communicates a driver’s wonder of the brand so they were It would be lighter, efficient and
aspirations. And how you move, also researched and interviewed in more intelligent from a technical
and what kind of impression great detail. perspective. So, in turn, looking
you want to leave, literally, forward we hoped that the

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developing key themes: ford mustang case study, part 1 95
Mustang would evolve to fit a
modern hero like a Ryan Gosling
or Brad Pitt character. All three
of these actors became quite
popular for being in action films
and are known for a unique
image. They balance their sexy
leading Hollywood male persona
with a sense of intelligence,
sophistication, and a mysterious
quality that makes them
enigmatic. And while they have
an international appeal for these
values, they are also considered
uniquely American.

The 50th anniversary Mustang

would be packed with technology
that would make it class-leading
and groundbreaking in many
respects. It would also be one
of the first Mustangs to go
international. In short, it would
be one of the most technically
advanced cars that Ford had
put to market. So much of the
imagery that was discussed and
developed and proposed for the
exterior of the car actually jelled
with the engineering that was
being developed within the car.

At this point the team had a

very clear understanding of the
voice of the customer and had
assigned some relevant imagery
to the program, so they could then
begin the process of shaping the
silhouette and architecture of the
vehicle.

Establishing an Architectural
and Visual Foundation
Vehicle packaging and vehicle
architecture are at the core of
any program. Establishing the
major compositional elements
will create a silhouette and a
centerline that can evoke a
mood in character as defined in
the stage we just discussed. It
will also establish the basics of

96
the user experience. Through At the same time, by mid-2010, A key decision was made at a
intensive customer research with the designers began the process high level that the next Mustang
enthusiasts, everyone understood of sketch work developing the would have a contemporary
that the Mustang had to have a look and feel of how the next face that would convey a sense
long hood, short deck, and low generation Mustang would appear of masculine cool, power, and
roof. An aggressive stance was a (Figures 6.2–6.5). At this point control, rather than evoking
key to success. At the same time in time, design management had heritage the way the 2005
there was a goal to make the car done a fantastic job of creating Mustang did. The various design
lighter and more efficient than its consistency across Ford’s vehicle proposals that we produced
predecessor (see Figure 6.1). line. This was due to the fact that were all derived from this basic
most of the cars had a family direction: to lose a front bumper
This meant that the frontal area was resemblance to the front-end shelf and depart from something
going to be reduced so it could appearance. Central to this idea that every Mustang design had
perform in a more aerodynamically was a dominant trapezoidal done since 1964 (see Figures 6.6
efficient way. The team also opening with horizontal lighting and 6.7). In a sense we all knew
decided that the car needed to elements expressing precision and what type of face the car had to
be significantly lighter to perform technology. have; it had to be connected to
better. To evaluate these moves, Ford’s overall family, yet portray
the team generated proportional
studies where the existing design
was morphed to a new proportion
and package so that the challenges
could be understood in the
changes evaluated.


6.2 Mustang early-stage rear
view themes sketch, indicating
trademark try bar tail lamp and
tapering canopy
Source: image credit, Ford Design.


6.3 Mustang rear early-stage
study exploring an alternate
execution for rear graphics and
single frame side glass graphic
Source: image credit, Ford Design.


6.4 An early-stage Mustang
rear investigation exploring
an alternate rear and
composition
Source: image credit, Ford Design.


6.5 Top view Mustang design
 
themes sketch, indicating deep
6.6 Front three-quarter design 6.7 Influential Mustang
rear haunch and progressive
image displaying Mustang front three-quarter design
window graphics
character in a progressive image expressing front-end
Source: image credit, Ford Design.
way, yet without a typical front character
bumper offset Source: image credit,
Source: image credit, Ford Design.
Ford Design.

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developing key themes: ford mustang case study, part 1 97
 studio. Moving through the body
side, one of the proposals featured
a cleanly smooth A-line that ran
the length of the car and anchored
the side graphic. The aeronautical
roofline was a key feature the
design management wanted to
play as a link to the original ‘64. In
the C-pillar area, it included slots
and vents to also hearken back to
the original (see Figures 6.10–
6.12). This was complemented
by the traditional hockey-stick
element in the lower body-side,
another long-standing Mustang
cue. The modern and progressive
feeling of the proposal came
from the sculpted sheet metal
that was stretched in a taught
fashion between points of interest.
Other body side compositions
maintained a traditional haunch
over the rear wheel.

As the proposals took shape, it

quickly became evident that this
was a very different type of animal
that we were designing. Not just
because the design work was
different, or pretty darn good in
our collective opinion, but the
  package and architecture of the
6.8 Early-stage Mustang rear 6.9 Early-stage Mustang front vehicle were in fact substantially
three-quarter image exploring three-quarter image exploring different from the outgoing 2010
alternate rear and graphic dominant central trapezoidal
Source: image credit, Ford Design. opening model. The car was lower, wider,
Source: image credit, Ford Design. and more aggressive in terms of
how the layout was constructed.
The basic engineering group had
a uniquely Mustang character. To of sketch proposals were done done a fantastic job, evaluating all
honor the strategy, most of the and submitted from Ford’s various of the competitors and assembling
proposals that were created had studios around the globe. Many the basic architecture and
a very similar front-end. Through were hyper-modern and futuristic. package so that not only would
the body side, roof, and rear, Others were more contemporary it be best in class, it would be
the designers had the task of and some heritage-based (see truly inspirational from a design
interpreting Mustang’s signature Figures 6.8 and 6.9). We all perspective. It was almost as if the
elements and delivering them in a wanted to convey a sense of outgoing Mustang had been to the
fresh and compelling way. power through large intakes and gym and done lots of cardio and
As stated, the front-end was perhaps hood scoops. Through weights. So whatever means by
largely prescribed through successive editing reviews, the which we as designers were going
each designer interpreting the proposals were pared down to to dress the engineering package,
subject matter from their own three, coming mainly from the it was bound to look more athletic,
unique point of view. Hundreds Irvine studio and the Dearborn lean, agile, and fit for purpose.

develop
98 developing key themes: ford mustang case study, part 1
  
6.10 Mustang front three-quarter image 6.11 Early-stage Mustang design 6.12 An early-stage Mustang side
depicting dominant front trapezoidal image exploring an aeronautical view design image exploring a
opening that also explores headlamp roofline hearkening back to early linear body side treatment executed
graphics leaning forward in traditional generation Mustang fastbacks without a rear fender haunch
Mustang fashion Source: image credit, Ford Design. Source: image credit, Ford Design.
Source: image credit, Ford Design.

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developing key themes: ford mustang case study, part 1 99

6.13 Early-stage high-performance Mustang design exploration
featuring widened track and extreme aero treatments
Source: image credit, Ford Design.

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100 developing key themes: ford mustang case study, part 1
 develop
developing key themes: ford mustang case study, part 1 101

6.14 Early-stage high-performance Mustang design exploration illustrating progressive
aerodynamic spoiler treatment, traditional stripes graphics, and rear quarter light insert panel
Source: image credit, Ford Design.

The next few images show an like BMW, Audi, and Mercedes. At the least interested the thrill of
early-stage data model that was the same time, it had to be able to motorsports and competition,
completed in preparation to mill in compete with any fast and furious if only from accelerating from
quarter scale for executive review. competition that was coming out a green traffic light! We were
of Asia. However, the diehard aware that the basic themes we
When designing a vehicle, the American muscle car fanatics were creating had to appeal to
creative team will often explore could not be ignored. Although the a wide variety of people, not just
derivatives and special versions purist with a good understanding automotive enthusiasts. After all,
to get an idea of the bandwidth or of the history of the car would tell this is the same sheet metal that
scope of a proposal’s potential. you that there was a significant had to look good at home or on
This is important to evaluate a difference between a typical the Nürburgring or parked at a
theme’s ability to take on different muscle car and a pony car. What Hertz rental car lot. In fact, we
applications in the future. A vehicle this amounted to was the vehicle even joked that working on the
such as the Mustang needs to couldn’t be overly refined to lose a project in general was essentially
appeal to many different types of good deal of its wild horse, fun to designing the world’s coolest
customers. drive, character. For motor sports rental car! To stay fresh and
enthusiasts who happened to also enthusiastic as a designer, you
We all knew from the beginning of be the designers, this aspect of always have to look for ways to
the design process we wanted the the project was more than a bit of have fun while doing your work.
Mustang to be a worldlier car than fun (see Figures 6.13 and 6.14)! Imagining the next generation
any Mustang that came before. Mustang as a racecar definitely
From a performance perspective Most car designers are automotive provided ample opportunity to
it had to be the sort of machine enthusiasts at heart, and in turn accomplish that (see Figures 6.15
that could easily take on the most enthusiasts love racing and and 6.16).
likes of Autobahn cruisers from racecars. Part of the magic of
premium German manufacturers the Mustang is that it offers even

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102 developing key themes: ford mustang case study, part 1
 
6.15 Early-stage high-performance Mustang design 6.16 High-performance Mustang Design Study,
exploration featuring traditional auxiliary lamp illustrating progressive lower aero treatment and
inserts in grill graphic powerful hood bulge complete with upper air intakes
Source: image credit, Ford Design. Source: image credit, Ford Design.

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 
6.17 Members of a clay
sculpting team executing
Mustang Design Study, full-
sized model development;
the team often uses one
full-sized model to explore
two different theme
interpretations from one side
to the other
Source: image credit, Ford
Design.


6.18 Mustang Design
Study, model being milled at
one-to-one scale
Source: image credit, Ford
Design.

The Major League: Design process. This gives us the ability The creative chemistry of a car
Development in Full-Size to understand the relationship design studio ebbs and flows
A key milestone in every project of the sculpture and theme of between collaboration and
is the point the decision is made a vehicle to the engineering competition. There were dozens of
to go into full-size one-to-one requirements. Once a decision initial proposals for the Mustang.
clay model development. For is made, having those digital files Fewer scale models were
a designer it also represents allows the team to move quite achieved. And at this point the
a significant victory. The quickly to mill the digital data in a design group was down to three
management has decided that clay model. Ultimately, however, remaining full-size proposals.
the proposal and ideas warrant we as designers do not stand These three proposals would be
further investigation. A team next to a sketch or a data model. submitted to a market research
of clay modelers is assigned. The final output is a tangible event where the corporation would
Engineers begin study, object that can be experienced gain feedback on the acceptance
verification, and evaluation of in real life. There is no substitute of the design and guide next
the concept. Studio resources for sculpting, taking the model steps in the design development
are committed. Seemingly all outdoors, evaluating it and process. It is meant as an exercise
at once there’s lots of attention interrogating its qualities to every to inform our intuition and balance
placed on a designer. It’s a huge last detail. This process happens our gut reactions with scientific
endorsement but it’s also a again and again, developing data and research on what
friendly welcome to the hot seat. refinements and improvements, customers see in the design (see
It suddenly goes from being a incorporating information from Figure 6.21).
personal/individual investigation engineering. Reviewing it with your
to a corporate undertaking (see peers, taking it outside again and In addition to the customer
Figures 6.17 and 6.18). again, evolving, refining, refining! research clinics that the
This in fact IS the core of the car organization coordinates, there’s a
Along with sketching, many design endeavor (see Figures 6.19 good deal of internal debating and
designers at Ford prefer to work and 6.20). discussion that goes on regarding
in virtual 3-D quite early on in the the various theme proposals by

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designers and senior management
outside of design. As you can
imagine with a car as important
as the next generation Mustang,
there are a lot of opinions to
weigh and a designer must be
ready to hear them all. Intuition
and passion are at the core of
this discussion. And as most of
us are automotive enthusiasts,
we’ve got the customers’ wishes
in mind. After all, everyone working
on the program actually wanted
to buy the car. The corporation
prioritizes the satisfaction of
the user and considers dealers
an integral part of marketing a
vehicle. As a result, the dealer
council is also asked to weigh in
on forthcoming products and their
collective opinion is valued. This
is the case in almost every major
automotive manufacturer. Dealers
are in fact on the front line of the
marketplace and do have a unique
feel for customer tastes, wants,
and needs. One of the talking
points that rose to the front of this
discussion was the fine line and
balancing act of whether the future
Mustang was to be evolutionary or
revolutionary.


6.19 Jordan Meadows taping rear
tail lamp graphics on clay model
proposal, Mustang Design Study
Source: image credit, Ford Design.


6.20 Mustang Design Study,
clay model development work in
progress, complete with tape lines
and graphics indicating alterations
and changes
Source: image credit, Ford Design.


6.21 Mustang Design Study,
clay model prepared with dynoc
treatment for management review
Source: image credit, Ford Design.
Ultimately, design came back
with the thought that in the case
of premium brands like Porsche,
for example, there is clearly an
evolutionary approach. With so
much history supporting this
point of view, the theory was to
remain true to one self and be
the best version of that, rather
than chasing trends and playing
the competitors’ game. Added to
this was the fact that the 2015
Mustang had significantly better
proportions than the existing
car: lower, wider, etc. The longer
hood and sportier stance were
remarkably more athletic and
efficient-looking than both the
car it would replace and those of
external competitors. In addition to
this, the car would outperform the
existing Mustang by every measure
technically. The new car by our
hypothesis would also conquer
new customers from import
manufacturers as well, due to its
evolved, more premium, look and
feel. As the discussion continued,
these points were made evident
in the design through sleepless
nights, sweat and tears, tape,
sketches, so on and so forth, as
the refinement process continued
(see Figures 6.22–6.24).


6.22 Mustang Design Study,
clay model study prepared with
dynoc, undergoing proportional
alterations and changes
indicated with tape
Source: image credit, Ford Design.


6.23 Mustang Design Study, rear
end study undergoing clay model
milling operation
Source: image credit, Ford Design.


6.24 Mustang Design Study,
one-to-one clay model, receiving
an updated milling and detail
Source: image credit, Ford Design.

7.0 Process locator gauge
Source: image credit, Jordan Meadows.

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chapter 7

select
Refining Proposals and Making a Final Selection:
Ford Mustang Case Study, Part 2

Refining Proposals and Making Different organizations have

 refining PROPOSALS a Final Selection various methods for arriving at a
AND MAKING A FINAL This chapter will explore how an selection. However, the brand,
SELECTION organization makes a final choice customer wants and needs,
on a product to move forward technical assumptions, and design
 case stuDy FORD into production. In a sense this goals all weigh heavily in the
MUSTANG, PART 2 is the culmination of all of the decision process. For the sake of
 creating AN INITIAL various processes and efforts continuity, we will continue with
DESIGN PROTOTyPE
and development that have the Mustang as a case study of
gone before it. This is the point how an organization goes through
 final THEME SELECTION when a team of decision-makers a selection process (see Figure
must consider the marketplace 7.0).
 the FINAL CUT opportunity, target customers, and
carefully decide which one of the
proposals will best suit their wants
and needs.

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case study

Ford Mustang
Part 2

7.1 Mustang Design Study, front Chapter 6 was dedicated to a ingredients and challenged to
three-quarter comparison of final case study on the evolution and make similar dishes but executed
proposals leading toward final
selection development of a design proposal in different ways. Millimeters
Source: image credit, Ford Design. for the 2015 Ford Mustang. After a mattered. They each evoked
good deal of work, much of which distinct moods and feelings based
parallels the processes outlined on the execution of their design.
in this book, the corporation was The time had come in the process
down to three final proposals to select one to concentrate on as
(see Figures 7.1 and 7.2). The this would be the single proposal
design of these three proposals released to engineering for
was vetted from a technical production.
standpoint. Through an iterative
process of analog clay modeling, Ford Motor Company uses a
digital milling, and graphic combination of many different
enhancements and developments, factors to select a theme to go
the design office had arrived at into production. They include
three proposals that everyone felt qualitative and quantitative market
quite comfortable with. Because research and recommendations
the Mustang has a good degree from various internal organizations
of history, and is composed of such as Design, Engineering,
signature cues like the three- Manufacturing, and Marketing.
slot tail lamps, side scoops, and Senior leadership intuition and
fastback roofline, much of the expertise are also combined with
design elements were set in place. these inputs to make a decision.
The corporation had also made a The process is lengthy and
key decision to take the front-end involves due diligence around
design in a particular way that multiple factors, technical rigor,
related the car to its overall and exploration of different
family of products. In this regard possibilities. From this point
it was almost like participating forward a massive amount of
in a cooking competition where coordination and funding is
three chefs were given the same needed to put a vehicle on the

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
7.2 Mustang Design Study, rear
three-quarter comparison of final
proposals leading toward final
selection
Source: image credit, Ford Design.

road for the purchasing public,

and much care is taken to get that
decision right.

Creating an Initial Design

Prototype
Once the design is frozen, a
preproduction model must be
prepared for theme selection
and evaluation. This is commonly
referred to as a hard model or
prototype, since they are most
often constructed in fiberglass
or resin or some sort of durable
material that can be transported
while maintaining dimensional
fidelity. Every aspect of the model
is meant to communicate the
intention for production. It’s often
said that the devil lies in the details
and in this case it’s very true (see
Figures 7.3–7.9). A successful
automobile is a collection of
hundreds of different parts, each
with their own design content.
Managing each one requires
skill, talent, and expertise in the
 
coordination of a team working 7.3 Mustang Design Study, 7.4 Mustang Design Study,
together very well. illustration of the signature sequential exploded view illustration of tail light
tail lamp feature construction for design prototype
Source: image credit, Ford Design. Source: image credit, Ford Design.
While most of the time and energy
is going into executing the hard

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  
7.5 Mustang Design Study, work- 7.8 Mustang Design Study,
in-progress prototype grill insert prototype hard model foam
featuring pony badge integration armature in process of being
Source: image credit, Ford Design. milled
Source: image credit, Ford Design.

7.6 Mustang Design Study, 
prototype hard model being 7.9 Mustang Design Study,
prepared for surface milling prototype being prepared for final
Source: image credit, Ford Design. painting and assembly
Source: image credit, Ford Design.

7.7 Mustang Design Study,
prototype grill inserts featuring
possible lamp integration
Source: image credit, Ford Design.

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112 refining proposals: ford mustang case study, part 2
model for evaluation and selection,
there is also a significant amount
of work in pursuing variations
of the theme. A successful car
is the result of many individual
subordinate parts all harmoniously
blended together. Changing one
of these can alter the impression
of the car altogether. One of the
key features that was debated
and discussed involved a single
continuous line without a haunch
running from start to finish of the
vehicle. This gave a clean, concise
impression to the body side; in a
sense it also hearkened back to
the 2005 car. The following series
of images explored what that
composition would look like with
a more traditional haunch over the
rear fender (see Figures 7.10 and
7.11).

Final Theme Selection

After the Mustang development
team had conducted extensive
qualitative, quantitative consumer
and market research, a decision
was made to pursue a direction.
However, it was quite clear that
further design development
needed to take place. In Ford

corporate terms, we had arrived at 7.10 Mustang Design Study,
a “Go for One” decision. The team illustrated without rear fender
would be recomposed and efforts haunch treatment
Source: image credit, Ford Design.
would now be focused on a single seen as hearkening back to the
proposal (see Figures 7.12–7.21). outgoing car and classical. The 
composition would keep the body 7.11 Mustang Design Study,
explored with rear fender haunch
After the research event, the side and aero-efficient approach treatment
designers were asked to do a to the roofline from some of the Source: image credit, Ford Design.
blend of the best attributes of initial proposals but adding a rear
all the submitted proposals. The haunch. Finally, a graphic coast-
following series of images were to-coast Mustang element would
shown to management as a finish off the rear and reference
proposal for a blend of the various classic Mustangs of the past; this
elements that would make for a also helped to reinforce a Mustang
fourth theme to go forward into impression as we had chosen to
production (Figure 7.22). Of note, edit the cues elsewhere, such as
the front-end development was the hockey-stick element on the
the most aggressive version of side and signature rear quarter
what we attempted but without vents in the B-pillar area. Through
the running lamps that were a series of ongoing discussions,

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 
7.14 Mustang Design Study, side view
comparison of one of the final themes
considered for production, highlighting
 the development and evolution versus the
7.12 Mustang Design Study, front three-quarter outgoing car
image of one of the final themes considered Source: image credit, Ford Design.
for production, highlighting forward-swept
headlamps and vertical side vents
Source: image credit, Ford Design.


7.13 Mustang Design Study, rear three-quarter
image of one of the final themes considered for
production, highlighting an aeronautical roofline
and body color treatment between rear tail lamps
Source: image credit, Ford Design.

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  
7.15 Mustang Design Study, rear 7.16 Mustang Design Study, front 7.17 Mustang Design Study, side
three-quarter image of one of the final three-quarter image depicting one view comparison of one of the final
themes considered for production, of the final themes considered for themes considered for production,
highlighting a tall proportion to the production, highlighting rear-swept highlighting the development and
signature three-bar tail lamps headlamps and full hood sections evolution versus the outgoing car
Source: image credit, Ford Design. Source: image credit, Ford Design. Source: image credit, Ford Design.

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  
7.18 Mustang Design Study, front 7.19 Mustang Design Study, rear three- 7.20 Mustang Design Study, side view
three-quarter image of one of the final quarter image depicting one of the final comparison depicting one of the final
themes considered for production, themes considered for production, themes considered for production,
highlighting angular sections and featuring a horizontal black graphic highlighting the development and
unified lower graphics unifying the signature three-bar tail lamps evolution versus the outgoing car
Source: image credit, Ford Design. Source: image credit, Ford Design. Source: image credit, Ford Design.

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 
7.22 Mustang Design Study, rear three-
quarter top view of post-selection theme,
the engineering group developed the various inputs continued blending key attributes combined to
more proportional modifications to as the group moved forward. create a unified proposal
Source: image credit, Ford Design.
make the layout and architecture For example, many on the team
of the Mustang even stronger. The loved the coast-to-coast graphic
track was increased to allow for that encapsulated the three-bar from the outgoing car to appease
more sculpture in the body side. elements in an aeronautical the concerns of the car appearing
This also gave us the room to fashion. We likened them to too similar or too evolutionary. The
create more drama, sculpture, and afterburners on a jet. In the rear final daylight opening (DLO) was
visual impact by the addition of quarter we arrived at a solution an edit done with this in mind.
very generous fenders. that would allow personalization This would eliminate the traditional
and altering the center panels for Mustang B-pillar or vent treatment
On the design side, the team color versus all glass. Most of the (Figure 7.23). A decision was
rallied around the selected themes that were executed had made to also do without the round
theme, contributing to a collective a rear haunch over the rear axle. rally style lamps located in the
proposal that combined input from Ultimately the decision was made main grill opening as this was also
the best aspects of proposals to go with it in the final production seen to be a carryover element
up to that point in the process. model. Also, we decided to go from the outgoing car. Finally, to
The evolution and distilling of with a contemporary approach complete the composition, we
to the sill feature rather than went with the front end proportion
having a traditional Mustang and execution that mostly related
 hockey stick. The final blend to the Dearborn theme but
7.21 Mustang Design Study, side view was quickly taking shape. Senior integrated developments and
comparisons of the final three themes
which were considered for production management requested that we enhancements from the other
Source: image credit, Ford Design. should strongly indicate a change designers in the lower fascia.

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
7.23 Mustang Design Study, rear three-quarter top view of post-
selection theme, blending key attributes combined to create a
unified proposal
Source: image credit, Ford Design.

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
7.24 The final production
Mustang released to the
public seamlessly blending
the hard work and passion
of a group of dedicated
professionals
Source: image credit, Ford
Design.
 The Final Cut
After receiving various inputs from
the design team and blending
the best attributes, the Mustang
design leadership had arrived at
a final composition. This point
in the process is known as a
design freeze. This also marks
the point that the selected theme
is released to the engineering
group for the process of feasibility
and production execution. This
is the stage of the game where
collaboration between the creative
teams and the engineering teams
is most crucial. Again, the devil
is in the details—with regard to
final design execution this is very
much the case! While delivering
the sensational-looking car that
was expected, the team was also
well aware that the Mustang had
to have fantastic craftsmanship.
It needed to communicate the
progressive technology that it
offered. Much of this was done
with the detailing component
design: elements like the lights
on the front and rear, for example.
They retain the traditional
three-bar graphic element. This
was a traditional Mustang cue that
the design team felt strongly about
keeping. However, they use new
materials, textures, and finishes to
convey a fresh, modern feel.

The design team continues to

evolve and develop clay models
that represent the production
intent. A team of engineers,
marketing people, and designers
and manufacturing representatives
are constantly evaluating these
clay models, monitoring minute
details, ensuring that these
changes can be processed and
manufactured. These clay models
 are then used to develop a second
7.25 Rear detail view of signature round of highly detailed hard
three-bar tail lamps from final
production Mustang
models and prototypes. These
Source: image credit, Ford Design. models are then sent for final

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124 refining proposals: ford mustang case study, part 2
review with senior management,
dealers, and are also evaluated by
customers in research clinics for
market acceptance. The process
of designing a car is a lengthy one
that can take years. These ongoing
evaluations ensure that the group
is on track to deliver what they set
out to do at the beginning of the
program.

With some projects where there

is a good deal of passion, the
team can actually over-achieve.
Such was the case with the final
rendition of the Mustang that was
prepared for production. The
feedback to these final reviews
was exactly what was hoped for
by the team. They had created
a fast, fun, attainable car with a
sensational appearance. This was
a result of great collaboration by
talented enthusiasts.

The Mustang is not only a car

but also a cultural artifact, a true
piece of American pop culture. So
in that spirit we revealed the car
at several high profile locations
around the globe such as Times
Square in New York, and TCL's
Chinese Theatre in Hollywood. I
can only hope to contribute to a
car as significant as this again,
but it’s safe to say I probably won’t
see a design I helped with on that
famous red carpet. It was truly
a once-in-a-lifetime experience 
7.26 Front three-quarter view of
that I’m grateful to have had the production Mustang
opportunity to enjoy (see Figures Source: image credit, Ford Design.
7.24–7.27).

7.27 Rear three-quarter view of
Acknowledgments production Mustang
Special thanks to: Raj Nair, Derek Source: image credit, Ford Design.
Kuzak, J. Mays, Moray Callum,
Freeman Thomas, Joel Piaskowski,
Darrell Beamer, Tim Boyd, Greg
Hutting, Shelby Faulhaber, John
Clinard, Francesca Montini, Craig von
Essen, Jennifer Flake, and the entire
PD and Communications teams at
Ford Motor Company!

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
8.0 Process locator gauge
Source: image credit, Jordan Meadows.

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126 bringing ideas together
chapter 8

Synthesize
Bringing Ideas Together, Component Design,
and the Application of UX

Bringing Ideas Together, Mustang user. Be it trains, planes,

 Bringing Ideas Creating an Overall Composition motorcycles, or boats, all forms of
Together, Creating an In the previous chapters of this vehicle design require that teams
Overall Composition book we have discussed the seamlessly blend multiple work
evolution and selection of a key streams to create one holistic
 UX (User Experience) theme for a vehicle. Deep diving product (see Figure 8.0).
Design in Overview into the 2015 Mustang as an
 Experiences in example, we followed how a This chapter is dedicated to the
Motion: UX for
product development team came art and science of blending those
to select an exterior design for different disciplines. It represents
Vehicles
production. Theme selection a point in the journey where the
 Strategies and represents a point in the creative designers must become intensely
Methods for Vehicle journey where all the conceptual focused on delivering an impactful
UX development that came before is UX (User Experience). UX design
given a level of solidity. However, is a term common in almost all
 Looking Forward: after a lengthy process involving forms of commercial design and in
Unique Opportunities a broad team, the group is some regards is quite broad. The
committed to only one, albeit very field is fast-moving and involves an
 Case Study Jeep Willys
important, aspect of the vehicle’s appreciation of all the constituent
Concept, Component design. parts required for a meaningful
Design encounter with a product. In fact,
Vehicles are incredibly complex one could spend an entire career
by nature. And they involve dedicated specifically to UX
the development of multiple design. Though it is placed here
simultaneous work streams. in this book to show how different
With regard to the Mustang, work streams can be merged, the
for example, a similarly intense actual UX process began with a
effort was conducted for the thorough user analysis that we
interior of the vehicle in parallel discussed in Chapter 2. However,
with the exterior. And similarly, the focus of this chapter is to
there were very comprehensive cover the field in general overview,
efforts dedicated to performance relating specifically to vehicles.
and engineering aspects of And while the term itself is quite
the vehicle. All of these would broad, it has specific applications
combine to deliver a unique and to aesthetic principles in
meaningful experience for the transportation design.

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bringing ideas together 127

8.1 Jeep Willys concept, featuring an all-weather interior seating concept
eliminating traditional upholstery and trim
Source: image credit, FCA/Jeep Design.

Vehicles are an assemblage of UX (User Experience) Design in The area of focus came as an
many different products. They Overview outgrowth of the study of human
require a symphony of creative What is UX design and how does factors and ergonomics in
efforts. Each part must be it specifically relate to vehicles? industrial and product design.
designed individually with merits Due to the wide usage of the term During the latter half of the
on its own, yet seamlessly and and the fact that it encompasses twentieth century as products
harmoniously integrate with the many things potentially, it’s quite became more technologically
other parts to create a cohesive easy to be confused and get lost advanced, the field evolved
statement. This requires special in the subject. However, the true specifically with regard to human–
strategies and techniques for focus is quite simple. UX design machine interfaces (HMI).
blending coordinated elements is the practice of enhancing user The proliferation of consumer-
to form a vehicle that delivers its satisfaction by generating and electronics then mandated a
intended experience. developing systems to add value specific level of focus on graphical
to a user’s interaction with the user interfaces (GUI) and how
vehicle. information is communicated

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128 bringing ideas together
 
8.2 Jeep Willys concept, interior theme
vision sketch by Jordan Meadows, featuring a
composition balancing traditional center gauge
cluster with progressive components, such as
the seating and recycled materials to deliver an
eco-friendly, fun, off-road experience
Source: image credit, FCA/Jeep Design.

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bringing ideas together 129
through GUI. Presently, due to of gauge clusters, the HVAC 
the amount of design required controls, and literally every aspect 8.3 Jeep Willys concept, excerpts
from the build sketch book by Jordan
for web-based and mobile of the vehicle that a user might Meadows, featuring steering wheel,
applications, the field has grown to come in contact with (see Figures door trim, seating, and instrument
encompass these areas of focus 8.3 and 8.4). UX covers not only panel component callouts
Source: image credit, FCA/Jeep Design.
as well. Though the roots of UX what specifically is seen on every
have been around for quite some screen in a vehicle, it also involves 
time, the actual term was coined information architecture and the 8.4 Jeep Willys concept, excerpts
graphic communication of every from the build sketch book by
by Don Norman in the original
Jordan Meadows, featuring rear
edition of his book, The Design of function the vehicle provides. One lighting details, HVAC controls and
Everyday Things.1 It’s a must read can then quickly see that with a retractable GPS navigation screen
for any designer involved in a field product as complex as a vehicle, Source: image credit, FCA/Jeep Design.

where UX is crucial, as currently effectively designing the UX is 

the term has been stretched to crucial to its success. 8.5 Jeep Willys concept, interior
include nearly every aspect of how seen here with removable seating
covers
a user interacts with a product. Experiences in Motion: Source: image credit, FCA/Jeep Design.
UX for Vehicles
In terms of hardware, UX is most While UX design becomes highly
relevant and applicable to interior impactful in interiors, it expands to
design with regard to vehicles. all aspects of a vehicle’s design 8.5 and 8.6). In some cases,
It has specific impact to the HMI and how it is used. This also such as motorcycles, there is
within the vehicle (see Figures includes the exterior. And since no boundary at all. The exterior
8.1 and 8.2). By extension it also we understand now that vehicles design of daylight openings that
includes nearly every ergonomic are by nature a collection of many have an enormous impact on a
equation and touch point. This related products that have to work graphic read of the outside of
goes from the thickness of the well together, exterior function the vehicle will also impact the
steering wheel and how many must be informed by interiors user experience that the driver
buttons are on it, to the types and vice versa (see Figures and occupants have by seeing

synthesize
130 bringing ideas together
 synthesize
bringing ideas together 131

8.6 Jeep Willys concept, rear three-quarter top view, illustrating harmonious
blend of interior and exterior designed for a dedicated user experience. The
concept makes use of lightweight aluminum and recycled plastic materials that are
communicated in its design semantics with consistency throughout the vehicle
Source: image credit, FCA/Jeep Design.

out of it. Each subcomponent on opportunity for pedestrians and meaningful experience. Harley-
the exterior offers an opportunity other drivers to have a unique Davidson takes this idea very
for a unique UX. An exterior experience with that vehicle. seriously with regards to the
door handle not only allows for For example, the sequential sound of its motors. Conversely,
entry into the machine, it also illumination on a Mustang’s tail Tesla trades on the fact that it
has a haptic quality. It’s a crucial lamp as it indicates a turn is a delivers hardly any sound or
touch point that communicates a memorable moment for any other vibration owing to its lack of a
certain tactile message. Lighting driver viewing the car. combustion powertrain. Both are
features can bring a jewel-like not only crucial user experiences
sense of precision, detailed scale, Along with shape and light, sound directly aligned with the product
and visual interest to the corner is an undeniably important aspect narrative, but also expressions
of a vehicle. They are also an of delivering a memorable and of the brand. Entry and egress

synthesize
132 bringing ideas together
features and door systems are possible, they should also provide a common target. With this
also crucial areas for UX. One of haptic feedback and redundant established, it’s good to then
the key selling points of a Jeep indications of usage. For instance, take another look at the aesthetic
is its removable roof, doors, and gear shift and PRNDL levers that objectives and consider how they
the functionality and enjoyment make a precise sound and have relate specifically to the UX. Image
that provides. Doors not only weight and limited resistance, are boards and visual inspirations
provide a means for entering preferable. Crucial controls such can be quite valuable at this
the vehicle, they are a threshold as lighting and indicators should point in the process. Typically,
for UX. In fact, any transition always have an analog switch that many choices on color, graphic
point in a designed object is an the driver can touch, feel, and composition, and even font/
opportunity to make a statement. acknowledge when in use. type choice can be informed
When taken altogether, these by a good image board. Finally,
various statements should ideally In addition to this, UX design for get reacquainted with any
be interwoven and arranged to vehicles needs to be seamless. storyboarding that has previously
form a harmonious and satisfying The graphic aesthetic and family of been executed. They were the
expression of the product shapes given to the forms should early steps of this exercise.
narrative and brand. be cohesive with the overall EMPATHY and understanding
look and feel of the vehicle. This how the user needs to FEEL will
UX design for vehicles also poses communicates a sense of unity be crucial in developing your UX!
unique challenges and concerns. and craftsmanship important
Because vehicles are in motion for eliciting trust and ease from Dive deeper into any pre-existing
and potentially dangerous, safety the driver. The controls and data storyboarding to create a detailed
and regulatory issues are a top points should also be seamless journey map. This can be as
priority. Designers need to provide in their ability to integrate external basic as a list of all the functional
crucial information while not applications. Users require the objectives a user may want to
posing a hazardous distraction. ability to accommodate various achieve in chronological order.
The flow of information, its mobile and external devices. It’s important to be as detailed as
intended usage and interaction Finally, all the technology-based possible, deconstructing any and
must be intuitive. Usability and aspects of UX for vehicles should every desired task and function.
ease of operation are of the utmost be in some way upgradable. This journey map can be verbal
importance so drivers can access Vehicle development timeframes or visual but it should ideally be
relevant data and info while are typically much longer than both. It should also begin with
maintaining safe command of the consumer-electronic development the user’s intention, and conclude
machine. To accomplish this, it’s timeframes. Users want and with how they achieve it. It is also
best to use a primary, secondary, need the ability to mitigate the crucial to note any point along
and subordinate strategy for difference, updating tech-based the way that poses a challenge
the delivery of key information. elements without changing the or obstacle. Eliminating these
For example, vehicle speed entire vehicle. points of frustration is very much
should always be the largest and the goal at this stage of the
most legible bit of information Strategies and Methods for game. This is when designers
communicated as close to the Vehicle UX employ good old-fashioned
basic occupant sightlines while When embarking on the process problem-solving to enhance
driving. Secondary information of developing the UX design user satisfaction and create
such as temperature and engine for any vehicle, it’s best to ideal outcomes. Necessity is the
performance should be all re-familiarize yourself with the mother of invention. In generating
delivered with less priority. Third, overall vehicle design brief. a journey map, a designer should
subordinate details such as Coordination and harmony with be seeking any point along the
entertainment can be smallest the overall theme are the results process where the user finds that
and furthest away from the of a good understanding of the necessities are not provided for
driver’s line of sight. Additionally, established user persona and (see Figure 8.7).
key controls should be durable, narrative. After all, every aspect
robust, and reliable. Where of the vehicle should share

synthesize
bringing ideas together 133
 
8.7 Example of the journey map containing the essential usage
channels, touch points, and emotional reactions. The lower section of
the chart outlines opportunities for design solutions. Journey mapping
should always be done with a clear understanding of an intended user.
SOURCE: IMAGE CREDIT, JORDAN MEADOWS.

SYNTHESIZE
134 bringing ideas together
 SYNTHESIZE
bringing ideas together 135
Once a detailed journey map has Once prototypes or mockups Note
been created, one should then have been created, one can then 1 Norman, Don. The Design of
create an audit of existing assets. conduct simulations to fine-tune Everyday Things (New York: Basic
This will include any ergonomic the experience and flow. Finally, Books, 2002).
and fixed hardware elements of the continue to evaluate and make
vehicle package already provided. sure that the solutions are aligned
It may also include any pre-existing with the initial goal and product
graphical user interfaces, screens, narrative.
cameras, speakers, and audio
communication devices. Once Looking Forward: Unique
an audit of existing assets has Opportunities
been concluded, any additional One of the things that makes
elements required to accomplish vehicles both special and exciting
the intended task can be to design is that they offer the
proposed. opportunity to use multiple
products coordinated together
With this in place, one can then to provide an intended outcome.
begin to generate key framing In this regard it’s similar to music
and system mapping for the in that a conductor organizes
graphical user interfaces (GUI). different instrument sections
This is effectively sketching out the to arrange a composition. UX
interaction framework and high- design is very similar in that the
level structure of screen layouts designer is ultimately using all the
along with the various product available components of a vehicle
flow, behavior, and organization. to deliver user satisfaction. It is
In essence, you’re creating a very much a craft of harmonious
sequence of key frame instructions integration. The design brief
to guide the user through an ideal and product narrative inform
sequence of events. For example, the process at every step of the
when the key fob button is way. As vehicles become more
touched, the interior lighting in the complex and integrate new and
vehicle can gradually illuminate. emergent technologies, the UX
The center console screen can will become ever more important
then welcome the driver by name to their success, effectively adding
and ask what type of music they an exciting layer of interaction
would like. Then when the key is to the aesthetic principles of
inserted into the ignition, or the transportation design. However,
start button has been pressed, the good UX design can also be
lighting can slowly decrease while low tech and very much about
the vehicle exterior running lights simple back-to-basics fun. Figures
can automatically turn on. Then 8.8–8.20 are an example of
the infotainment system begins synthesized elements forming
to automatically play the driver’s the components of a Jeep
preferred music selection. Willys Concept: Component
Design Case Study experience.
Once the wireframe order of They include excerpts from a
operations and all of the necessary build sketch book which is an
assets have been coordinated to essential part of completing the
create an ideal flow, critique the componentry design in a vehicle,
UX sharing with one’s peers to and also synthesizing all of its
hone and develop every aspect so varied parts.
it is user-friendly and seamless.

synthesize
136 bringing ideas together
case study

Jeep Willys Concept

Component Design


8.8 Jeep Willys concept, exterior front Provided on the coming pages
view featuring its unmistakable DNA are excerpts from the build sketch
Source: image credit, FCA/Jeep Design. book by Jordan Meadows for the
Jeep Willys concept (see Figures
8.8–8.20).

synthesize
bringing ideas together 137
 synthesize
138 bringing ideas together

8.9 Jeep Willys concept,
exterior theme sketches
by Jordan Meadows,
designed for the young
and the young at heart,
the exterior composition
is meant to communicate
core Jeep values
delivered in a progressive
way, providing the
user with a means to
experience off-roading in
an eco-friendly way
Source: image credit,
FCA/Jeep Design.


8.10 Jeep Willys concept,
exterior front three-
quarter view, seen here
fitted with hard top and
multifunctional roof rack
system
Source: image credit,
FCA/Jeep Design.


8.11 Jeep Willys concept,
excerpts from the build
sketch book by Jordan
Meadows, featuring rear
lighting tow hook and
lower fascia exhaust
details
Source: image credit,
FCA/Jeep Design. 
8.12 Jeep Willys concept, exterior rear three-quarter upper view, seen
here fitted with hard top and multifunctional roof rack system
Source: image credit, FCA/Jeep Design.
 synthesize
140 bringing ideas together
 
8.13 Jeep Willys concept, excerpts from
the build sketch book by Jordan Meadows,
featuring tracking wiper system, fuel filler
cap, and rocker step detail
Source: image credit, FCA/Jeep Design.

synthesize
bringing ideas together 141

8.14 Jeep Willys concept, excerpts from the build sketch
book by Jordan Meadows, featuring exploded view of
headlight details, and grill inserts
Source: image credit, FCA/Jeep Design.


8.15 Jeep Willys concept, excerpts
from the build sketch book by
Jordan Meadows, featuring antenna,
lighting, and grill mesh inserts
Source: image credit, FCA/Jeep Design.


8.16 Jeep Willys concept, excerpts
from the build sketch book by
Jordan Meadows, featuring
perforated header visor concept.
This component allows for angle
visibility to see traffic lights, etc.
while maintaining an upright
windshield beneficial for off-road.
The perforations also reinforce and
communicate the idea of lightness
expressed with consistency on
every aspect of the vehicle.
Source: image credit, FCA/Jeep Design.

synthesize
142 bringing ideas together
 synthesize
bringing ideas together 143
 synthesize
144 bringing ideas together

8.17 Jeep Willys concept,
excerpts from the build
sketch book by Jordan
Meadows, featuring
rearview mirror and hood
vent details
Source: image credit, FCA/
Jeep Design.


8.18 Jeep Willys concept,
exterior rear view,
seen here in open top
configuration featuring
lightweight aluminum
frame construction made
visible through the rollbars
and rear compartment
tie-down rails
Source: image credit, FCA/
Jeep Design.


8.19 Jeep Willys concept,
excerpts from the build
sketch book by Jordan
Meadows, featuring
multifunctional roof rack
system
Source: image credit, FCA/
Jeep Design.


8.20 Jeep Willys concept, exterior detail seen here featuring gray tires.
Building on the core value of treading lightly, the gray tire concept allows the
user to experience nature without leaving unsightly dark rubber marks on it.
Source: image credit, FCA/Jeep Design.

9.0 Process locator gauge
Source: image credit, Jordan Meadows.

model
146 making it happen and translation to digital and 3-d
chapter 9

Model
Making It Happen and Translation to Digital and 3-D

Making It Happen! The design process is a series of

 Making It Happen! One should never underestimate decisions made in a sequential
the power and impression a way to achieve a desired goal and
 Virtual 3-D and the
beautiful object gives when objective. Each step along the
Digital Design Process
experienced in person. Ultimately way has meaning and importance.
 Digital Sketch our goal as designers is to create Three-dimensional models are
Modeling a meaningful experience for a user. essential to the creative process,
The centerpiece of that experience aiding in the decision-making
 Three-Dimensional is the object. It is the means for necessary to advance a design.
Data Development delivering the feelings and ideas Model-making is critical to
of its creator to its user. To put it validating an idea and gaining an
 Rapid Validation Mock-
bluntly, it’s a physical 3-D world understanding of how a theoretical
ups
we live in, and designers are the concept can be applied in a real-
 Case Study Clay arbiters of taste and judgment world setting. This step of the
Modeling, Mazda Kiora with regard to the objects we journey is incredibly important
Concept
experience in it. as it is the key point where all
the thoughts, ideas, imagery,
 3-D Printing, Rapid In the previous chapters of this and sketch-work generated are
Prototyping, and Hard book we have spoken about the transferred into a three-dimensional
Model Fabrication synthesis and refinement of the reality.
chosen theme. Having then defined
 Deployment a direction, we also discussed Trained and talented professionals
Strategies for how multiple work streams with can dedicate an entire career to the
Different Types of regard to the interior, exterior, and craft. This chapter covers a broad
Model-Making the UX can be integrated. In this overview of the different types
chapter we will backtrack slightly most relevant to transportation
to more deeply understand the and vehicle design. And while
idea of how specifically concepts model-making is not the primary
become a tangible 3-D reality. focus of most designers, it’s
Various forms of model-making crucial to understand the basics of
appear throughout the design how an image becomes a three-
process; we are concentrating dimensional reality. This chapter will
on them at this point, however, as also cover deployment strategies
it generally proves most relevant for different types of model-making,
once intention has been defined providing insight into when and how
(see Figure 9.0.) they should be used.

model
making it happen and translation to digital and 3-d 147
 
9.1 MetalBack Café Racer, digital sketch 9.2 MetalBack Café Racer, digital sketch
model, seen here blending wireframe model, seen here in orthographic views
data and semi-rendered surfaces Source: image credit, Jordan Meadows.
Source: image credit, Jordan Meadows.

model
148 making it happen and translation to digital and 3-d
Virtual 3-D and the Digital mathematical data to define
Design Process the height, width, and depth
Around the globe, transportation coordinates of a virtual three-
design studios rely on digital dimensional surface. Based
design tools as a key part of the on the Cartesian coordinates
model development process. This system, all modeling, be it virtual
was not always the case. Through or analog, can be defined in XYZ
the development of the discipline points relative to a given origin.
in most of the past century, vehicle Understanding the Cartesian
design studios relied primarily on coordinates system is crucial
hard modeling and clay “actual for any designer in creating and
models.” Needless to say, the communicating their project’s
production of hard models was intended form and geometry (see
very time-consuming and often Figures 9.3 and 9.4). 
quite arduous. With the advent 9.3 The XYZ planes of the Cartesian
coordinates system, an essential tool for
of digital technology, much of There are various digital design all digital and analog model-making
the development process is now programs, most of which can be Source: image credit, Jordan Meadows.
handled virtually on-screen (see grouped into three main areas
Figures 9.1 and 9.2). This has of focus. The first, very user-
reduced much of the development friendly and well suited to broad- 
time and cost in bringing a based rapid sketch modeling, 9.4 MetalBack Café Racer, digital sketch-
model, seen here with digital tape drawing
vehicle to market. These very programs such as Modo deliver used to construct the basic surfaces
sophisticated programs create relatively unrefined data for Source: image credit, Jordan Meadows.

model
making it happen and translation to digital and 3-d 149
basic analyses. These can be
used early on to establish basic
volumes that reflect rudimentary
forms and approximate design
intent. These programs are also
primarily used by designers in
the studio environment and are
quite effective in quickly roughing
out an idea. There is a midrange
of programs such as Alias and
Maya that are used by both
designers and digital modelers.
This range of programs is not only
well suited to sketch modeling
but also offers a good degree
of surface refinement capability.
These midrange programs also
have powerful rendering plug-ins
that are well suited to design-
based presentations. Having a
good understanding of these
midrange 3-D development control; however, they often lack 
programs can supercharge the the visualization capabilities of the 9.5 MetalBack Café Racer, digital
model, rear three-quarter view,
designer’s efforts. The third tier midrange programs. When used rendered with oxidized surfaces
of digital modeling software effectively, all three are very well indicating recycled metal
is dedicated to engineering suited to provide excellent digital Source: image credit, Jordan Meadows.

feasibility, solids modeling, and models in the place of costly 

final surface release. These very 3-D models and prototypes (see 9.6 MetalBack Café Racer,
dedicated programs such as Figures 9.5–9.8). The rendered digital model, side and front view
composition, rendered with oxidized
Catia and Isem Surf are used MetalBack Café Racer in these surfaces indicating recycled metal
primarily by engineers. They offer figures was modeled using Alias Source: image credit, Jordan Meadows.
a high degree of tolerance and Software.

model
150 making it happen and translation to digital and 3-d
 
9.7 MetalBack Café Racer, digital model, 9.8 MetalBack Café Racer, digital model,
front three-quarter view, rendered with upper side view, rendered with oxidized
oxidized surfaces indicating recycled metal surfaces indicating recycled metal
Source: image credit, Jordan Meadows. Source: image credit, Jordan Meadows.

model
making it happen and translation to digital and 3-d 151
Alias Studio Tools is a common traditional analog vehicle modeling known as ducks. The ducks
software package used by techniques. When designers, could be adjusted to affect the
designers and modelers in the modelers, and fabricators curvature of the spline, resulting
automotive and transportation could not use basic geometric in alterations of shape. Software
design industry. It generates methods such as rulers and developers sought to emulate
surfaces using non-uniform compasses to create a shape, this means of controlling the
rational basis splines (NURBS) they employed semi-flexible strips curve when developing the theory
surface construction, based on of wood or extruded aluminum behind NURBS. Rather than
mathematical splines and curves, splines. The splines were held having analog ducks, a designer
and is in fact an outgrowth of at predetermined points by pins or modeler can adjust the quality
of the curve using digital control
points. With this method, NURBS
modeling allows for ease of
control over the character of a
particular curve or section. From
a conceptual standpoint, the
idea of using a curve to create a
surface also connects well with
the drawing process that most
designers are familiar with. In
fact, there are great similarities
between working to a given
tape line on a tape drawing or
clay model, and constructing
the key curves of the model and
composing digital splines. The tool
also works well on small objects
such as interior components,
cars and exteriors, and of
course motorcycles (see Figures
9.9–9.11).


9.9 MetalBack Café Racer, engine
detail, rendered with oxidized surfaces
indicating recycled metal
Source: image credit, Jordan Meadows.


9.10 MetalBack Café Racer, side view
image, rendered with oxidized surfaces
indicating recycled metal
Source: image credit, Jordan Meadows.


9.11 MetalBack Café Racer, side quarter
image, rendered with oxidized surfaces
indicating recycled metal
Source: image credit, Jordan Meadows.


9.12 MetalBack Café Racer, tank and
steering column detail, rendered with
oxidized surfaces indicating recycled
metal
Source: image credit, Jordan Meadows.

model
152 making it happen and translation to digital and 3-d
 model
making it happen and translation to digital and 3-d 153
An alternate method for here with the MetalBack Café are similar in that much of the
constructing surfaces digitally Racer (see Figure 9.12). design can be communicated in
is based on polygon modeling. side view. For this reason, having
Other software packages such as Digital Sketch Modeling a compelling side view of your
Maya provide powerful capability Many designers can use programs idea can lead and inform the
for modeling surfaces this way. such as Alias quite early on in the sketch model process. Once the
Rather than generating a network process to rough out ideas and side view is finished and you are
of curves and splines, this method verify that they work over a given completely in love with the way it
of digital modeling is developed package. This process is referred looks, you’re ready to begin!
from mesh data created with to as sketch modeling, meaning
polygons. Polygon models are a it blends the rapid visualization The basic rule of thumb to all
collection of vertices, edges, and sketching can provide with three- modeling and sculpting is always
faces organized to approximate dimensional verification that begin with the largest elements
and represent a surface. Whereas modeling ensures. It can be a first. It’s helpful to have a plan of
NURBS-based principles were valuable way to communicate that attack that addresses the first
developed as an outgrowth a given theme will actually work read dominant items initially,
from old-world shipbuilding in three dimensions under various subordinate elements after,
and coachbuilding with splines, conditions. This process begins and finishes up with supporting
polygon models are more akin to with an initial side view drawn with details. Starting from your side
figurative sculpting. The principles fairly little perspective. Ideally a view, capture the silhouette
of such are derived from model- side view should have the clarity with splines. Using the various
making techniques developed and information to the level of a curve tools provided, trace over
in the entertainment industry to traditional tape drawing over a your side view drawing. Then
create surfaces with immense package. The designer can then capture the daylight openings,
nuance and detail. However, obtain a data file containing the wheel openings, and main graphic
they do have a difficult time hard points of the package. This features. Finally, use splines and
representing a curved surface with would include occupant location, curves to indicate subordinate
typical automotive refinement. an outline of the powertrain, the details and transitions in body
wheels and tires, and any other shape and section.
Because polygon models use a required and given guide points
different type of math, they are such as bumper beams, glass Then repeat this process in the
well suited to applications that are planes, windshield, touchdown, front view, plan view, and rear
sensitive to data size. For example, etc. The designer can then arrange view. Once blended together, one
most digital models used in video the isometric views that they have can then see a three-dimensional
games and feature-length special- produced that defined the front, impression of how these key
effects sequences are constructed side, plan view, and rear. These features and curves are relating to
using polygons. In the automotive planes will then be the basis for each other. This can then be used
industry, when scanning a soft-trim the key curves and splines laid out as an underlay for Photoshop work
surface that has been sculpted in XYZ coordinates. or two-dimensional rendering.
with clay by hand, quite often
polygon mesh is used to capture Empathic quartering view Continue adapting the key
the data. Polygon models tend drawings are quite compelling in curves and sections to work with
to be well suited for very fluid, selling a theme. They do a great each other in all views. Time
organic, and soft feeling shapes. job of getting everyone excited and permitting, one can then construct
When executed by a skilled digital interested in how the stance of some basic surfaces to get an
sculptor, this method of surface the vehicle is communicated in the impression of how the transition
creation can be an effective way mood it portrays. However, fairly of forms may play out. Almost all
to generate informative sketch realistic isometric drawings are vehicles are governed by the main
models early on in the design essential to creating a model and structural elements contained
process. Both methods respond transferring the idea into reality. within them. Earlier on in this book
well to the mapping of surface Most automobiles are read in side we established that the occupant
textures and details as illustrated view predominately. Motorcycles package was part of this equation.

model
154 making it happen and translation to digital and 3-d
With automobiles the glass planes structural element of the front end can then transfer back into 2-D
indicate the cabin and where the of the vehicle. The engine and and sketch over the rough model,
occupant package is most crucial. transmission are mated to the front indicating how the surfaces could
Most automobiles have a barrel- of it, and the interior trim panel is potentially be blended together
shaped glass that retracts into mated to the rear of it. and how the transitions of the
the door. The plan view curvature The second crucial dimension corners might be achieved. Having
is governed by the beltline of the when modeling a vehicle is to completed this and informed the
vehicle. The end view curvature is understand where the “header” next steps in a 2-D perspective
defined by the drop of the glass is. This simply refers to the area of drawing, one can then transfer
along with the “tumble home,” the vehicle where the windshield back into 3-D and continue on
which commonly refers to the stops and the roof begins. From a with the same process of roughing
angle that the side glass sits at packaging standpoint this can be in volumes and surfaces for the
in end view. This feature can be a crucial feature as it defines many corners and transitions among
very important to establishing of the vision angles and entry the dominant elements. At this
the visual center of gravity in the and egress points. The third area point, finessing the details can
car. Cars with rails or very wide for the glass planes that enclose take some time. One has to
roofs in end view will read as very the cabin is the backlight or rear judge whether it would be faster
boxy. For example, dedicated window. Typically, there is much to complete a model in data or
off-road vehicles like the Land more freedom with this element. In continue with the two-dimensional
Rover Defender, or Jeep Wrangler, any case, when sketch modeling, it rendering of the design intent.
or Mercedes G Wagon tend to helps to rough in the glass planes In either case, the sketch model
have very little tumble home and with a barrel shape on the side, has served its purpose in that
very flat end view sections. This and the desired windshield angle the theme has made the initial
is done to move the occupants as in side view. Another key aspect steps of transferring from a
far out in end view as possible so of the windshield is the plan view two-dimensional proposal to a
they have the best command of of the glass. This can establish three-dimensional object.
road when doing extreme off-road where the A-pillars sit. Though
driving, providing superior vision almost all vehicles are composed Alternatively, one can generate
angles. in direct side view and the a sketch model using polygon
designer must predetermine the modeling tools. Maya is a popular
Conversely, sports cars that need Y zero or centerline or silhouette program that allows for this
to have a reduced frontal area section, the viewer tends to read method. The end goal and steps
in end view for aerodynamic the outside periphery of the are relatively the same as indicated
reasons tend to have a good shapes so the rails and pillars and above; to arrive at a rudimentary
amount of tumble home. In either elements further outboard tend three-dimensional object that
case, establishing the glass planes to have more visual significance. verifies that the proposal can be
in side view will govern a good This is the reason why a daylight achieved in three dimensions.
deal of the look and feel of your opening or side glass shape With polygon modeling, however,
sketch model. Similarly, the angle can be such a key feature in the one would not start with key
of the windshield will also have a aesthetic read of the vehicle. curves. And rather than splines,
strong effect on the impression one would use control vertices
of speed and the feeling of your Once the glass planes have been to alter the shape. The initial first
vehicle. When modeling, even roughed in, one can then continue step is exactly the same. First, one
in sketch form, this needs to be the same process of laying out needs to assemble isometric views
established fairly soon as it’s a key surfaces between the main to define what the object looks like
major compositional element. Two curves and splines that you’ve in X, Y, and Z. One then begins
key features govern the windshield composed. Just having a basic to generate a single polygonal
angle, the first is the windshield hood surface, body side section, surface, adding subdivisions
touchdown or cowl point. This is and some indication of the rear to create the height, width, and
a result of many factors, primarily end can indicate a lot of how the length of the object. With this
being where the engine box and vehicle will take shape in 3-D. process one continues to add
firewall are located. This is a key Once having these in place, one surface subdivisions to capture

model
making it happen and translation to digital and 3-d 155
the main compositional elements three-dimensional object that you glossy finish to be considered.
of the volume. Similar to a NURBS can touch, tape on, and evaluate, This means that controlling the
technique, the glass planes, then one should consider cutting highlights and reflections will be
roof, and windshield need to be a scale model with a CNC an issue. To focus on this, most
defined. Having a mathematically (computer numerical controlled) digital modeling programs offer
correct barrel glass using polygon milling machine. The basic data several different evaluation tools
modeling can be a challenge. For files will need to be transferred so the operator can simulate and
this reason, one can approximate, out of Alias or Maya. Using a understand exactly how various
based on an ideal section, plan different program, the tool paths reflections would play out over a
view, and end view. Continue by for the milling machine will have given surface. Finally, most design
adding polygons to capture the to be coordinated, and the choice teams will spend a good amount of
main side view features and wheel will have to be made to cut a clay time during the three-dimensional
openings. Then repeat the steps model or a density foam model. data development process viewing
of adding additional polygons to Clay gives the opportunity for the virtual model at one-to-one
the front and rear of the vehicle to further updates and to continue scale on a projector or large
indicate the main design elements the design and refinement screen monitor. This allows the
that need to be communicated. process. Foam is cheaper, and designer to more accurately judge
The aim of this, however, is still not allows one to rapidly evaluate the the character nuance and detail
to produce a final finished model, work that’s been done. of a particular shape than can be
but rather to give oneself a good done on a small desktop screen.
base in 3-D to sketch over, all to In any case, the next round of
validate that the theme can be data development is to add a level The three-dimensional data
achieved in three dimensions. of detail and refinement to the development process for interior
design. Nuance and organization design on vehicles can be even
Once an ideal perspective of of the shapes and transitions more intense. Most contemporary
your digital sketch model has become ever more important. vehicles have a good amount
been selected, transfer it back For this reason, NURBS-based of carryover components such
into 2-D. Using Photoshop or modeling with splines tends to as gauge clusters, ventilation
any two-dimensional painting or be a more popular choice as it registers, and HMI (human–
drawing program, one can then affords a level of refinement in machine interface) controls. All
add the subordinate details that the execution of the surfaces. For of these need to be integrated
would be too time-consuming to enhanced three-dimensional data into the digital model being
build at this point. Examples would development, the basic principles constructed for the theme.
be wheels, tires, grill textures, can be continued from sketch Because of the amount of work
lighting, and bright work features. modeling. However, experienced required, digital modelers can
Time permitting, one can then digital modelers will spend much work in teams. And due to the
transfer back into 3-D and add a more time developing a strategy nature of the medium being a
further round of polygons to the for executing the model. non-destructive editing process,
mesh to capture the subordinate data development teams can
details and design features. In addition to this, much more time generate several different
will be spent evaluating both the proposals and evaluate one
Three-Dimensional Data main surfaces and transitions in versus the next quite easily. Once
Development areas of the car that are typically a selection has been made, the
Using an iterative process of complex. In almost all cases data can then be exported for
two-dimensional and three- these involve the corners of the engineering evaluation. This would
dimensional sketching can be vehicle. This stage of the modeling involve a process of transferring an
an effective way of capturing the process will also involve a good Alias wireframe file, for example,
basic theme in data. One can amount of time evaluating the into a program such as Catia.
then make a strategic decision, surfaces with different finishes and Engineers can then begin a
based on timing and resources, under different lighting conditions. lengthy process of validating and
about how best to proceed. If With the exteriors of automobiles, investigating the feasibility of a
the goal is to have an actual there is generally a painted, given design proposal.

model
156 making it happen and translation to digital and 3-d
Rapid Validation Mock-ups intimate, to the personal, to the crowded or spacious? Is the
One of the main goals of social, to the public, one can then vehicle easy or difficult to enter
the modeling process is to break down and codify different and exit? Nearly every aspect of
understand and communicate behavior and interaction among the user interaction except for the
the three-dimensional spatial people. Proxemics is also valuable actual driving experience can be
relationships of shapes and for designers to understand. simulated with rapid validation
volumes. This goes for getting Many vehicles are social spaces mock-ups in one-to-one form
a feel for some basics such as, in which the occupants can presented in the seating buck or
how wide does the vehicle need be closely placed together. To whalebone mock-up.
to be to feel stable? Or how large achieve this, designers use a
should a grill shape be before combination of seating bucks If time permits, a design team
overpowering the other front and foam core mock-ups of the can go even further and combine
graphics? For elements on a vehicle and packaging attributes milled foam portions of the interior
vehicle that can be represented in in one-to-one scale. These design. Teams often do the same
a two-dimensional way, designers mock-ups are essential to gain for the exterior (see Figures 9.13
often use cartoons or mock-ups an understanding of how the and 9.14). These, combined with
to indicate how a feature or an occupants relate to each other a steering wheel and seats, can
element could be viewed on the within the vehicle and also how communicate much of what it will
vehicle. For example, exterior they relate to the vehicle itself. be like to sit inside the finished
designers will typically print side vehicle. Conversely, on the exterior,
view images of different wheel Most design development teams rapid validation mock-ups can also
designs in different sizes and will re-create the vehicle using be very helpful in understanding
place them on the tires of the what is known as a whalebone how various components relate to
scale model or one-to-one model buck. Designers, fabricators, and the overall vehicle. For example, on
to get a sense of how they read. modelers will typically use the a one-to-one clay model, it can be
If the front end of the vehicle is digital data to cut sections of the helpful to produce a quick mock-up
flat enough, then one can print vehicle in given increments. These of a mirror or a door handle. These
different grill shapes and sizes can be 100–200 mm or any given items can be placed on the model.
and quite literally pin them onto dimension to communicate the One can then validate, is the door
the model to understand the basics of the shape. The sections handle in the proper location? Is
implications to the overall theme. are then printed out in one-to-one it too high for children to reach?
These two dimensional cutouts scale and used to cut foam core Is the mirror too large? And is the
are known as cartoons. And when templates. The templates are aesthetic of these items relating
photographed on the model, quite then assembled in two of the well to the overall vehicle?
often they can be very convincing. X, Y, and Z axes typically. This
effectively creates a skeleton-like It is important to note that the goal
Using rapid validation mock-ups impression of the actual vehicle. of these models is to quickly mock
can help one to understand the Evaluators can then sit inside up the idea and validate that the
interplay of shapes and volumes this skeleton-like cage to get a proposal will achieve its intended
to a particular aesthetic; however, feel for the key attributes of the goal. It is important to focus on
this method can also be very package and the design proposal. the basic function and evaluate its
effective in understanding and In a family car or minivan, special merits while the aesthetic is being
communicating how the vehicle’s relationships and proxemics can refined. Rapid validation mock-ups
riders and passengers interact be crucial to its success. With a are intended to achieve just that:
with the proposal. Proxemics is the bit of imagination every aspect is quick visualization and verification
study of spatial relationships with available for review and judgment. that the proposal that you are
regard to human social interaction. Is the beltline too low or too pursuing will work as an actual
Anthropologists and psychologists high? Does one feel empowered three-dimensional object. They
use it to understand the impact while driving, does the vehicle are effectively low-fidelity props to
of nonverbal communication. have sightlines that encourage preview what’s to come with the
Based on the idea of a range a command-of-road feeling? final composition.
of radiating spaces, from the Does the occupant package feel

model
making it happen and translation to digital and 3-d 157
  
9.13 Rapid validation foam model, 9.14 Ford Start concept, rapid
being milled in one-to-one scale. Note validation mock-up illustrating seating
indicator on milling machine defining configuration and occupant package
(Y) plane. Source: image credit, Ford Design.
Source: image credit, Ford Design.

model
158 making it happen and translation to digital and 3-d
case study

Clay Modeling
Mazda Kiora Concept
 Of all the modeling techniques tolerance of millimeters, is even
9.15 Mazda Kiora concept, scale clay and methodologies used in a more of a challenge. And on top
model, front three-quarter view
Source: image credit, Mazda Design.
contemporary vehicle design of all this, the ability to interpret
studio, clay modeling is perhaps a designer’s sketch, execute it in
the most fascinating. Becoming three dimensions, and capture
a master sculptor can take years. the emotional impact, all while
Using one’s hands to guide very honoring the engineering package,
rudimentary tools to create precise is truly a craft bordering on
and accurate surfaces in clay is sorcery (see Figure 9.15).
truly a remarkable skill. Doing
it at one-to-one scale on a very Originally, automotive modelers
large vehicle, repeating results and fabricators created metal
on a day-to-day basis within a and plywood armatures. These

model
making it happen and translation to digital and 3-d 159
 model
160 making it happen and translation to digital and 3-d
armatures were then covered
with plaster. The basic shape was
governed by boat-like sections
cut from templates of wood
predetermined by splines. The
craftsman would then carve away
the plaster to reveal the final
shape. Additional plaster could
be mixed, added, and re-carved
to alter the form. This yielded
effectively a hard model. From
that, measurements could be
made and tools could be created.
Needless to say, the entire
process was extremely labor-
intensive, time-consuming, and
oriented toward producing one
car at a time very slowly. During
this period automobiles were
low-volume artistic statements of
opulence for the wealthy. Harley
Earl was credited with changing was effectively the birthplace of include a centerline, a cross-
this process. While working contemporary automotive design. section through the wheelhouse
as an independent in Southern Being faced with multiple projects openings, a cross-section typically
California in the mid-1920s, his running concurrently, the method through the occupant H-points,
studio pioneered the shift away of clay modeling was perfect for and a plan view section through
from plaster to clay as a much the requirements of the quickly the wheel centers. The modeler
faster way of achieving shapes in growing organization looking to will then pack the clay to the
3-D. Earl was recruited to become mobilize a nation. basic templates, and then when
the head of General Motors’ the basic proportion is ready,
art and color department. This Many of the early principles of use sweeps tools and splines to
clay modeling exist to this day. capture the impression from the
Sculptors begin with a metal designer sketches. With a more

and wood armature typically. contemporary process, these
9.16 Mazda Kiora concept, scale The wheelbase and track are rough packs of clay are then cut
clay model being developed by clay adjustable on these armatures with the CNC machine using two
sculptor. Note portions of the model to accommodate changes as types of tool tips. The cuts usually
have already been covered with dynoc
to evaluate the surfaces. needed. They are then packed with fall between three axes and five
Source: image credit, Mazda Design. density foam that is cut over and axes and are performed with a flat
milled to within a predetermined head or ball-tipped tool. These

9.17 Mazda Kiora concept, scale
dimension of the final surface. The tools leave a small texture. Clay
clay model with dynoc to evaluate the model is then packed with special modelers can then take the mill
surfaces. After a design is reviewed, automotive clay formulated for surface and begin to work their
it will then be digitally scanned as dimensional fidelity. It’s typically magic (see Figures 9.16–9.18).
reference for full-sized development.
Source: image credit, Mazda Design. denser than what you’ll find in
your local art shop. From this In almost all cases there is an
 point the decision is made to initial impact of seeing the idea
9.18 Mazda Kiora concept, full-sized
clay model being developed by a pursue one of two processes. rendered in three dimensions.
sculptor. Note portions of the model With a more traditional process, Quite often, the impression is
are being milled by machine on the far a clay modeler will produce basic different from the two-dimensional
side; portions of the foam armature are
visible in the front wheel arch.
templates from a tape drawing work. The first step the designers
Source: image credit, Mazda Design. indicating key sections. These and modelers will take is to get a

model
making it happen and translation to digital and 3-d 161

9.19 Mazda Kiora concept, full-sized clay
model being evaluated in outdoor review
yard with BMW Mini as segment scale
reference
Source: image credit, Mazda Design.


9.20 Mazda Kiora concept, full-sized clay
model being evaluated in outdoor review
yard. Note the wheel design is actually
a two-dimensional print done as a rapid
validation mock-up.
Source: image credit, Mazda Design.


9.21 Mazda Kiora concept, full-sized clay
model being developed with tape lines
indicating changes to the key features
Source: image credit, Mazda Design.


9.22 Mazda Kiora concept, full-sized clay
model being developed with tape lines
to indicate changes to the key features,
seen here with BMW Mini as reference
for scale. Outdoor tape sessions and
segment comparisons are essential to
the development of any full-sized model.
Source: image credit, Mazda Design.


9.23 Mazda Kiora concept, full-sized clay
model being evaluated in outdoor review
yard fully dynoced. Outside reviews are
essential for getting a long-distance view
of the design.
Source: image credit, Mazda Design.

long view of the model in bright

conditions. This is normally done
in an outdoor review yard where
evaluators can view the design
from a distance as well as up
close (see Figures 9.19–9.23).

The next step is to then establish

a list of large changes that need
to be executed. These would
involve alterations to the main
mass of the vehicle if needed, the
roofline with track, etc. The truth
is that vehicles have a physicality
to them. Shape and volume of
this size and mass can only truly
be appreciated in one-to-one
scale. And it’s not until this point
that a designer and modeler, or
 
9.24 Mazda Kiora concept, Jordan 9.25 Mazda Kiora concept, full-sized
Meadows, design manager, and Mickael clay model with full dynoc for surface
Loyer, principal designer, with full-sized evaluation
clay model being evaluated in outdoor Source: image credit, Mazda Design.
review yard fully dynoced
Source: image credit, Mazda Design.

model
making it happen and translation to digital and 3-d 163
anyone else who is evaluating the
proposal, can truly get a feel for
whether it’s working or not. After
this evaluation the clay modelers
will then make the adjustments.
The surfaces are refined and
then typically another review will
be conducted. This time the clay
modelers will wrap the refined
surface with a slick ultra-thin
plastic material known as dynoc.
This material is almost always
some sort of silver or neutral for
the sheet metal elements and a
dark gray or black for the glass
elements. When applied, it can
give an indication of the graphic
breakup of the vehicle and
allow one to read the highlights
and transitions of reflections.
Designers will also add tape
lines for the part breakups, door
shuts, hood and bonnet cuts,
etc. At this point, photographs of
the model effectively look like a
prototype manufactured vehicle.
One can then use these images
to do overlay renderings that
communicate further updates
and enhancements to the design.
The clay modelers will then strip
the dynoc, do another round
of surface development, and
repeat the process as many
times as the schedule will allow
to achieve the final iteration. This
interaction of designer and clay
modeler studying, interrogating,
and evolving every last nuance
and detail of the vehicle’s
surface is the core of how a
design makes the transition from
two-dimensional proposals to
three-dimensional reality (see
Figures 9.24–9.27).  
9.26 Mazda Kiora concept, scale 9.27 Mazda Kiora concept, full-sized
and full-sized with full dynoc for clay model being evaluated in outdoor
surface evaluation. Note the two review yard fully dynoced. When
full-sized digitizers to record the complete, it can then proceed to a
design in XYZ coordinates. hard model prototype phase.
Source: image credit, Mazda Design. Source: image credit, Mazda Design.

model
164 making it happen and translation to digital and 3-d
3-D Printing, Rapid Prototyping,
and Hard Model Fabrication
Most vehicle and transportation
design studios employ hard
model fabrication specialists
along with clay modelers. This
is a specific craft dedicated
to the creation of objects that
are not sculpted with clay, yet
require a good degree of finesse
and skill. Fabricators tend to be
involved with every aspect of
3-D creation from the armature
of models to the execution of
every subcomponent of the
vehicle. For example, roof
racks, door handles, mirrors,
and grill work can all be very
important to completing the look
of a proposal. One of the most
important features beyond clay
is the painting and finishing of
the surface. When a clay model
is complete, often the design
team will make the decision to
paint it, or in some cases cast
it in fiberglass for durability in
transportation and showings at
different presentations. In either
case it will be sealed with fillers,
primers, etc., and a detailed
process of sanding the surface
will then take place. Finally,
automotive grade paint and clear
coat will be applied. A good
model-maker will also spend time
on the lamp areas. These can be
quite detailed design statements
in their own right. Typically, a hard
modeler will take a plaster cast 
of the exterior surface executed can often mistake them for being 9.28 Mazda Kiora Concept, side
by a clay modeler. Clear plastic ready for users to take a drive view of hard model prototype being
developed
will then be vacuum formed over (see Figures 9.28–9.32). Source: image credit, Mazda Design.
the shape. The inner parabola
can then be executed with clay Yet another method for verifying 
9.29 Mazda Kiora concept, detail
or a hard material. Once all the and communicating ideas in 3-D
view of hard model prototype being
constituent parts are complete involves desktop prototyping. 3-D developed
and assembled, the proposal will printers and rapid prototyping Source: image credit, Mazda Design.

look and feel very much like an machines are a common means
actual vehicle. In fact, external for transferring virtual files into
evaluators who are not familiar actual objects. Most 3-D printing
with the model-making process and rapid prototyping machines

model
making it happen and translation to digital and 3-d 165
 model
166 making it happen and translation to digital and 3-d
 have limitations on scale and Deployment Strategies for
9.30 Mazda Kiora concept, rear size. They are quite well suited for Different Types of Model-Making
view of hard model prototype being
developed small objects and components. The design process is very
Source: image credit, Mazda Design. Interior parts such as shift much a journey. Model-making
knobs, switches, bezels, etc. is a crucial point of the process

9.31 Mazda Kiora concept, rear fascia
are well suited for this process. where stumbling blocks may
diffuser detail of hard model prototype Components for scale models of rise and surprises occur. In any
Source: image credit, Mazda Design. exterior proposals such as wheels, case, a design hero absolutely
mirrors, and trim details are also must engage in the challenging

9.32 Mazda Kiora concept, final easily created. One can quickly exercise of transferring vision,
assembly of hard model prototype see that a designer who is quite strategy, and 2-D imagery into the
Source: image credit, Mazda Design. fluent with Alias can generate three-dimensional world! Many
sophisticated milled models and designers simply hand over their
rapid prototypes, limited only by work to executioners. Quite frankly,
budget and schedule. this is very similar to making it
halfway through the journey and
deciding to go home. Generating
ideas is only part of the challenge.

model
making it happen and translation to digital and 3-d 167

9.33 Mazda Kiora concept, rear three-quarter view of vehicle
Source: image credit, Mazda Design.

Follow-through is where the know how to implement the type virtual 3-D data development, the
adventure begins. And for those of model-making that offers the third involves milling or printing in
who are committed to the quest of greatest verification during the 3-D in clay or foam, and the fourth
actualizing an idea, it’s important development process. This can involves handwork, adjustments,
to understand the various be based on many factors such as and human finesse. Most design
techniques of transferring 2-D to schedule, funding, and available studios will begin by executing
3-D. We have outlined some of the resources. In almost any case, the stages in reduced scale and
basic techniques in this chapter. most strategies will involve iterative then transfer to full size. They will
Many professional modelers phases of work. This effectively then cycle through the stages
have their own methodologies forms a four-stage loop; the first as many times as the budget
and secrets to success. stage of this loop begins with and schedule will allow. Each
However, from a designer’s two-dimensional sketching and step of the way there should be
standpoint, it’s important to development, the second involves a critique and evaluation by the

model
168 making it happen and translation to digital and 3-d

9.34 Mazda Kiora concept, front three-quarter view of vehicle
Source: image credit, Mazda Design.

designers and key stakeholders. (see Figures 9.33 and 9.34). In

This iterative process of utilizing today’s competitive landscape,
various modeling phases allows each one of these four phases can
for verification and validation of be crucial to a product’s success.
an idea through many filters and Ask any veteran of the vehicle
different points of view. It gives design game and consistently
the team a chance to evolve and you will hear, understanding the
enhance all the key aspects of modeling process is mission
how the user will interact with the critical!
object in real terms. Furthermore,
it allows the designers to hone the
aesthetic, ensuring that the final
object appears exactly as intended

model
making it happen and translation to digital and 3-d 169

10.0 Process locator gauge
Source: image credit, Jordan Meadows.

build
170 becoming a reality
chapter 10

Build
Becoming a Reality, Engineering, Mastering,
and Sharing a Design Proposal with the Larger
Product Development Community

Vetting an Idea of aesthetic principles and

 Vetting an Idea At this point in the design journey pragmatic thought. But ultimately
the focus shifts to building a it must be usable. Beautiful
 Engineering,
vehicle that moves both the heart ideas that never make it to the
Processing, and
and mind. The proposal is pretty public have limited impact on the
Testing
well matured. You’ve generated designer, and virtually none from
 Market Research, several ideas and distilled them a business perspective. Also,
Clinics, and Gauging down to the strongest candidate. one cannot underestimate the
Acceptance
You made a wise choice and importance of safety, durability,
proved that it can make the trip convenience and ease-of-use. In
 Early-Stage Vetting from 2-D to 3-D. For many, this fact, this is what truly separates
for Designers is the culmination of the creative the professionals from the novice/
process involving multiple work hopefuls. Usability in either
 Q&A Raj Nair, Executive streams. In professional settings, function or appearance should
Vice President, however, we’re not out of the never be presumed. It requires a
Product Development, woods yet; in fact, we’re just about good amount of diligent work to
and Chief Technical to head into the woods! (See get a product to a point that the
Officer, Ford Motor Figure 10.0.) user can interact with it seamlessly
Company and enjoy its intended function
Typically for production programs, in a safe manner. And every
there is a hand-off between the designer who undertakes the
design studio and the broader task of creating vehicles should
product development community. understand that a significant part
Once the design direction has of the journey and an enormous
been confirmed and the various amount of work go into putting a
stakeholders are comfortable with vehicle into the public realm. Many
how the project has evolved, a creative studios have endless
lengthy process of vetting the idea proposals that never made it. In
then begins. It goes without saying professional settings, the kill rate
this stage of the process is hugely can be very high. Almost every
important. In fact, it is the crucial transportation design practice
point that a vehicle develops a has archives full of lofty ideas
level of commercial credibility. and proposals that simply were
not usable at the end of the day,
Good design moves the heart and or could not be made feasible.
the mind. It is the combination Passing through this gauntlet is

build
becoming a reality 171
no easy task. In fact, it’s where is to prove out the optimal way while driving, a simulator would
some creative individuals actually that the vehicle can be mass- be very helpful. Additionally, if a
meet the demon/dragon along the produced. Each one of these team is evaluating where a control
creative journey, and those who groups plays a very different role should be placed so that it does
succeed are sure to emerge on in the development process, yet all not distract the driver, a simulator
the other side as true heroes of are essential to putting a vehicle could be crucial.
the process. on the road. And while a designer
may not be personally responsible Another important group of
Most vetting of an idea done in for them, it is essential that one prototypes are dedicated
concert with a broader product has a grasp of exactly how they specifically toward long-term
development community involves can impact their intended design. durability, quality, and stress
the creation of prototypes. This testing. Vehicles need to be
is the only way that an idea can Engineering, Processing, able to perform in a wide
truly be validated and made and Testing range of outdoor applications.
safe and usable. They are both Vehicles need massive amounts of Manufacturers must ensure
learning tools and proof of project time and energy, and large groups that their offerings will
parameters. This chapter will of people, to mass-produce. remain functional in extreme
cover a brief overview of the Hence the financial and economic circumstances, such as subzero
different types of prototypes, and investment requires vetting and temperatures, foul weather,
their relevance to the respective testing of an idea to make sure extreme heat, and many different
parts of the process. In most that the investment is a solid one. types of road conditions. Added
cases these fall into three main In short, the creation of a vehicle to this is the fact that the lifespan
categories: the first is typified line for mass production can be a of most vehicles can last several
by hard models and prototypes billion-dollar business wager that years, if not decades. This can
that prove out the visual aspect involves people’s safety and well- impact almost every aspect of
and aesthetic requirements being. For these reasons a good the design. For example, if a new
of the vehicle. These serve to amount of processing and testing exciting color is proposed, the
allow the designers and product takes place to ensure a design is manufacturer would typically
development teams a chance to fit for the road. do long-term ultraviolet testing
view how the object will appear to ensure that the paint would
under multiple conditions and The first group of concept testing remain not only vibrant and
in various applications. For and appearance evaluations can attractive, but also durable
example, a seating prototype range from hard prototypes that against corrosion and weather
that allows the designer to trim allow the development teams to damage. To achieve a gorgeous
in multiple different materials and critically evaluate the aesthetics new door shape or body side
leathers would be valuable in and basic functionality of a design. section, a particular type of hinge
seeing if the seats’ appearance This can also involve digital mechanism may be required to
would potentially fit more than simulators that can provide true- perform the necessary geometry
one vehicle. The second group to-life and accurate re-creations of to open the door effectively. If the
of prototypes is done to prove how a vehicle will be experienced. mechanical engineering at this
out a particular function. These Many design studios use three- hinge is unique, it would need to
are commonly known as mules. dimensional and virtual reality be suitably tested for long-term
In this case, the aim is not to simulators when evaluating durability. Consider the complexity
evaluate the appearance, but interior design in particular. In of sliding glass, swinging stamped
rather to gauge whether the these cases, the usability of the parts, organizing thousands of
object is performing its intended human–machine interface components, and sealing them
function in the ideal way. The third (HMI), particularly with regard to all together with weatherproof
group involves manufacturing information and entertainment, tightness that lasts over decades!
feasibility prototypes. These is crucial. For example, if a team One can then imagine the
typically combine appearance and is evaluating a gauge cluster to countless hours of engineering
functional attributes. However, understand what type of fonts coordination and developmental
the goal in their construction are most legible when glancing testing a vehicle must undergo.

build
172 becoming a reality
Another group of functional
prototypes is specifically created
to evaluate safety (see Figure
10.1). Needless to say this is the
most important aspect of the
vehicle’s design and engineering.
In fact, every vehicle designer and
creator has a moral obligation to
provide the safest vehicle possible
to the user. Obviously special
exceptions such as motorcycles
do exist; they are inherently
unsafe. However, even in this case
the basic design needs to adhere
to general principles of what is
relatively presumed to be a safe
operation (see Figures 10.2 and
10.3).

Safety testing is crucial. Some

brands such as Volvo have built
an entire mission and culture to
support this belief. In the mass
production of most automobiles,
designers need to provide ample
accommodation for required safety
devices such as impact beams,
airbag provisions, safety belts
and harnesses, and with exterior
design, pedestrian protection.
Added to this, many corporations
have internal standards to align
with their brand goals and
objectives. Furthermore, these
might correlate with insurance
industry targets. All these factors
require hours of testing to ensure
that a design is performing safely
while being used in a range of
conditions.

Third, a comprehensive group

of prototypes involves testing
and vetting an idea for its 
manufacturing feasibility. 10.1 Typical adult crash test dummy
Automotive manufacturing plants to this, a feat of coordination is Source: image credit, Ford.

are hugely complex feats of performed with remarkable speed

engineering in and of themselves. and accuracy. Raw materials enter
In a sense, a plant is a fascinating on one side, finished vehicles exit
machine designed specifically the other. In between, every square
to create equally complex and centimeter is choreographed and
fascinating machines. Added optimized to produce several cars

build
becoming a reality 173
 build
174 becoming a reality
per minute amounting to hundreds
of thousands per year, each
comprising several thousand parts
(see Figures 10.4 and 10.5).

Almost all manufacturers make

extensive use of a pilot facility
that tests the throughput of
every component required to
assemble a complete vehicle.
Testing for feasibility requires a
borderline obsessive attention
to detail, as well as an incredible
appreciation for the sequencing
and coordination of the vehicle’s
manufacture. Getting any one
point of this wrong can amount to
not just one defect, but a defect
that’s repeated tens of thousands
of times. Needless to say, it can
quickly become very expensive
for an organization. At this stage
of the game a design can still be
affected by what the plant can
accommodate. Even the overall
length of the vehicle can have
implications on the assembly
line, affecting speed, frequency,
and overall output of the plant.
Conversely in low-volume
manufacturing scenarios, where a
good degree of hand assembly is
involved, manufacturing feasibility
and ensuring flawless results are


10.2 Typical frontal impact crash test
Source: image credit, Ford.


10.3 Typical crash test dummies
representing various human body
types, weights, and sizes
Source: image credit, Ford.


10.4 Robotic spot welding mechanism
in Tesla plant
Source: image credit, Tesla.


10.5 Robotic assembly mechanism
Source: image credit, Tesla.
 build
176 becoming a reality
equally as important. The luxury However, there are dangers. If the assumptions based on findings. In
end of the spectrum requires just research is poorly conducted, or a broad sense, the entire exercise
as much testing and vetting to misinterpreted at the wrong time, is needed to see why and how
ensure the highest quality product the information can be not only consumers may react. The skill
(see Figures 10.6 and 10.7). confusing but also very distracting in interpreting the findings is to
and in some cases downright understand and learn from the why
Market Research, Clinics, and destructive. component. This illuminates the
Gauging Acceptance process and can lend context to
As you can quickly see, due to Most market research is designed product development decisions
the massive resources it takes to yield qualitative and quantitative (see Figure 10.8).
to produce a vehicle, a good information about how consumers
degree of research and testing is may potentially react to certain Many organizations conduct
needed to ensure the investment aspects of a proposed product market research around three
will yield a profitable product or service. Having a combination specific stages in the development
that will be successful in the of both scientifically compiled process. The first is exploratory
marketplace. And just as vehicle data and subjective impressions and done early to understand the
manufacturers spend a good is the goal. Once a method of user, their wants, and needs. Much
amount of time vetting an idea research has been decided, the of this is covered in Chapter 2
from a technical standpoint, a lot effort is typically conducted in four where we discussed archetypes
of effort goes into understanding steps. This begins with defining and user persona. This gives a
exactly what consumers will find a sample or specific group of basic overview and orientation for
desirable. Like many aspects of people to learn from. The second the program. The second phase
vehicle design and development, step is to gather data, collecting of market research can sometimes
one can dedicate an entire it typically from questionnaires be controversial. This involves
career to understanding and for quantitative output, and asking respondents to rate or
mastering this stage of the discussions for qualitative findings. choose various design proposals.
process. When performed The third step is to process and This typically is done after much
well by informed professionals, analyze the data. Then the final of the initial theme development
market research can yield some step is for the development team is completed and prior to hand-off
tremendously valuable insights. to draw conclusions and formulate to the broader engineering and

 
10.6 Robotic painting mechanism 10.8 Market research attendants rating
Source: image credit, Tesla. various images
Source: image credit, Ford Design.

10.7 Tesla Model-S on assembly line
Source: image credit, Tesla.

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becoming a reality 177
product development community. the new alternative may be better benchmarking is a valuable
The third phase of market suited to their needs. In fact, exercise. Once your design
research is conducted very close there are many examples of highly proposal has taken shape,
to the end of the process in that successful products that did not whenever possible, use mockups
respondents are asked to evaluate do well in research. Conversely, and validation models in real-
and confirm acceptance relative there are as many examples of world scenarios. For example,
to its marketplace competitors. products that did very well in say a design proposal calls for
This can involve many objective research, but went on to fail in the a significantly higher beltline or
components, such as price, market. smaller rear window. Marking
features, and performance up and altering an existing
statistics. This phase can be On the plus side, market research interior and actually seeing how
valuable in assisting the product can be a very valuable tool for it feels while driving could be
development team in finalizing how establishing a broad general immensely informative. Another
to present, advertise, and market direction to orient a program and valuable vetting technique is to
the vehicle. identify macro trends. It can also solicit varied opinions early in
be very helpful in understanding your creative process. Attempt
Again, there are both benefits what specific aspects of a vehicle to include an external input in
and drawbacks that need to be may be polarizing or controversial. critiques and reviews. Designers
considered. The fundamental On the whole, when used to add by nature have a creative point of
danger is that respondents are context to decision-making, market view. It can be eye-opening to hear
asked to make a choice based on research can be a valuable source how your work may be viewed by
pre-existing assumptions usually of information. someone who represents your
derived from their current context. intended user. To that end, attempt
The reality is, however, no one Early-Stage Vetting for to share early and share often if
can predict the future and the Designers a project is not secret. Internet
competitive marketplace may be It’s quite easy for designers to and social networking sites can
very different at the time when the presume that many of the topics be a great way to collect multiple
vehicle is launched. For example, covered in this chapter involve points of view and conduct
if a design team is evaluating their what happens primarily after most informal research on how your
proposal relative to cars that are of the heavy creative lifting has project may be perceived. Always
on the market, this infers that the occurred. One must generate a consider safety as one of your
competitive dynamic will be the good idea and execute it before main priorities. Finally, remain
same moving forward. However, it can be vetted and tested? This rooted in plausible considerations
it is entirely possible that new is only partially true. The reality is and always cite examples when
competitors posing a different kind there are some essential topics to identifying the most progressive
of threat may emerge. be aware of as their implications stretch targets. Understand that in
can drastically affect the way that the end it only helps if your project
Most market research also takes a final product is experienced. is predicated on proven rocket
place in a controlled environment The design process (in the true science rather than mysterious
in a very short amount of time. meaning of the term) starts with alien technology. Keeping these
It is simply not possible to allow the initial idea and runs all the way basics in mind early in the journey
respondents a chance to formulate until the point the user engages will help to ensure that your vehicle
an opinion over extended periods. with the vehicle. In keeping with conquers all the various testing
Because of their complexity, many this idea, there are some basic required to become a reality.
vehicles, however, require long- objectives to bear in mind relatively
term evaluations for the user to early on in the creative journey.
truly appreciate their strong points.
Added to this is the fact that most From a technical standpoint, it is
consumers are not visionaries. very helpful to become familiar
When forced to offer a rapid with pre-existing examples
response, they tend to go with the of successes and failures. A
familiar, in spite of the fact that bit of early-stage technical

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Q&A

Raj Nair
Executive Vice President,
Product Development, and
Chief Technical Officer,
Ford Motor Company

Raj Nair is Executive

Vice President, Product
Development, and Chief
Technical Officer (CTO), Ford
Motor Company, effective
Dec. 1, 2015 (Figure 10.9).
In this role, Nair has global
responsibility for all aspects
of the company’s design,
engineering, research, and
product development.

Nair joined Ford Motor

Company in 1987 as a Body
and Assembly Operations
launch engineer and has held
a number of senior positions
in Manufacturing, Product
Development, and Purchasing.
Besides North America,
Nair has also worked on
assignments in Europe, South 
America, and Asia Pacific. Nair 10.9 Raj Nair, Senior VP of Product Development,
Ford Motor Company
holds a bachelor’s degree in Source: image credit, Ford.
Mechanical Engineering with
an automotive specialty from
Kettering University in Flint,
Michigan, and was named the Question 1: Who are your an individual may get the credit for
recipient of the 2012 Kettering personal design and it. So there are certainly aspects
Alumni Award for Management engineering heroes? Who do of certain cars that I grew up with
Achievement. In 2014, he was you most admire, and why? How and admire that stuck with me.
named the Fortune Automotive does this key influence relate to Cars like the Dino, the Daytona,
Businessperson of the Year. In the work you do for Ford Motor Pininfarina’s work and Fioravanti,
addition to his duties at Ford, Company? as a leader. The Lotus Esprit and
Nair serves on the board of  Hero is a strong word, so I try Guigaro’s work, of course, the
trustees of Kettering University. to recognize from my time with Muira and Countach, although I
Note: upon the time of the company that so many things can’t stand the look of that one
publishing Raj has assumed the we do require a team effort at now, but generally Gandini’s
role of Executive Vice President the end of the day. It’s very rare work. And, as for overall design,
of Ford of North America. that anything of any impact or certainly Dieter Rams’ principles
greatness in society or history is have had an effect on me. From an
done by an individual, even though engineering perspective, in terms

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of pure engineering principles, intuition guide what we feel about to that. So again some solutions
certainly Colin Chapman, the the aesthetic, or about the utility. lend themselves to very subjective
boundaries he pushed. And for I think for other segments where aspects of the data, and others
that matter, Gordon Murray and we ourselves don’t necessarily lend themselves to the faith in
what he did. So, as a Formula One represent the customer, it’s the teams and the subject matter
fan, I have to say Formula One about ensuring that we get the experts. As for aesthetics, again,
engineers. Then once you get to appropriate target market insight. it’s complex. There are aspects
production, it’s very different and And I don’t necessarily think of this area I view similar to the
it’s much more of a team effort. It it’s just about going out and music industry. If you’re to look
may be the biggest team sport/ doing a clinic. They are useful, at the music business as an
industry. So, certainly from an but it’s about understanding actual industry, you certainly have
engineering perspective, and that the quantitative feedback the creative process and could
the management and running sometimes isn’t as valuable as say you have the songwriters
of a big organization, I learned the qualitative information you and those are designers. And
a tremendous amount from get. So that’s a danger we have often in studio settings you have
Derrick Kuzak: my predecessor. to caution ourselves on. The professional musicians, who are
Obviously I was very close to him. quantitative numbers are a great like our modelers, be they clay
He mentored me, so I knew him way to understand the relative or digital. And then you have
the best. So in terms of how to positioning, but you need to get to the producers, who you could
run product development at Ford the qualitative info to understand almost call our chief designers
Motor Co. the guy I learned the what drove that relative and managers. You also have
most from was Derrick. positioning. There’s a myriad of the executive producers who to
tools available to us. The biggest some extent don’t have the talent
Question 2: What type of danger I think for our business is to create, but they do have an
strategies and techniques do to over-rely on one, and to think ear for what may work or not. It’s
you encourage when vetting an that whatever toolset used for the very similar to having an eye for
idea, validating new solutions, next F-150 is also going to work what will work and what won’t.
and testing a vehicle’s potential for the next Figo. Or for the next But the other thing the executive
for market success? GT that is on the opposite end of producer has to do is have a good
 Relative to understanding the spectrum where there wasn’t understanding of the market place
a vehicle’s potential for market any market research. It was very to know whether it’s going to be
success, it certainly depends much about designing for the viable. And then they have to go
on the vehicle. And so there are purpose of certainly winning Le convince the label that it’s going
certainly aspects of established Mans, and basically for ourselves! to be viable and marketable. And
vehicles and segments that allow in the automotive industry the
for some benchmarking, evaluating As for ideas and solutions, it label tends to be the rest of the
our own performance relative to depends what we’re talking about. corporation with the marketing
competitors, etc. The depth of The nature of how white-space or and sales team in particular.
knowledge we have about our how future-oriented it is, and who Sometimes I view myself in that
customers, particularly if it’s a within the organization is going chair of the executive producer.
segment where we ourselves, to to be the subject matter expert I’m certainly not the one with the
some extent, represent the target on it. With the technical aspects, creative idea, or carving the clay
customer, allows us to use our it can be difficult because there or changing the curve. Nor am I
own intuitive feel. And, for us at can be such varying views, even involved in the day-to-day such as
Ford, the two biggest examples of internal to the company, as to Moray or Freeman. But I’m the one
that are F-150 and Mustang. And where people think things are having a reasonable eye, having an
although the market research is headed. Where an approach understanding of the market, and
very useful, we know that product, has viability, versus where an then going to convince the rest of
and we know that customer so approach will just lead to a dead the corporation that it’s the right
well that, to a large extent, we rely end. And by the time you get the approach. That’s the role I serve.
on our own thoughts and feelings actual test results, it’s too late.
about innovation, letting our You had to make a decision prior

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
10.10 Ford GT, competition car testing on banked racetrack
Source: image credit, Ford.

Question 3: What role do out a design is very applicable. your car is limited. EcoBoost is
motorsports and racing play in For example, computational fluid probably the exception to that. The
vetting an idea in the vehicle dynamics, or stress analysis, Ford GT as a vehicle is probably
development process? How is kinematics, or combustion an exception to that. In fact, Ford
it applicable to consumers who analysis, etc. Sometimes this is GT is unique even amongst the
aren’t enthusiasts at the end of where it’s interesting because vehicles it’s racing against. It
the day? they go back and forth, and the actually has things in racing that
 Those are two separate production group is actually are also helping us in the road car
questions and, to be honest, ahead. Then we are able to apply just by virtue of the fact that we’re
motorsports has gotten so that leverage in race engineering. developing it for production at the
specialized and mainstream But there are some tools where same time. That usually doesn’t
and automotive engineering race engineering is ahead happen.
has gotten so specialized that because they can prove out
the overlap is actually quite much faster, having results every It’s a great tag line, being born on
limited relative to actually vetting weekend, whereas production the racetrack, but it’s rarely true.
a technical solution. Many of takes a bit longer. So there is a lot But for this car it is, because the
the engineering tools we use, of back and forth on engineering development is actually happening
however, are very similar. So to vet tools. The amount of actual at the same time (see Figures
a new engineering tool to prove technology you would find on 10.10 and 10.11).

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
10.11 Ford GT, two competition cars high speed testing at racetrack
Source: image credit, Ford.

And then relative to the customer, go look for a car or anything better, returning back into the
they’re certainly benefiting from automotive related, who do they mainstream. But if you just asked
those engineering tools and come to ask? Enthusiasts are that question one step above, and
technologies, even though they opinion-makers. So, although a if you think about our product,
may not be aware of what they’re consumer who isn’t an enthusiast there isn’t any other product that
derived from, or where they were may not be aware of what’s being has a sport around it unless that
proven out. And certainly some done, the enthusiast is very well sport exists for that product.
of the high-level concepts of the aware and is influenced by it.
EcoBoost engines and some of And our enthusiasts are heavily
the actual 2017 model year parts influenced by our performance
that first saw the light of day on the (see Figures 10.12 and 10.13).
Daytona prototype engine, they’re When I look at motorsports there
benefiting from, but they may are so many reasons why we 
10.12 Ford GT, plan view photo
not be aware of. We also can’t participate. It’s obviously in our featuring radical aerodynamic channels
discount the role of the enthusiast. heritage and very much a family Source: image credit, Ford.
Even for us, Jordan, you know tradition. We participate because
how it works; people find out that the engineering tools are available 
10.13 Ford GT, front three-quarter view
we’re in the automotive industry, and provide opportunity to train photo
and when it’s time for them to our engineers. To make them Source: image credit, Ford.

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becoming a reality 183
Obviously there are tennis rackets Question 4: Looking toward the harder for the designers because,
and baseball gloves but those are future, while considering zero if you started from scratch, you
products to serve the sport. This is emissions and autonomous may be so shocking that the
a sport to serve our product! technology, what are the biggest consumer just isn’t willing to
challenges facing designers in accept it. Perhaps they can’t see
So when we ask ourselves the the vehicle development and personal mobility being fulfilled by
question, why? Of course, there engineering process and what something that looks like that.
are so many answers why, but is your advice to designers and I think for autonomous vehicles,
you also have to ask yourself, how engineers to conquer those it’s potentially even harder
could we not? We’re in such a challenges? because again we have 100+
unique position of being blessed  Starting off with zero emissions years of history designing
to work on a product with so and particularly something like machines that need to be
much emotional appeal to people a dedicated battery electric controlled by humans. Humans
that hundreds of thousands, if vehicle, it’s about us as designers have to see and control the
not millions, will watch the finest and engineers having to really direction of the front wheels, the
executions of that product race challenge our preconceptions. speed of the vehicle, etc. And
against each other. And people are And you can see how hard this is. now, if none of that is required, the
passionate about it, you couldn’t For example, Tesla taking three obvious questions come up, like
ask for anything more! There is generations before they can get should we have all the passengers
certainly an aspect of motorsports rid of the grill. So challenging facing each other? And other
that has always been about the not only our preconceptions, but issues like how important are
driver and the fans cheering for also trying to get a feel for the the windows for visibility to keep
their favorite driver more than the marketplace’s willingness for people from getting motion-sick?
car to a certain extent. It’s trended change. And because so much of And what do ingress and egress
even more so that way in Formula the development of the automobile mean when you remove the
One and possibly NASCAR of has been around developing constraints of moving around the
late, but it is certainly not the case the packaging of an internal steering wheel?
with endurance racing. That is combustion engine, when you take
very much about the manufacturer. away the constraints, it can be Or, what if you don’t need a
And it’s a manufacturer and a hard. A real challenge for us is to center console because there’s
product that influence people think about vehicle architecture, no longer a gearshift? What can
in their day-to-day lives. I don’t proportion and shapes, and what you do with that space? All these
think very many people will root they could be if you didn’t have aspects we’ve trained ourselves as
for an individual tennis player or to have a radiator, or you didn’t constraints and rules don’t need
team because they happen to have to package the exhaust to be there now. And obviously
be wearing Nike, or Adidas … system, etc. It’s certainly not just we also have to consider the
They are Roger Federer fans and the aesthetic aspects either. I was regulatory aspects that have
whatever he might be wearing may literally in a meeting today with a always presumed that there would
or may not influence them, but team showing me some project be a driver. And even if we scrap
that’s not what they’re cheering work on a floor that still led up to the rulebook, and get rid of all
for. But in our sport, they actually a tunnel. And I asked what the of our preconceptions, we as
cheer for Ford! tunnel was for. And they said, “To engineers and designers have a
package wiring ...” Guys, do we lot of work ahead to start thinking
really need that much for wiring clean sheet. But we also have to
and why does it have to go in get a feeling and understanding
one spot? It may be a conceptual of how far consumers are willing
legacy for some engineers to go. And that is always a fine
because they’re often designing balance, as you know.
around existing platforms and
there’s a thought that if you don’t
have to change it, then they won’t.
But I also think it’s sometimes

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 BUILD
becoming a reality 185

11.0 Process locator gauge
Source: image credit, Jordan Meadows.

launch
186 power to the people
chapter 11

Launch
Power to the People:
Telling the Story, Presenting to Management,
the Public, and the Consumer

In Chapter 10 we covered the potential users the opportunity

 Critiques, importance of vetting an idea, to appreciate what went into the
Constructive testing, and market research. vehicle. This is a hugely important
Presentations, and the Though this may not be seen as point in the creative journey as
Exchange of Ideas the core of the creative process, well. It’s the moment that all of
it can have an enormous impact the work which has gone before
 Presenting to Clients, on the final design and how is finally shared with the public.
Management, and Key it is experienced by the user. For obvious reasons this can be
Stakeholders In fact, the development and emotionally charged and often
implementation of any aesthetic downright scary. However, if the
 Pitching to
principle should take account designer has given due diligence
Prospective Users,
of feasibility, manufacturing, to the creative process and
Selling New Viewers craftsmanship, and execution. maximizes every step along the
on an Idea And to have an understanding of way, coming up with a strong
 Launching a Vehicle this is to be mindful of the input presentation and communicating
and contribution of the broader the product should be easy. In any
 Q&A Moray Callum, development team. case, one has to face the fear, and
Vice President of LAUNCH!
Design, Ford Motor This chapter will further build
Company on this idea, and explore the Not all presentations are the same.
importance of communication. Having a good feel for the different
In spite of how emotional and types is part of being a successful
personally engrossing the creative designer. This chapter will provide
process may be, design is very a brief overview of the typical ones
much a team sport. And good that you might encounter, and how
communication is essential for to organize them effectively. The
any team to function successfully. three most common types involve
Added to this, the communication the following: critiques and internal
of an idea to the broader public creative discussions, in which
and consumers can be crucially case, you’re effectively preaching
important to launching a vehicle to your choir, although teaching
(see Figure 11.0). One never them to sing a new song. It’s very
gets a second chance at a much about how you relate to
first impression. It is crucial to your colleagues. The second most
communicate the key aspects common is really about presenting
of the design effectively, giving to the semi-initiated. People who

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power to the people 187
don’t know specifically about making an important decision on reviewed, it helps to structure
your proposal but may not be how to move the product forward. the information into three phases
completely clueless either. This Productive critiquing with peers is corresponding to a beginning,
is really about transferring key at the core of the creative dialogue middle, and an end. Bear in mind
messages. The third type has (see Figure 11.1). In short, you’re that most critiques are to review
to do with pitching to potential not on this journey alone and work in progress, so having a
clients, customers, and users. The having strong allies who can sense of the workflow can give
main objective here is not only to assist and collaborate is the key to the evaluator a good deal of
communicate key messages but success. When relying on others context. Begin with the goals and
also to sell new viewers on your during a critique, it helps to keep objectives. Adding your personal
specific idea. Though they have a few things in mind to ensure that thoughts and a bit of background
different objectives and outcomes, the conversation is productive. helps to set the stage. Then,
all three are built around the idea Honesty is crucial. Teams function quickly get into showing the
of effectively communicating and optimally when there is trust, and current state of affairs. Explain
telling the story of your design. trust can never be developed the work that you are engaged in
without honesty. Avoid playing and offer it up for opinions and
Critiques, Constructive favorites and always strive for points of view. Finally, close with
Presentations, and the fairness. Because design can be conclusions on what has been
Exchange of Ideas an emotional process, it’s nearly completed so far, then quickly
Any design is a result of a series impossible to evolve a design follow up with challenges to be
of decisions. Decisions are the without forming relationships. faced moving forward.
by-product of discussions and Almost all productive relationships
dialogue. In spite of what the are built on mutual respect and Critiques are a two-way street.
media and press would have admiration, and for this reason it’s When participating as an
you believe, vehicle design in a key to follow the Golden Rule; do evaluator, it is important to keep
professional context is very much to your colleagues as you would a few things in mind as well.
a team sport, much more akin have them do to you. Finally, it On the flip side, always strive to
to soccer than a solo endeavor helps to balance one’s personal empathize with your peers, be a
like golf or tennis. An individual passion by always remaining good listener and aim to assist.
may score, but it takes a team to professional. At the end of the day, Understand that this is a human
win. Not only is the process quite never take criticism personally. You process; it is important to be
lengthy, vehicles at the same should in fact welcome criticism; sensitive to individual strengths
time can be complex, mandating it’s how you grow! and weaknesses. We all have our
collaborative teams. It’s essential strong points and things we need
to work effectively together and When preparing for a critique to work on. Respectively it also
garner various opinions when and organizing the content to be helps to understand the unique


11.1 Chrysler 300 design team critiquing and evaluating clay model proposal
Source: image credit, FCA Design.

launch
188 power to the people
challenges of a project. With this Presenting to Clients, present it. The personalities and
in mind, attempt to offer objective Management, and Key unique individual preferences of
measurable items to be improved, Stakeholders your customer should never be
with steps on how you would Another type of common underestimated. Design can quite
achieve the enhancement. And presentation involves reviewing often be a subjective exercise
finally, when asked for an opinion, and sharing ideas with so expect that personal taste
always give an honest one (see clients, management and key will weigh in. To that end, ethnic
Figures 11.2 and 11.3). stakeholders. In much the same and cultural biases are also
way a design project cannot very important to consider. For
Critiques and constructive proceed without an in-depth example, a good deal of study has
discussions are essential for any understanding of the user, concluded Asian organizational
design project to move forward. these undeniably important structures are composed quite
Engage in them regularly with presentations cannot be formed differently than European ones.
partners that you trust to add without an understanding of the As one would imagine, a design
value. They are an enriching and customer. In this case, the term presentation for a luxury sedan
informative exercise for both the refers to the client, management, in a company like Lexus may be
designer and evaluator. or key stakeholders. As designers, orchestrated very differently than
we provide a service to an in a company like Mercedes, even
industrial enterprise. Get to know though the products may have a
and understand as much as good deal of similarity. Finally, as
possible about who is sanctioning with all forms of show business,
your effort. This will not only good timing is essential. A
inform your work but how you presentation that is too short quite

 
11.2 Ford Design team members evaluating and critiquing 11.3 Ford Design team members evaluating and critiquing
student projects at ArtCenter College of Design 1 student projects at ArtCenter College of Design 2
Source: image credit, ArtCenter College of Design. Source: image credit, ArtCenter College of Design.

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power to the people 189
often won’t do the work justice, the presentation even more The Three-Act Structure
whereas one that is too long enjoyable for the viewer. For example, step one: your user
will make even the most exciting as you defined them experiences
subject seem boring. Pitching to Prospective Users, a want or need. Step two: they
Selling New Viewers on an Idea are confronted with an obstacle
When presenting to clients, The third most common type of or difficulty in fulfilling that want
management, and key presentation for a designer to or need. Step three: your product
stakeholders, designers are master involves capturing the is introduced to them and gives
ultimately looking to move the imaginations of new clients and them satisfaction. This is a very
proposal forward in a productive customers, prospective users, common three-phase structure
manner. Your customer may not and completely uninitiated viewers that is composed around the idea
be design savvy or understand of the idea. In a sense, this is of: (1) separation; (2) transition;
aesthetic principles; after all, good old-fashioned salesmanship and (3) reintegration. Simply use
this is why they hired you. To at its best. This may not come the beginning, middle, and an
maintain the respect, credibility, naturally to all. In reality, the act end three-part pattern known as a
and trustworthiness, it is helpful to of presenting your design work Three-Act Structure.
show qualitative and quantitative to someone and convincing them
measurements of success. that it has merit not only can be • Act I: Set up, most importantly
This will ultimately keep the challenging but also downright why the unmet goal and need
presentation focused on sharing scary. However, few can argue of the user.
information, and gaining alignment. with the fact that whether it’s • Act II: Confrontation, what
mastering a kick-starter campaign, your product is and the design
As with almost all presentations, it an elevator pitch to a would-be execution.
helps to structure the information client, or presenting a vehicle • Act III: Resolution, how it’s
in a flow from beginning to middle, at a global motor show to the differentiated and meaningful.
to end. Starting with a recap international press, there is great
of the business objectives and value in being able to present a When developing the presentation,
the specific design brief can design effectively. there are also some things to bear
remind the viewer of the goals. in mind in terms of how to best
In this regard, it helps to orient Although this type of presentation deliver the story. The narrative
the viewer/audience in the overall may seem the most daunting, should always align with your
timeline of the project. This can it’s actually the easiest. This is goal. This is commonly referred to
help to give context and efficiency because the structure of the as “staying on message,” so be
to the discussion. Then briefly presentation is derived from the careful not to digress into subplots
explain the methodologies and narrative that you established early or examples that are not relevant.
design work you’re pursuing, on in the conceptual development Furthermore, the protagonist or
relating specifically to that point phase of your project. hero you are talking about should
of the process. For example, Furthermore, everything about this have some connection with the
early on, the focus would be on type of presentation should ideally audience you are presenting to.
research and idea generation, relate to storytelling. It has been This is how empathy is established,
whereas later on in the process, proven time and time again that making it easier for you to hold
the focus would be on detailed the way to generate interest in any their interest. Also, be conscious
model-making. Finally, in closing, idea is to align it with a story. And of timing. Most basic narratives
explain how the project is unique all of the ideas explored in Chapter can truly be communicated in two
and how you are exploring 2 of this book also apply when or three minutes. To this point, the
innovative solutions to meet the pitching or selling new viewers on narrative does not have to run the
challenges. With respect to this, your idea. In fact, everything about entire length of your presentation.
always save room for dessert. your pitch can be derived from the It’s important to not come across
Everyone loves a pleasant basic three-part structures used in as long-winded, or boring the
surprise. A small, charming, almost all storytelling. listener with unnecessary detail
charismatic addition can almost or information. This is particularly
always lighten the mood, making important when pitching a new

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190 power to the people
idea to a prospective client or Always attempt to provide a it is meaningful for a user. Doing
anyone who might be short on time tangible three-dimensional this effectively will captivate the
or attention. Always attempt to be object, ideally something that attention and interest of any
succinct, nailing your point and can be touched and appeal to prospective client or customer.
then moving on. Refine and reduce the haptic senses. For example, These basic fundamentals ensure
so only the important details that when presenting an interior success in academic forums, in
help paint a picture give definition idea, even having a sample of an any meeting or boardroom, or
and clarity to the visuals. And, intended material that a person when presenting a vehicle to the
finally, relax and be comfortable. can feel is a plus. Ultimately, public.
Rehearse the presentation as models and prototypes dominate
many times as needed to become any presentation and will always Launching a Vehicle
completely at ease with delivering concentrate the discussion. The design process is a journey,
the information. The viewer will Even having a small 1:18 scale has been said several times
respond to your confidence model of an exterior car in a throughout this book. It’s a quest
as well as the content being boardroom presentation will to discover new ways to deliver a
communicated. anchor the room’s attention to the unique and meaningful experience
designer. Finally, on the auditory to a user. As designers, we seek
Just as the basic structure of front, craft a succinct speech to use aesthetic principles to
your presentation can be broken that communicates the narrative alter hearts and minds, impacting
down into three parts (Act I, Act II and verbally tells how a design lives in a positive way. Arriving at
and Act III), there are three main is differentiated, meaningful, and the stage where one can share an
components to the content you appealing to the user. However, idea with the public is a special
are communicating. As a designer if the model and visuals are point in that journey. In a sense it is
you should ideally attempt to doing their job, quite often very a form of completion and closure.
triangulate the impact of your pitch little needs to be said or verbally It represents the end of intense
with three mediums, appealing to presented. Always strive to let internal development, and the
sound, vision, and touch. This also the 2-D and 3-D design work beginning of an external dialogue
helps to captivate your viewers’ speak for itself. Remember that between the user and creator. It is
attention and immerse them in the a massive amount of human always an emotional moment when
idea. On the visual front, gorgeous communication is actually non the designer first witnesses a
two-dimensional artwork always verbal. In reality, one can often vehicle they helped to create being
elicits interest. Even in the age of presume that you may not always used, viewed, and experienced
sophisticated computer graphics, be present to communicate the by others. Hopefully the wants
drawn images of vehicles still key aspects of your work. It’s and needs of a user have been
have a warm character that gives generally better to be biased captured in a compelling shape.
any presentation a human touch. toward visual storytelling that can The visual semantics of the vehicle
This can also be combined well be understood by any audience, should ideally tell a story. And
with complementary virtual data speaking any language that may that story should be appreciated
and 3-D animations. Animations not have the ability to hear a verbal and understood by all who view
are ideal in presenting technical explanation. A good speech or it. It’s a very personal endeavor
functions and showing ideal verbal description should merely creating character in vehicles. And
scenarios. At times it’s also help the presentation along and as design and technology evolve,
appropriate to add music to an humanize the experience for the the landscape for transportation
animation. In these situations, viewer. design is shifting. That shift is
be sure to select music that is covered in the final chapter of this
complementary to the design Having compelling images, book.
work and somehow relevant to the beautifully crafted objects, and
narrative theme. For instance, if a well-honed verbal description
you were presenting a sports car are the components of a great
for a rebellious personality, rock ’n’ presentation. One merely needs
roll or hip-hop may be completely to present them in a three-part
appropriate. narrative that communicates why

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power to the people 191
Q&A

Moray Callum
Vice President of Design,
Ford Motor Company

Moray Callum is Vice President,

Design, Ford Motor Company
(Figure 11.4). Callum leads
the design of all concept and
production vehicles for the Ford
and Lincoln brands globally. Since
2006, as Executive Director,
Design, The Americas, Callum
has had overall responsibility
for the design of all cars and
trucks created in Ford’s North
and South America studios and
the new Lincoln products. From
2001 to 2006, he led the design
transformation for Mazda, based
in Japan. Callum joined Ford in
1995, in the Ghia SpA studio
in Italy, after having worked for
Chrysler Corporation, UK, and
PSA Peugeot Citroën in France.


11.4 Moray Callum, Vice President of Design,
Ford Motor Company
Source: image credit, Ford Design.

Question 1: Who are your still a rolling sculpture on wheels

personal design heroes? Who that I think is absolutely beautiful
do you most admire, and why? and so avant-garde for its day.
How does this key influence That is what makes it just amazing.
relate to the work you do for I don’t know if he did much else
Ford Motor Company? after that, but the DS was enough,
 I have a few. To go back to be honest.
in time, Flaminio Bertoni, the
designer of the Citroen DS. I Another one on my list is Alec
think the great thing about the Issigonis, the Mini designer. It’s
Citroen DS is that it’s a family a brilliant piece of engineering
sedan effectively, but it is also an that resulted in a brilliant piece of
extremely exciting-looking vehicle. design work. The whole premise
Not a supercar, not a sports car, behind the car is great: it was one
it’s a practical family car but it’s man who created everything from

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192 power to the people
an engineering point of view and Though he’s known for very thing to do is to ensure there is
the design just came from it. rectilinear designs, if you look at always a safe space to come
the Chapelle Notre-Dame-du-Haut up with new ideas, and allow
I also have a few more obscure de Ronchamp, it’s a lovely mixture enough fluidity to keep refining
ones, like David Bache who of fluidity and rectilinear design. and editing those ideas within a
designed the first Range Rover. I also love the minimalist designs broader vision. We work in a very
That car completely created he did, though not sure I agree processed, disciplined, sometimes
Range Rover as a brand, but it with all of them–like the idea of digital world; we try to allow
also was extremely functional at everyone living in tower blocks. His that element of creativity that is
the same time. Now to think of creativity and sense of proportion not black and white to flourish.
form following function, on a car were superb. He even designed And sometimes it’s part of how
in a design language that is still houses around the importance of you empower the team, getting
viable today, was really impressive. cars, something he understood the everyone aside from them to
importance of early on, and ahead understand the creative process.
And then I have a few more logical of many others. I used to live in a Sometimes there isn’t a right
ones like Guigaro. I think anyone town just outside of Paris where answer, or wrong answer, there’s
my age admired him growing up, there was a house of his called the just an answer and it needs to be
in terms of what he brought to Villa Savoye. If I’m not mistaken, developed.
car design and how he changed the door handles and kitchen
things. For example, how the details were from Voisin! So there Question 3: What types of
first Golf changed expectations was a nice relationship between strategies and techniques do
of design moving from being him and cars. you rely on when presenting
decorative to more functional but new vehicle design proposals
still beautiful. And Gordon Burig, Question 2: How important is to senior management and key
who designed the Cord and did teamwork to the vehicle design stakeholders?
great work throughout his career. process? How do you foster  I always like to think that a
and encourage collaboration design should speak for itself.
In terms of impact, I wish they and communication among your Hopefully you don’t have to explain
could influence me more, to be designers? it too much or rationalize why
honest. They had a much more  I think that’s a really important you’ve done things a certain way.
significant impact on the overall question, actually. Although If you’ve done the job right, you
project than we can today. teamwork is very important, I think can usually present it by showing
They oversaw the project in a design is at its purest when it’s the thing and just standing back.
lot of ways both in terms of the actually a single vision. I think what I think sometimes people expect
engineering and the design. you need to be able to do is be us to justify what we’re doing, but
The business is too big now for the caretaker for it throughout the if a design is right, you don’t need
a one-man-band, so I’m jealous project. To do this, you need to be an explanation of why it’s right.
of them in that regard. They able to create teams that agree You shouldn’t need a rationale.
weren’t just stylists; they needed with that vision, and are aligned It’s a bit like the discussion we
to understand engineering, with it. So in a way, it’s about how just had with the last question;
practicality, and function to be you take a single point of view and you can’t rationalize it by a set
able to create the products that have it become a team’s vision. of yes or no questions. For me,
they created. And I suppose, So it may start off as one person it’s one of those areas where
if anything, I still see myself as designing it, but you then have to hopefully the beauty is in the eye
reasonably pragmatic when we’re get collective ownership. of the beholder and you’re actually
developing a design. getting their confidence just by
A part of any leader’s job is to get showing them the design (see
Stepping outside of automotive, alignment. You need to curate Figure 11.5).
I would call out Le Corbusier. I that alignment and see that it’s
think his work is stunning and consistent. The objective is to get Mustang’s a great example of
spans across a broad range of the finished result the way you that; we didn’t need to explain
products and design languages. want it to be. The other important why we were doing things on the

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power to the people 193

11.5 Ford Performance Vehicles
Source: image credit, Ford Design.

car, people just got it. The GT Now, we have a tendency to talk
is another great example. The about exteriors, but the future
explanation is actually superfluous holds a bigger challenge for
to whether a person likes the interior design, how to make the
vehicle or not. technology user-friendly, and how
to limit the confusion for the user.
Question 4: Looking toward the There is so much more technology
future while considering zero coming. Design definitely has to
emissions and autonomous go through an editing process
technology, what are the biggest to say what’s important and
challenges facing designers in what’s not, and how to visually
communicating and presenting communicate that new technology
new vehicle solutions? What in an intuitive way.
is your advice to designers to
conquer those challenges?
 I think there are challenges
and pitfalls in designing products
like these because there is an
expectation to look completely
different. For example, if you look
at the Tesla Model S, that people
quite like, it doesn’t look like a
science project. It looks like a
pretty car. I think the standards for
how people will judge aesthetics
won’t change. There’s a tendency
to go off and do something a
little bit more different or maybe
sometimes even wacky. Hopefully,
in the future, there will be
opportunities with packaging and
proportions so we can make these
cars look better as opposed to just
different. I would warn designers
away from doing different for the
sake of different.

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194 power to the people
 LAUNCH
Power to the PeoPle 195

12.0 Process locator gauge
Source: image credit, Jordan Meadows.

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196 taking stock of lessons learned
chapter 12

Evaluate
Taking Stock of Lessons Learned and
Looking Toward the Continuous Improvement
of the Idea and Its Replacement

Taking Stock of Lessons releasing a product, the designer

 Taking Stock of Learned while Looking Ahead reaches the moment in their
Lessons Learned while Early in this book, we took a journey when they’ve returned
Looking Ahead deep dive into the importance of from the quest to share the
answering the why component newfound wisdom. This wisdom
 Looking Forward: of what compels a user toward a propels future journeys and serves
Factors Changing particular vehicle. The aesthetic as a catalyst for the entire cycle to
the Future of draw and the principles that begin again.
Transportation compose its visual semantics are
at the very core of that attraction. One must understand where
 Future Population
In presenting a vehicle to the you’ve been to know where you’re
Scenarios
world, telling that narrative is going in the future. Betterment
 New and Emergent key to getting this point across. and continuous improvement are
Mobility Paradigms As stated before, this is a pivotal one of our collective goals in life.
moment when an idea transfers For this reason, it is crucial to
 Connectivity and the from an internal exercise, pursued understand the lessons learned.
Internet of Things privately by professionals, to Honest analysis of the strengths
an object that is shared and and weaknesses of a particular
 Zero Emissions
appreciated in public. From that vehicle is crucial to producing a
Technology point on, a special type of dialogue replacement that is better. Every
 Autonomous and takes place by which users can professional designer immediately
Driverless Scenarios
form, shape, and impact decisions knows what they would do
made on successive vehicles. The differently once they see a vehicle
 New Questions for bottom line is design is an ongoing being used in public. It’s almost
Designers process that is cyclical in nature. a reflex. Now more than ever, this
Each decision that a designer questioning of how to go about
 Key Implications for makes and is experienced by a things differently in the future is
Designers person becomes fuel and fodder taking place in the profession on a
for successive decisions and broad scale.
future products (see Figure 12.0).
Looking Forward: Factors
The creative process is analogous Changing the Future of
to a hero’s journey, in which a Transportation
designer delves deep into the At the time of writing this book,
unknown to discover solutions the transportation design
that are applicable to others. In industry is undergoing massive

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taking stock of lessons learned 197
change. Macro technological and mobility markets, people are on the traditional ways in which
societal trends are shifting nearly choosing new ways to move vehicle manufacturers operate.
every assumption of how vehicle about. The third factor includes The question is, what will be the
manufacturers will maintain and ubiquitous connectivity and the scale and magnitude of change?
generate profits moving forward. Internet of Things. Virtually every How, when, and who will be
Various researchers in the industry powered object in our lives may able to adapt? And what types
believe there are five key factors be potentially linked in some way of emerging challenges will
that will affect the way we move online. The fourth significant designers face in this dynamic and
through our lives in the future. factor involves zero emissions shifting new world?
These five include population powertrains and the proliferation
growth and shifting demographics. of battery technologies. The fifth Future Population Scenarios
In almost every projection of the factor, and potentially most pivotal, Population growth is an undeniable
future, the world will be dealing involves autonomous technology part of our future! No one can
with many more people than it has and intelligent self-driving accurately predict the future. In
now. The second of five includes vehicles.1 many cases, accurately predicting
new mobility paradigms. Due to long-term scenarios for any
the socioeconomic conditions in All these key factors are well business is a bit like forecasting
both emerging and established underway and will have an effect the weather. However, there are

evaluate
198 taking stock of lessons learned
 some basic assumptions that are growth in emerging markets, such
12.1 Composite image of future traffic likely to evolve from our current as India and China, everyone in the
scenario
Source: image credit, Jordan Meadows.
reality. You would be hard-pressed world will be faced with the global
to find an expert who doesn’t impact of significantly more people
 agree that population growth will on planet Earth2 (see Figures
12.2 Composite image of future city
scenario 1
be something that all of us will 12.1–12.3).
Source: image credit, Jordan Meadows. face. Imagine that anything you
enjoy doing presently will definitely Most of the growth will take place
 be shared by many more people in cities around the world. This is
12.3 Composite image of future city
scenario 2 as you get older. And although due to the fact that cities already
Source: image credit, Jordan Meadows. demographers predict significant have fairly large populations that

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taking stock of lessons learned 199

12.4 Spectrum of mobility and transportation applications
Source: image credit, Jordan Meadows.

will regenerate. They will also way vehicles are manufactured Not only are users rethinking
increase their population, scale, and sold as well. Not only are traditional ownership and usage
and density, drawing people to rides available on demand to models, when they do choose
them seeking jobs. However, nearly anyone anywhere, retail to purchase a transportation
there are different types of cities is also available on demand. experience, they are provided with
and their unique dynamics will The proliferation of services an increasing array of options. This
drastically affect vehicle usage. such as Amazon, Insta-cart, and can range from public bike rentals
For example, cities with large other retail delivery providers, is in urban centers, to micro-vehicles
populations distributed across fundamentally shifting the need provided by services like Zipcar, to
a large sprawling area such as and frequency of visits to brick- new commuter rail services. It’s not
Los Angeles will require very and-mortar stores. Added to this, hard to imagine that in cities of the
different solutions to cities that are there is a general shift away from future shared commuting helicopter
composed of a large population traditional ownership models. The services may one day be likely (see
in a dense and compact area. rise of the “sharing economy” Figure 12.4).
Furthermore, the per capita across all goods and services
spending power and wealth in cannot be ignored. There’s been a Connectivity and
some cities versus less affluent clear and definite shift away from the Internet of Things
developing areas will result in the assumption that the consumer One can hardly remember what
different types of vehicles and needs to own something to life was like before the age of
usage patterns. Traditionally, experience it.3 the internet. In reality, just the
vehicle manufacturers attempted mere idea of life without a cell
to create one type of vehicle for Conversely, if one does own phone now seems very difficult
all cities. Moving forward, this may something, one can also to imagine. This dependence on
not be the case. Even with regard potentially benefit financially by connectivity is here to stay and
to public transportation, new sharing. In a sense, services such will begin to extend to nearly all
or emerging cities with a larger as Airbnb have not only impacted of the powered products that
landmass will have the opportunity traditional business models such surround us. Connectivity will not
to pursue different types of as the hospitality industry, they’ve be relegated to just information
solutions versus older, more also altered many consumer’s and communication devices such
established urban centers. When perception that they actually need as televisions, computers, and
laying out new roads in a growing to go out and buy anything. This phones. It will eventually extend
area, it may be possible to establish is true, whether it’s record sales to electronics, appliances, and
dedicated tram lines to avoid traffic, for hard copies and recordings, any form of machinery that one
whereas an older dense area may or vehicles to a certain extent. can imagine. This will effectively
find this challenging. There is also a generational allow users to access and control
dynamic to these new mobility these objects in completely new
New and Emergent Mobility paradigms. Younger buyers are and profound ways. It will also
Paradigms not only buying fewer cars, they’re potentially change these objects
The proliferation of ridesharing also much slower to apply for into data collection devices4 (see
services such as Uber and Lyft and obtain a driver’s license than Figure 12.5).
are clearly disruptive to the taxi generations before. What used
industry as a whole. One could to be a sign of independence and Because vehicles are an
argue these services not only may freedom for older generations assemblage of numerous
change the way vehicles are used, simply does not have the same products, they occupy a unique
but could potentially change the cachet anymore. place in the spectrum of

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200 taking stock of lessons learned

12.5 Connectivity between objects, applications, and transportation modes
Source: image credit, Jordan Meadows.

interconnected objects. They are interconnected in new and motors can then be packaged at
are mobile, transporting us, complex ways (see Figures either axle, within the diameter
and offer endless possibilities 12.6–12.9). of the wheels. This frees up an
for connectivity. They move us enormous amount of space in the
through our world and provide Zero Emissions Technology vehicle, allowing for seemingly
us with the ability to access and If connectivity and the internet endless flexibility for packaging
share experiences. Because have radically changed the way above these elements. This allows
most of us are completely reliant we share information and data, designers to explore radically
on some form of vehicle, they zero emissions technology new silhouettes and fundamental
seamlessly weave innovation, has the potential for a similar shifts to the architectural
design, and technology into our impact on the architecture of composition of vehicle bodies
lives. And because where we vehicles. At present, the two (see Figures 12.10 and 12.11).
go and how we get there say so main areas for investigation
much about who we are, vehicles involve hydrogen fuel powering The benefits aren’t limited to only
have the potential to become the combustion engines, and battery- vehicle design and architecture.
ultimate data collection device. powered systems propelling Consider that when combined
electric motors. The latter has with solar power systems, they
Privacy, who owns this data, the most radical benefits to the can have a very low impact on the
what they do with it, and the architectural configuration of environment. Battery technology
implications of their agenda conventional automobiles as it not only allows for a more efficient
are a controversial subject of a eliminates the combustion engine; usage of space within a vehicle,
broad-based ethical discussion. the heaviest, most technically but can also provide a way to
This ongoing conversation is complex part of the vehicle use cleaner energy. This has the
not immediately related to the engineering equation. In their potential to radically impact nearly
aesthetic principles of vehicle most efficient configuration, every socioeconomic and political
design; however, every product battery electric vehicles (BEVs) system related to fossil fuels.
designer should be aware of use a skateboard-type frame
the sociocultural impact of the where the cells are packaged Due to shifting economies of
objects they create. And now below the vehicle floor, in the scale, battery technology was
more than ever, these objects area between the wheels. Electric previously considered premium.

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taking stock of lessons learned 201
 
12.6 Connectivity between automobile functionality and smart 12.9 Ford Sync image showing connectivity between
phone applications 1 automobile functionality and smart phone application
Source: image credit, Tesla. Source: image credit, Ford Motor Company.


12.7 Connectivity between automobile functionality and smart
phone applications 2
Source: image credit, Ford Motor Company.


12.8 Ford Mustang interior with Sync 3 infotainment system
Source: image credit, Ford Motor Company.

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202 taking stock of lessons learned
 
12.10 Tesla Model-S, key components featuring battery pack 12.11 Tesla Model-S, key battery and technical components,
located at the bottom of image, displaying flexibility of upper side view. Many electric vehicles rely on the similar packaging to
body design provide maximum freedom in body shape and design.
Source: image credit, Tesla. Source: image credit, Tesla.

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taking stock of lessons learned 203

12.12 Tesla Giga factory, a key Moving forward, the cost of vehicles to rise (see Figures 12.12
enabler for providing battery electrification per vehicle has and 12.13).
technology at a mass scale
Source: image credit, Tesla.
the potential to become more
affordable and proliferate into Hydrogen-fueled vehicles are
 mass-market applications. Added also emissions-free. However,
12.13 Tesla Model-S, electric motor
and battery pack components
to this is the fact that technology because the technology is
Source: image credit, Tesla. advances are enabling the reliant on a combustion engine
previously limited range for such and special safe packaging of

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204 taking stock of lessons learned
hydrogen tanks, it offers vehicle
designers less freedom from
an architectural perspective.
Both require the development
of a convenient refueling, or
recharging, network. In any case,
many governmental agencies
around the globe are mandating
that vehicle manufacturers include
zero emissions technology as
a percentage of their overall
vehicles produced. Many offer
tax incentives for consumers
as well. The adoption of zero
emissions powertrains, be they
electric or hydrogen, offers new
opportunities for designers as
well as undeniable benefits for
the environment (see Figures
12.14–12.17).


12.14 Tesla Model-S, cutaway view
featuring ultra-compact packaging
of technical elements allowing for
flexible space and added storage
areas
Source: image credit, Tesla.


12.15 Tesla Home-Charging Station
Source: image credit, Tesla.

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taking stock of lessons learned 205
 
12.16 Tesla Model-S, charging port
Source: image credit, Tesla.


12.17 Tesla Supercharger Station,
featuring free connectors that
charge their vehicles in minutes
rather than hours
Source: image credit, Tesla.

Autonomous and Driverless has been focused on accident of advanced driver assistance
Scenarios avoidance systems (preventing systems (ADAS) that involve
The automotive industry has been them from happening in the a host of different products
on a long and steady campaign to first place). As technology has from “lane assist” to “automatic
make vehicles safer. Over time, a advanced, and the amount of braking” systems and “crash
good deal of effort has gone into computing power in the average avoidance” to “cruise control,”
managing how vehicles behave automobile has grown, these etc. Combining ultra-advanced
when an accident occurs. More safety-focused programs have versions of these driver assistance
recently, a similar amount of effort evolved into a new generation applications has formed the

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206 taking stock of lessons learned

12.18 Tesla Autopilot, illustration depicting array of vehicle sensors
Source: image credit, Tesla.

basis for autonomous, self-driving new technology. There are also where the technology is headed
vehicle technology (see Figure significant regulatory, legislative, (see Figure 12.19).
12.18). and liability hurdles to overcome.
Who would be responsible in Semi-autonomy will eventually
Vehicle autonomy, or the self- an accident with an autonomous give way to fully autonomous
driving car, may represent one of vehicle, for example? How would vehicles. Traditional automobiles
the most pivotal shifts in mobility insurance companies deal with with steering wheels and pedals
since the inception of personal such a class of vehicle? With that possess some autonomous
automotive transport. Nearly every regard to trust in the technology, capability will eventually give rise
aspect of automotive design and the actual real-world consumer to vehicles designed to function
engineering for over a century acceptance can only be truly without any human intervention. In
has been centered on the idea evaluated gradually. Due to theory, when this point is reached,
of an individual taking active this and many other complex users will have the opportunity
command of the machine. In technical factors, the industry for radically different usage
reality, many might find the basic will be dealing with a period of scenarios. Every aspect of our
concept challenging. It’s really semi-autonomy for quite some interaction with vehicles could
quite understandable. Being in time. This basically means that potentially shift. The nature of our
control, the joy of driving, and vehicles will have the ability to relationship with transportation
a sense of empowerment are drive themselves; however, human could be altered. Whereas today
massive parts of the emotional intervention will be required at we’re in direct control of vehicles,
appeal of vehicles. Additionally, times. In any case, the paradigm the future may bring a day when
many people have a natural sense has definitely shifted, and it we trust our lives to digital
of skepticism and mistrust for doesn’t take much to imagine transportation devices with some

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taking stock of lessons learned 207

12.19 Autonomous technology possible adoption rates of moving forward in the
future, adapted from McKinsey Automotive and IHS Insights studies
Source: image credit, Jordan Meadows.

 degree of artificial intelligence.

12.20 Velodyne LIDAR sensor, essential for enabling
autonomous vehicles to read their surroundings The change in our relationship to
Source: image credit, Ford. personal modes of transportation
will undoubtedly alter how we use
our time both inside and outside of
vehicles. It will have an impact on
our communities, cities, roads, and
public spaces. In principle it will
also offer enhanced safety.

As with all new technology,

autonomous self-driving vehicles
offer new possibilities that will
also pose new questions and new
responsibilities. The very nature
of how these vehicles will be
integrated into the fabric of our

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208 taking stock of lessons learned
lives will be the result of decisions usage will become ubiquitous. design will undoubtedly evolve.
made by designers moving As demand for different types of To be successful in this fluid and
forward (see Figure 12.20). mobility grows, and technology competitive world, successful
offers ways to make mobility less vehicle manufacturers will have
New Questions for Designers burdensome, users will have a to simultaneously learn new skills
When these five key factors are broader range of ways to access and leverage partnerships when
combined, the industry is faced transportation. Many of these necessary. In fact, the central
with new questions. In combining choices will not involve going focus of some organizations
these evolving macro trends, one into a traditional dealership every may shift in a quantum way.
quickly understands the potential few years to purchase or lease a Consider if a company like Apple
for radical disruption of traditional vehicle. had only remained a computer
business models in the world of manufacturer and ignored mobile
vehicle design, marketing, and The key question for traditional phones or music. Just imagine
manufacturing. Consider the vehicle manufacturers then then how key players in the vehicle
bygone era when the average becomes how to monetize world may involve moving forward.
person purchased hard copies of mobility. They will have to remain
music rather than downloading competitive in their current areas Key Implications for Designers
and sharing. The record industry of expertise. However, many of the As stated before, creating future
experienced massive change opportunities for growth moving scenarios for any business can be
due to technology. Moreover, forward will not be from the a bit like predicting the weather.
one could argue the very nature sources familiar to them. Future In considering these key factors
in which we appreciate music growth will come as a result and their impact on the world of
shifted. The world of imaging of new business propositions vehicle design and transportation,
has experienced a fundamental created by the confluence of new it’s important to remember that
shift as well. Analog cameras technologies and sociocultural none of them are actually etched
were at one time quite popular. trends. To remain competitive in stone. It is true that they exist
Large corporations such as Fuji and grow, traditional vehicle currently; however, they are
and Kodak were quite successful manufacturers must evolve to evolving to varying degrees and
in offering and developing film. include services and experiences. subject to whatever unpredictable
Digital imaging has undeniably twists, turns, and occurrences
altered the way most of us capture, As the competitive landscape is the future may hold. Change may
process, and share images. From redefined to include services and take place slowly, or it may occur
journalism to publishing, the list experiences in the technology rapidly, but in either case you can
of traditional industries upended age, new competitors will emerge. be certain that much of the timing
by the advent of new technology Where vehicle manufacturers and outcome is truly uncertain.
is not a short one. Anyone traditionally competed among This is one of the things that
actively engaged in the vehicle themselves, they are now makes design exciting.
and transportation sector should potentially faced with competition
consider where they stand in this from a range of technology-based We can be certain, however, that
regard. This is particularly crucial service providers. For example, people will always have a need
for designers as they are directly the big three at one point in time for transportation. For as long
responsible for the aesthetic, referred to General Motors, Ford, as we’ve been around, we’ve
human, and emotional qualities of and Chrysler. It then evolved to had the need to get around.
the user experience. more accurately refer to Toyota, Furthermore, we’ve always had
Volkswagen, and General Motors. a desire to appear a certain way
These macro trends indicate that Moving forward, the three key while traveling. Vehicles are and
the way many of us purchase players in the transportation world will continue to be an integral
and use our vehicles is likely to may not only include traditional part of our society, from the
change. While some consumers automotive manufacturers. As days of horse-drawn wagons
will always opt for traditional a result, core competencies to autonomous self-driving
vehicle ownership, one can will be reframed. The scope automobiles. And considering that
imagine the day when shared of product development and horses are intelligent animals and

evaluate
taking stock of lessons learned 209
stories do exist of them navigating Notes
on their own, one can draw 1 McKinsey & Company. Automotive
parallels. Revolution – Perspective Towards
2030: How the Convergence of
Through the ages, history and Disruptive Technology-Driven
Trends Could Transform the Auto
human nature have also shown
Industry (Advanced Industries,
us that narrative is crucial to the 2016). Available at: www.mckinsey.
way we view ourselves and how de/files/automotive_revolution_
we interact with the world around perspective_towards_2030.pdf
us. The need for visual meaning 2 United Nations department of
is deep within and informs the economic and social affairs –
way we create and appreciate World’s population increasingly
design on a psychological level. urban with more than half living
It’s the framework for the aesthetic in urban areas. Available at:
principles behind everything we www.un.org/en/development/
desa/news/population/world-
create, see, and experience. This
urbanization-prospects-2014.html
phenomenon will remain vital in 3 The Rise of the Sharing Economy
the way transportation providers (Thinkers 50, 2013). Available
offer and communicate their at: thinkers50.com/wp-content/
goods and services in the future. uploads/The-Rise-of-the-Sharing-
As long as humans have different Economy.pdf
personalities with opinions on how 4 How will the Internet of Things
they would prefer to move through look by 2025? Lee Rainie.
the world, designers will offer (Pew Research Center 2016).
an array of choices to suit their Available at: www.pewinternet.
org/2016/03/29/how-will-the-
needs.
internet-of-things-look-by-2025/

With emergent technology

bordering on mysterious and
magical, trust and promise
become ever more important.
Users will need to see and
understand that their wants,
needs, and safety have been
given the utmost importance.
Vehicles will need to not only
offer transportation, but also
communicate a sense of
advancement and well-being. And
now more than ever, designers are
the ones to deliver that message
and shape a vision of a better
tomorrow!

evaluate
210 taking stock of lessons learned
about the author

Jordan Meadows
was a key member of the Mustang
design team. Prior to Ford, he
served as Design Manager at
Mazda. While there, his team
completed the noteworthy
Nagare concepts. Prior to this,
Meadows was a Team Leader at
Volkswagen. During his time at
Volkswagen, Meadows assisted
the realization of an advanced
studio near Berlin. Meadows
began at Chrysler creating the
Jeep Willys and Dodge Kahuna
concepts. A graduate of the Royal
College of Art, and the Rhode
Island School of Design, he
now resides in Los Angeles, and
serves as a Design Specialist at
Ford’s Global Advanced Design
Group and a faculty member at
the ArtCenter College of Design
(see Figure 12.21).


12.21 Vehicle Design: Aesthetic Principles in Transportation Design
author Jordan Meadows
Source: image credit, Jordan Meadows.

about the author 211

Glossary

Glossary words appear in bold 3-D Design (or development Autonomous Technology Any
on their first occurrence in the programs) The process of using kind of technology that allows
chapter. Some definitions in the specialized computer software to for function without human input;
Glossary have been paraphrased develop a digital representation in relation to vehicles, it is a car
from the sources below and of the surface of any three- that is capable of driving, sensing
blended with the author’s personal dimensional object. its surroundings, and navigating
knowledge: without human input.
Aerodynamic (1) The qualities of
Merriam-Webster an object that affect how easily it Autonomy (Autonomous
www.merriam-webster.com/ is able to move through the air; (2) Technology/Vehicles) The state
dictionary Designed in a way that reduces of functioning, existing, or driving
Wikipedia wind drag and thereby increasing independently.
http://en.wikipedia.org/wiki/ fuel efficiency.
Battery Electric Vehicle (BEV)
Aesthetic (or Aesthetic A vehicle that uses batteries and
Principles) (1) The philosophical electric motors instead of an
theory or set of principles internal combustion engine for
governing the idea of beauty at propulsion.
a given time and place; (2) A
set of principles underlying and Body on Frame An automobile
guiding the work of a particular construction method; mounting
artist or artistic movement; (3) a separate body to a rigid frame
The philosophy of art; the study that supports the drivetrain was
of beauty and taste. The term the original method of building
aesthetic is also used to designate automobiles and continues today.
a particular style, for example
“Japanese aesthetics.” Aesthetic B-Pillar The vertical or near
design principles include vertical supports of a car’s window
ornamentation, edge delineation, area, designated as A, B, C, or (in
texture, flow, solemnity, symmetry, larger cars) D. The B-pillars reside
color, granularity, the interaction where the driver and passenger-
of sunlight and shadows, side windows end.
transcendence, and harmony.
Carl Jung Psychologist, Carl
ALMS (American Le Mans Gustav Jung used the concept
Series) A sports car racing series of archetypes in his theory of
based in the United States and the human psyche. He believed
Canada. It consisted of a series of that universal, mythic characters
endurance and sprint races, and (see Archetypes) reside within
was created in the spirit of the 24 the collective unconscious of
Hours of Le Mans. all people and are the psychic
counterpart of instinct.
Archetypes See Carl Jung.

212 glossary
Clay Modeling The process of Design Movement A specific F1 (Formula One) The
manipulating clay which can be philosophy or ideal that is highest class of open-wheeled,
used to sculpt shapes and figures. followed and promoted by a single-seat, auto racing that is
As related to vehicle design, it is group of artists for a defined sanctioned by the FIA (Federation
a way to transform a sketch into a period of time, examples are: Internationale de l’Automobile).
three-dimensional object so it can Abstract Expressionism, Art Deco,
be studied and reviewed. Minimalism, Cubism, etc. Fabricator A person who is skilled
in constructing a complex finished
CNC (Computer Numerical Design Strategy A discipline product from a design idea.
Controlled) Machine A highly which helps individuals and firms
automated device that uses determine what to do, why to do FCA Group Fiat Chrysler
computer aided design (CAD) and it, and how to inform selections, Automobiles, formed in 2014
computer-aided manufacturing both immediately and over the through the merger of Fiat and
(CAM) programs to produce long term. The process involves Chrysler, it is the seventh-largest
an object by cutting material or the interplay between design and automaker in the world that
building up material in layers. business strategy. designs, engineers, manufactures,
and sells cars, light commercial
Competitive Benchmarking The Digital Design (or Digital Sketch vehicles, components, and
continuous process of comparing Modeling) The process of using a production systems worldwide.
a firm’s practices and performance computer and software programs
measures with one of its most to create pixel-based images and Hard Model A non-functioning
successful competitors. renderings of prototypes and/or prototype created to evaluate
graphics. appearance and design.
Concept Car A car made to
showcase new styling and/or new DNA (Brand-Concept) Words, HMI (Human–Machine Interface)
technology. Often they are shown images, and experiences that are Any design application that
at motor shows to gauge customer the fundamental elements of an presents information to an
reaction to newness and may or organization, creating clarity and operator or user with intent to
may not be mass-produced. unity about its vision and purpose. implement control instructions,
typically displayed in a graphic
Cowl Point The top portion of the Engineer A practitioner of format, and often governed by
front part of an automobile body, engineering, concerned with software.
supporting the windshield and applying scientific knowledge,
dashboard. mathematics, and ingenuity to H-Point The theoretical relative
develop solutions for technical, location of an occupant’s hip:
Design (1) Creative problem social, and commercial problems. specifically, the pivot point
solving; (2) The creation of a plan An automotive engineer between the torso and upper leg
or convention for the construction incorporates elements of portions of the body, as used in
of an object or a system creating a mechanical, electrical, electronic, vehicle design.
solution to a problem; (3) To plan software, and safety engineering
or make something for a specific as applied to the design, HVAC (Heating, Ventilation and
use or purpose; (4) To plan manufacture, and operation of Air Conditioning) The technology
and make decisions about how motorcycles, automobiles, and of vehicular environmental comfort,
something will be built or created. trucks. its goal is to provide thermal
comfort and acceptable occupant
Design Brief An overview for a Ethanol-Fueled A vehicle running air quality.
design project developed by a on 100% ethanol fuel or a mix of
business need, the focus is on the ethanol and gasoline (flex-fuel). Kodo Design Language The
desired results of the design, not Ethanol fuel is ethyl alcohol and appearance and design DNA
the aesthetics. most often used as a motor fuel, associated with Mazda Motor
mainly as a biofuel additive for Corporation’s vehicles, typified
gasoline. by sophisticated, sculptural, but
minimalistic surfaces.

glossary 213
Le Mans The world’s oldest active of moving people or objects from sporty or performance-oriented
sports car race in endurance one place to another. image.
racing, held annually since 1923
near the town of Le Mans, France. Modeler A person who makes Powertrain The main components
A 24-hour race which is a mix models, especially from a plastic that generate power and deliver
of closed public roads and a medium such as clay. it to the road surface, water, or
specialist racing circuit, in which air; this includes the engine,
teams have to balance speed Monocoque A structural design transmission, drive shafts,
with their car’s ability to withstand approach whereby a vehicle’s differentials, and the final drive.
mechanical damage. stresses and loads are supported
through its body or external skin. Proportion The relative size,
Market Opportunity A situation scale, and relationship of various
in which a company can meet an Muscle Car Any group of elements in a design.
unsatisfied customer need before American-made, two-door sports
its competitors. A newly identified coupes with powerful engines, Quadrant Positioning Charts
need, want, or demand trend, designed for high performance A visual communication aid
that a firm can take advantage of driving. divided into four sections
because it is not being addressed that graphs the positioning
by the competitors. Narrative The art, technique, or of products, experiences, or
process of telling a cohesive story. brands based on predetermined
Market Research An organized attributes.
way to gather information about NURBS (Non-Uniform Rational
specific target markets or Basis Spline) A mathematical Quarter Scale The percentage of
customers. model commonly used in proportional reduction for a design
computer graphics for generating study model.
Market Target (Target Customer) and representing curves and
A particular group of consumers surfaces. It offers great flexibility R&D (Research and
at which a product or service is and precision for handling both Development) Activities in
aimed. analytic (surfaces defined by connection with corporate
common mathematical formulae) innovation situated at the front
Mill (or Digital Milling) The and modeled shapes. end of the product development
computer-controlled machining lifecycle. R&D departments
process of using rotary cutters to Occupant Sightlines (Vision develop new products or may
remove material from an object Angles) The area available for do applied research within their
by advancing (or feeding) in a driver or occupant observation field to facilitate future product
direction at an angle with the out of a vehicle, not obscured by development and design.
axis of the tool. It covers a wide bodywork, or componentry.
variety of different operations and Rapid Validation Mock-up
machines, on scales from small Performance Car An automobile A low fidelity simulation, model, or
individual parts to large, heavy- that is designed and constructed prototype constructed to quickly
duty operations. specifically for driving enthusiasts, prove a theory or idea.
performance cars are road
Mission Statement (Corporate vehicles. Specially designed Rapid Visualization A technique
Vision) A statement which is racecars are not regarded used by graphic artists to create
used to communicate the purpose as performance cars, but a drawing of a concept in several
and/or goals of an individual or performance cars are often raced. stages. After the completion of
organization. thumbnail drawings, a preferred
Pony Car An American class of drawing is selected and rendered
Mobility (Mobility Design) automobile launched and inspired in full size, usually in pencil. Then a
Referring to the broadest definition by the Ford Mustang in 1964. sheet of paper (layout bond) is put
of transportation products, The term describes an affordable, over the drawing and it is redrawn/
experiences, and systems capable compact, highly styled car with a traced with corrections, additions,

214 glossary
and alterations. This process is SWOT An acronym for Strengths, steering wheel, doors, and floor
repeated several times, often Weaknesses, Opportunities, and in order to evaluate ergonomics,
with color added at some stage, Threats: A structured planning comfort, and function.
until the image is perfected to the method that evaluates those four
desire of the artist. elements of a project. Zero Emissions Refers to an
engine, motor, process, or other
Rotary Engine A type of internal Track Car A car suited in some energy source, that emits no
combustion engine using an way to be used on a racetrack. waste products that pollute the
eccentric rotary design to convert environment or disrupt the climate.
pressure into rotating motion, Transportation Design The
conceived by German engineer, creative development of vehicle-
Felix Wankel. based products, experiences,
and systems capable of moving
Scale Model A representation or people or objects from one place
copy of an object that is smaller to another.
than the actual size of the object
being represented, and very often Uni-body Construction
used as a guide to making the Sometimes referred to as
object in full size. monocoque, it blends both the
frame and body into a single unit,
Semiotics The study of signs onto which reinforcements are
and symbols as elements of added in specific zones.
communicative behavior.
UX (User Experience) Design
Sharing Economy (1) Also known The process of enhancing
as collaborative consumption, a user satisfaction by improving
trending business concept that the usability, accessibility,
highlights the ability of individuals and pleasure provided in the
to rent or borrow goods rather interaction between the user and
than buy them; (2) A hybrid market the product.
model which refers to peer-to-
peer-based sharing of access to Vehicle Architecture The manner
goods and services, coordinated in which the components of
through community-based online transportation experiences are
services. organized and integrated.

Silhouette The outline or general Vehicle Engineering The design,

shape of an object. manufacture, and operation
of motorcycles, automobiles,
Storyboard An organized form of and trucks and their respective
illustrations or images displayed engineering subsystems.
in sequence for the purpose
of visualizing and defining the Vehicle Segment Classification
creative concept or idea. schemes that are used to regulate,
describe, and categorize vehicles.
Surface Language An
overarching theme or Whalebone Buck (Seating
characteristic to an object’s three- Buck) Sometimes referred to as
dimensional finishing used to a packaging buck; an accurate
express a thought and/or feeling. representation of only the vehicle’s
interior which may include the
seats, pedals, instruments,

glossary 215
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index

A B
acceptance, gauging 177–8 B-pillars 113, 119, 212
accident avoidance systems 206 Baby Boomers 18–19
accountability 79 Bache, D. 193
advanced driver assistance systems bandwidth of solutions 75, 81–2, 102
(ADAS) 206 batteries 65, 184, 201, 203–4
advertising 178 battery electric vehicles (BEVs) 184, 201,
aerodynamics 43, 59, 63, 65–6, 72, 87, 203–4, 212
97, 155, 212 Bauhaus 7
aerospace 78 beltlines 155, 157, 178
aesthetics 13, 17, 29, 38–40, 75; benchmarking 7, 81, 83, 95, 178, 180, 213
aesthetic principles 82, 171, 187, Bertone 10
190–1, 197, 201, 210, 212; and Bertoni, F. 192
engineering 172, 180, 184; and Birtwistle, P. 86
evaluation 209; and ideation 78; and Blake, T. 94
implementation 83; and modeling blank pages 61
155, 157, 169; and product launches blueprints 31
194; and synthesis of ideas 127, BMW 57, 62, 87, 102
133, 136 body on frame 65–6
affordances 68 bodywork 65, 67
Airbnb 200 brainstorming 1–2, 4–5, 8, 13
airbags 67 brands 11, 13, 18, 23, 213; and
Alias 150, 152, 154, 156, 167 engineering 173; and ideation 68,
all-wheel drive 64–5 71–2, 77–8; and implementation
ALMS 44, 50, 212 82, 84, 87; and mission statements
Alpha Romeo 10 35, 39–40, 42, 46, 50, 54, 56;
aluminum 38, 65, 87, 132, 144, 152 and product development 95, 107,
amateur racing 56 109; and product launches 192–3;
analysis 3–4, 7–9, 15–34, 63, 95, 127, 150 statements of brand essence 36;
Andretti, M. 55 and synthesis of ideas 132–3
animations 191 Braun 7
anthropology 29, 157 briefs see design briefs
anthropomorphization 21, 71 building 171–86
Apple 7, 10, 209 bumper beams 67
archetypes 18, 27–31, 61, 63–5, 68, 75, Burig, G. 193
95, 177, 212 burnout 3
architecture, definition 62 business viability 9
armatures 159, 161
ArtCenter College of Design 18, 76
artificial intelligence 208 C
artwork 191 Cadillac CTSV 86
Asia 54, 102, 179, 189 California 89, 161
aspect ratios 65 Callum, M. 187, 192–4
aspirations 9, 28–9, 31, 57, 67–8, 95 Campbell, J. 21, 30
assemblages 128, 200 cantilevers 77
assembly lines 175 carbon fiber 38, 65
Audi 76, 84, 86–7, 102; Audi 80 87; Audi caregivers 18, 68
100 87; Audi Avant 86; Audi Quattro cargo space 66, 72
86–7; Audi TT 76, 85 carryover components 38
audits 136 Cartesian (XYZ) coordinates 149, 154–5,
Auto Union 76 157, 164
autonomous technology/vehicles 13, 30, cartoons 157
32, 59, 78, 184, 194, 197–8, 206–9, case studies 35, 39–52, 93–107, 109–27,
212 136–45, 147, 159–64

index 217
Catia 150, 156 selections 113, 119, 124; and deconstructivism 7, 9
centerlines 96, 155, 161 modeling 150, 155, 157; overall demons 7, 38, 172
challenges 1, 3, 5, 7, 30; and engineering 127–46 deployment strategies 147, 167–9
184; and evaluation 198, 200, 207; computational fluid analysis 43–4, 181 Design Award of the Federal Republic of
and final selections 110; and ideation computer numerical controlled (CNC) Germany 84
68, 78–9; and implementation 82–3, machines 156, 161, 213 design briefs 1, 35–52, 61–81, 133, 136,
87, 89; and mission statements computer-aided models 43, 74 190, 213
35–6, 39, 59; and modeling 156, concept cars 18, 35, 39–52, 76, 84, 213 design freeze 124
159, 167; and product development conceptual issues 30–2, 38, 61, 147, 190 design movements 5–6, 213
97; and product launches 188–90, connectivity 197–8, 200–2 design proposals 97, 110, 156–7, 171–86,
194; and synthesis of ideas 133; and consultancies 17, 38 193
vision 9, 11, 13 consumers 11, 17, 57, 113, 128, 133, design strategy 81–2, 87–8, 90–1, 93,
chaos 30, 32 214; and consumer insights 15, 18, 213
Chapman, C. 180 27–32; and engineering 177–8, detailing 61, 75, 104, 111, 124; and
character 21, 29–30, 71–2, 75, 212; and 181–2, 184; and evaluation 200, 205, modeling 154, 156, 164–5; and
ideation 77–8; and implementation 207, 209; and presentations 187–96; product launches 190–1; and
85, 87, 90–1; and modeling 152, and synthesis of ideas 128, 133 synthesis of ideas 133, 136, 140–2,
156; and product development 93, context 28, 30–1 145
95–8, 102; and product launches contracts 38 development 93–108
191 Le Corbusier 193 digital design process 149, 213
Cheskin, L. 17–18 corporations 11, 22, 36, 38–9, 53; digital milling see milling
children 30, 68, 157 and engineering 173, 180; and digital models 43, 90, 104, 147–70, 180
China 13, 89, 199 evaluation 209; and final selections Dino 179
choices 61, 68, 75, 81 110; and ideation 66; and product DNA 7, 12, 37, 39–40, 213; and ideation
Chrysler Corporation 4–5, 11–12, 53–4, development 94, 104, 106 61–80; and implementation 82,
86, 192, 209, 213; Chrysler 300 76; corrosion 172 88; and mission statements 42, 44,
Prowler 11; PT Cruiser 11 Countach 179 46, 50–2, 54, 56; and synthesis of
Citroen DS 192 Courage C 65 chassis 44 ideas 137
clarity 30–2, 38 cowl points 155, 213 Dodge 4–7, 11; Dodge Kahuna 4–7;
clay models 74, 90, 104, 106–7, 213–14; craftmanship 124, 133, 161, 187, 191 Dodge Magnum 86
and engineering 180; and final critiques 136, 168, 178, 187–9 dreams 1–2, 28–9, 31, 35, 55, 61, 95
selections 110, 124; and modeling crush zones 67 driverless technology 197–8, 206–7
147, 149, 152, 154, 156–7, 159–65, curation 193 Ducati 62
168; and product launches 188 Curic, K. 94 ducks 152
clients 38, 77, 187, 189–91, 198 customers 8–9, 11, 13, 29, 53; and durability 38, 111, 133, 165, 171–2
climax phase 23 engineering 182; and final selections dynoc 164
clinics 177, 180 125; and ideation 65–6, 78; and
cognitive bias 28 implementation 87–8; and mission
collaboration 89–90, 104, 124–5, 188, statements 56–7; and product E
193, 215 development 95–7, 102, 104, Earl, H. 10, 53, 161
collective unconscious 18, 28–30 106–7; and product launches 188; easy-to-love design 78
combustion engines 64, 184, 201, 204 target customers 28, 30–1, 61–2, EcoBoost 181–2
commodification 13 109, 180, 214 ecology 40, 46, 129, 138
communication 22, 28, 30, 32, 36; and CUVs 84 economies of scale 201
evaluation 200, 210; and final egress features 132–3, 155, 157, 184
selections 124; and ideation 74–5, electric cars 50, 65, 184, 201, 203–5
78; and implementation 91; and D elevations 72
mission statements 38, 40, 46; 3D data development 147, 171, 212 emissions 30, 59, 65, 78, 184, 194,
and modeling 161, ‘152-3 154; 3D models 74, 90, 104, 147–72, 191, 212 197–8, 204–5, 215
and product development 95; and 3D printing 147, 165 emotional experiences 8–9, 11, 13, 15–18,
product launches 187–8, 190–1, Daimler 36; Noble American Sedan 76 22–3; and engineering 184; and
194; and synthesis of ideas 128, Damasio, A. 28 evaluation 209; and ideation 67–8,
132–3, 136, 138 data collection 177, 200–1 78; and implementation 78, 87; and
commuting 57–8 data development 147, 156, 168 mission statements 27–8, 30, 36,
competition 3–5, 37–8, 50, 56, 59; and Davis, R. 35, 53–60 57; and product launches 187–8;
competitive benchmarking 7, 81, daylight opening (DLO) 119 and synthesis of ideas 134
83, 213; and engineering 178, 180; Daytona 179, 182 empathy 9, 35, 75, 133, 154, 188, 190
and evaluation 209; and ideation 63, dealers 53, 106, 125, 209 end views 63, 65, 72, 75, 90–1, 155–6
66–7; and implementation 89–90; decision-making 28, 81, 88–9, 97, 104; energy types 30
and modeling 169; and product and engineering 178, 180; and engineering 63, 65, 77–8, 95–6, 98; and
development 95, 98, 102, 104, 107 evaluation 197, 209; and final final selections 110, 119, 124; and
component design 75, 127–46 selections 109, 111, 113, 119; and mastering 171–86; and modeling
composition 22, 55, 67–8, 74–5, 96–8; modeling 147, 161; and product 150, 156, 159; and product
and evaluation 201; and final launches 188 development 104; and product

218 index
 launches 192–3; and synthesis of Foyt, A.J. 55 haptics 132–3, 191
ideas 127; vehicle engineering 215 frameworks 61, 65, 67–8, 136 hard models 147, 149, 161, 167, 213; and
engineers 156, 180, 182, 184, 213; and framing 28 engineering 172; fabrication of 165;
analysis 31; and final selections 124; France 192 and final selections 111–13, 124;
and ideation 77; and modeling 150; freedom 18, 23, 95, 155 and implementation 86, 88
and product development 104; and freelancers 38 hardware 75, 130, 136
vision 11, 13 Freud, S. 27, 30 Harley-Davidson 62, 132
enthusiasts 7, 39, 42, 46, 214; front views 71–2, 75, 90–1, 97, 154 headers 142, 155
development 95, 97; and functionality 11, 13, 15–16, 23, 40; and Heffernan, J. 86
engineering 181–2; and final engineering 171–3; and evaluation heritage 37, 42, 44, 46, 50, 58, 97–8, 182
selections 125; and ideation 63; and 202, 207; and ideation 61, 63, heroes 7, 10, 18, 23, 27–8; and analysis
mission statements 50, 53, 57, 59; 77–8; and implementation 82–3, 86; 30; and engineering 172, 179; and
and product development 102, 106 and mission statements 44, 58–9; evaluation 197; and ideation 63–5,
entry features 132–3, 155, 157 and product development 95; and 76–7; and mission statements 53–5;
ergonomics 128, 130, 136 product launches 191, 193; and and modeling 167; and product
Eros 30 synthesis of ideas 130, 133 development 96; and product
ethanol 46, 213 future design 13, 31, 36, 50, 59; and launches 190, 192
ethics 201 engineering 178, 180, 184; heuristics 28
Europe 62, 89, 179, 189 and ideation 67, 76, 78; and hierarchy of needs 17
evaluation 31, 75, 97–8, 102, 104; and implementation 83; and improvement Hill, P. 55
engineering 172–3, 178, 180; 197–211; and product development hip (H) point 63–6
and final selections 113, 125; and 102; and product launches 194; and Hollywood 29, 96, 125
improvement 197–211; and modeling synthesis of ideas 136 Honda 83
156–7, 162, 164–5, 168; and product hot rods 11
launches 188–9; and synthesis of human-machine interfaces (HMI) 128,
ideas 136 G 130, 156, 172, 213
executive reviews 102, 125, 189 Gale, T. 11 HVAC 130, 213
Exner, V. 54 Gandini, M. 179 hydrogen fuel tanks 65, 204–5
explorers 18, 23, 63, 65 General Motors 83, 161, 209; Buick 54; Hyundai Motor Group 84, 87–8, 93;
exposition phase 23 Oldsmobile 54 Hyundai Genesis 84, 88–9; Hyundai
exterior design 94–107, 127, 130, 132, Generation X 18–19, 68 Sonata 87
138, 156–7 Generation Y 18, 20, 26
generational groups 18, 27 I
geometry 149, 152 Id 30
F Germany 11, 76, 84, 89, 102 ideal section 156
fabricators 165, 213 Gibson, J.J. 68 ideal self 28–9, 31
falling action phase 23 Gibson, W. 31 ideation/ideas 61–80; bringing together
fears 29 Gilles, R. 1, 10–13 127–46; continuous improvement
feasibility 9, 124, 150, 156, 171, 173, 175, Giugiaro, G. 10, 179, 193 of 197–211; exchange of 187–8;
187 Go for One decisions 113 generation of 190; and new viewers
feedback 88, 104, 125, 133, 180 goals/goal-setting 2, 7, 28, 31, 35–6; and 187, 190–1; vetting 171–3, 178,
Fiat Chrysler Automobiles (FCA) 1, 10–11, engineering 172–3; and evaluation 180–1, 187
213 197; and final selections 109; identification 1, 3, 8–9, 13, 81–92
Fioravanti 179 and ideation 67, 74, 77–8; and identity 27
first impressions 187 implementation 83; and modeling ideology 7
first-read phase 75 147, 157; and product development IHS Insights 208
foam models 112, 156–8, 161, 168 95, 97; and product launches 188, imagery/image boards 20, 67–8, 93, 96,
focus groups 78 190; and synthesis of ideas 133, 113, 133, 147, 191
fonts 172 136 implementation 81–92
Ford Motor Company 61, 171, 179, 192, Golden Rule 188 implications 197, 209
209; Ford Airstream Concept 76; Gosling, R. 96 impressionism 7
Ford Explorer America Concept graphical user interfaces (GUI) 128, 130, India 89, 199
76; Ford F150 62, 76, 180; Ford 136 individuation 28
Fiesta 62; Ford Figo 180; Ford graphics 68, 71–2, 74–5, 85, 90; and information architecture 130
Fusion 76, 83; Ford GT 180–4, final selections 110, 113, 119, 124; infotainment 136, 202
194; Ford Interceptor Concept 76; and modeling 154, 157, 164; and innovation 7, 31–2, 82, 180, 190, 201
Ford Mondeo 76; Ford Mustang 29, product launches 191; and synthesis inspiration 1, 5, 7–8, 27–9, 214; and
76, 78, 93–107, 109–27, 132, 180, of ideas 130, 133 analysis 31; and ideation 67–8,
193–4, 202; Ford North America 94; gravity 155 76–7; and mission statements
Ford SR-71 Blackbird 78; Ford Start Gropius, W. 7 35, 39, 42, 44, 46, 54–6, 58; and
Concept 76, 158; Ford Sync 202 product development 98; and
forecasting 83, 198–200, 209 synthesis of ideas 133
Formula One (F1) 59, 180, 184, 213 H Insta-cart 200
fossil fuels 201 H-points 63–6, 161, 213 insurance 66, 173, 207

index 219
interior design 15, 127–32, 152, 156–7, Lotus Esprit 179 modelers 77, 104, 150, 152, 156–7,
167, 172, 178, 191, 194 Loyer, M. 163 159, 161, 164–5, 168, 180, 214;
Internet of Things 197–8, 200–1 luxury cars 29, 82, 175, 189 modeling programs 149–50, 152,
internships 86 Lyft 200 154–6
intuition 29, 77–9, 83, 88, 104, 106, 110, Modernism 7
133, 180, 194 Modo 149
investment 3, 78, 172, 177 M monocoque construction 65–6, 214–15
Isem Surf 150 Macey, S. 63 Montouse, J. 58
isometric views 72, 155 McKinsey Automotive 208 mood 96, 110, 154, 190
Issigonis, A. 192 McQueen, S. 95 morphology 68
Italdesign Giugiaro 10 Maeda, I. 54 motivation 15, 23, 27–8, 30–1, 95
Italy 192 magic 81, 83, 90–1, 210 motorcycles 62, 127, 130, 148–54, 173
Ive, J. 7 management presentations 187–96 motorsports 42, 50, 53, 55, 57, 59, 102,
mannequins 63–4 181–2, 184
Le Mans 46, 50, 58, 180, 214 MPVs 84
J manufacturers 3, 27, 50, 53, 82; and Muira 179
Japan 54, 56, 192 engineering 172, 175, 177, 184; and mules 172
Jeep 11, 38, 63, 133, 138; Jeep Willys evaluation 198, 200, 205, 209; and Munsey, W. 59
Concept 127–32, 136–45; product development 102, 106–7 Murray, G. 180
Wrangler 63; Wrangler Unlimited 63 market research 104, 110, 113, 125, 171, muscle cars 54, 102, 214
Jinba Ittai 56 177–8, 180, 187, 214 music 136, 191, 209
Johnson, K. 78 marketing 17, 53, 106, 110, 124, 180, 209 myths 21, 28–9, 212
journey maps 23–5, 133–6 markets/marketplace 3–4, 8–9, 11, 17,
Jung, C.G. 18–19, 27–9, 212 57; and engineering 171, 177–8,
180, 184; and implementation 86, N
88; and mission statements 59; and Nagasaka, K. 18, 23, 26, 67, 74
K product development 106, 109 Nair, R. 171, 179–85
Kahneman, D. 28 Maslow, A. 17–18 naming 85
Katayama, Y. 55–6 mass production 172–3, 177, 204 narrative 30, 61, 63, 65–6, 214; definition
key directions 81–92 Maya 150, 154–6 15; effective 28–9; and evaluation
key frame instructions 136 Mazda Corporation 36–7, 39, 192; Cosmo 197, 210; and ideation 68, 75; and
keywords 2, 95 46, 56; Furai Concept 35, 39–52, implementation 82–3; importance
Kia/Hyundai 81, 84, 87, 93; Kia Optima 59; Hakaze 40; Halo 39; Kann 50; of 21; patterns 23; and product
87; Kia Soul 84–5, 87; Kia Sportage Mazda 787b 46, 50, 58–9; Mazda development 95; and product
87 Kiora Concept 147, 159–68; Mazda launches 190–1; and synthesis of
kill rates 171 LM 55 50, 59; Mazda Motorsports ideas 132–3, 136
Kodo Design Language 54, 213 35, 39–53; MAZDASPEED Driver Narrative in Design 15, 27
Komenda, E. 76–8 Development 53; Miata 56–7, NASCAR 184
Korea 39, 87–9 59; Nagare 39–40, 44, 46, 54; Nassau 11
Kuzak, D. 180 RENESIS engines 46; RX 54–6; neurosciences 28–9
Ryuga 40; Six GT 57; Taiki 40 non-uniform rational basis splines
Mazda North American Operations (NURBS) 152, 154–6, 214
L (MNAO) 42, 53, 58–9 Norman, D. 68, 130
Lakoff, G. 28 media 188 North America 42, 53, 62, 179, 192
languages 85 mentors 86, 91, 180 North American International Auto Show
Lapine, A. 76 Mercedes Benz 82, 87, 102, 189; 40
latent needs 13 Mercedes Smart 62 nostalgia 11
launches 187–96 MetalBack Café Racer 148–54
law/legislation 66, 207 metaphors 27–8, 30–1
layout 65, 98, 119, 136 metaphysics 21 O
lead-times 3 Mies van der Rohe, L. 7 objectives 4, 16–17, 23, 35–8, 46; and
leadership 39, 53, 58, 78, 88, 110, milling 102, 104, 110, 156–8, 161, 167–8, engineering 173, 178; and ideation
124 214 61, 66–8, 74–5, 77, 81–2; and
LeDoux, J. 28 Mini 192 implementation 81–2; and modeling
legibility 133, 172 minimalism 7, 193 147; and product launches 188–90,
lesson plans 38 minivans 11, 13, 157 193; and synthesis of ideas 133
lessons learned 197–211 mission statements 23, 35–61, 81, off-road vehicles 24, 63, 129, 138, 142,
Lexus 189 214 155
lifestyle 86 mistakes 13, 79 opportunities 1–3, 8–9, 11, 13, 61–3, 127,
lighting 75 mobility paradigms 197–8, 200, 207, 133, 136, 194, 214–15
Lincoln 192; Lincoln C Concept 76 209–10 order 30, 32
Lockheed Martin: Lockheed Constellation mockups 136, 147, 156–8, 178, 214 orthographic views 148
78; P-38 Lightning 78 models/model-making 147–70, 190–1; overlays 63, 65–6, 164
Los Angeles Auto Show 40 model types 147, 167–9, 215;

220 index
P product development 61, 83, 93–108, product launches 190; and vision
Pacifica 11 171–86 8, 13
packaging 61–8, 72, 78, 83, 97–8; and profit 177, 198 research and product development (R&D)
evaluation 201, 203, 205; and proportion 41, 68, 71, 74–5, 86, 214; and 42, 53, 89, 214
occupant packages 63, 154, 157–8; engineering 184; and final selections resilience 32
and product launches 194 116, 119; and modeling 161; and resolution phase 23
passion 1, 28–9, 37, 58–9, 84, 95, 106, product development 97, 107; and retro-futurism 7
123, 125, 184, 188 product launches 193–4 review yards 162
people 16–17, 22, 27–32, 212, 214–15; prototyping 88, 109, 111, 124, 136; ridesharing 200
and development 102; and and engineering 172–3, 182; and rising action phase 23
engineering 172, 177, 180, 182, modeling 150, 164; and product risk 81, 83
184; and evaluation 198–200, 207, launches 191; rapid prototyping 147, road racing 42, 53
209; and final selections 124; and 165, 167 roadcars 58
ideation 62, 64, 68, 78–9; and proxemics 157 role models 54–5
implementation 81, 85–7, 90; and psyche 27, 29, 68 Rolls-Royce 38
mission statements 36–7, 56–7, psychiatrists 18, 27 rotary engines 42, 44, 46, 54, 215
59; and modeling 157; and product psychic energy 30 Royal College of Art (RCA) 84, 86–7
launches 187–96; and vision 5–6, psychologists 17–18, 21–2, 27–9, 68,
9–11, 13 95, 157
performance 31, 36, 38, 44, 213; and public presentations 187–96 S
engineering 172–3, 177–8, 180, safety 66–7, 72, 133, 171–3, 178, 205–6,
182; and ideation 64, 66, 74; 208, 210
and mission statements 56; and Q sampling techniques 177
modeling 161; performance cars Q&A: Callum 187, 192–3; Davis 35, scale models 72, 88, 90, 102, 214
46, 59, 63, 65, 89, 192, 194, 214; 53–9; Gilles 1, 10–13; Nair 171, Schifrin, L. 95
and product development 97, 179–85; Schreyer 81, 84–91; Schreyer, P. 81, 84–91, 93
102–3, 107; and synthesis of ideas Thomas 61, 76–9; Weltman 15, science 28–9, 81, 83
127, 133 27–32 sculpture/sculpting 43–4, 74, 87, 90, 213;
personal design manifestos 5–7, 13 quadrant positioning charts 13, 214 and development 98, 104; and final
personas 18, 21, 23, 68, 96, 133, 177 qualitative research 9, 38, 83, 110, 113, selections 119; and modeling 154,
perspective views 72 177, 180, 190 159, 161; and product launches 192
Peugeot Citroën 192 quality metrics 38 seating buck 157, 215
Pfefferle, G. 86 quantitative research 38, 83, 110, 113, second-read phase 75
Photoshop 90, 154, 156 177, 180, 190 secondary information 133
physical energy 30 quarter scale 88, 90, 102, 214 sedans 3, 64, 72, 76, 88, 189, 192
physics 43 segmentation 5–6, 11, 13, 38, 62, 81, 83,
physiology 17 162, 180, 215
Pininfarina 10, 179 R selection processes 81–93, 109–26
pitching 187–8, 190–1 racecars 42–4, 46, 50, 53, 56, 58, 77, 86, self-actualization 17–18, 23, 29
Pitt, B. 96 102, 181, 184 self-driving vehicles 198, 207–9
plan views 63, 72, 154–6, 161 Rams, D. 7, 179 semantics 17, 39, 132, 191, 197
PlayStation 50, 59 range of choices 61, 75 semiotics 68, 215
plot types 23, 29, 79 Range Rover 193 senior management 95, 106, 110, 119,
plug-ins 150 rear views 63, 65, 72, 75, 90–1, 154, 156 125, 193
polygon modeling 154–6 rebels 7, 18, 28–30, 95, 191 Senna, A. 55
pony cars 95, 102, 214 recycling 129, 132, 150–2 separation phase 23, 190
pop culture 94, 125 refinement process 75, 93–4, 102, 104, shareholders 36
population scenarios 198–200 107; and final selections 109–26; sharing economy 200
Porsche 57, 76–7, 107; Porsche 356 77; and modeling 147, 149–50, 154, show cars 84–5
Porsche 550 Spyder 77; Porsche 156–7, 164; and product launches side views 63–4, 71–2, 90–1, 154, 156–7
911 95; Porsche four-cam motor 77 191, 193 sightlines 65, 133, 157, 214
portfolios 3, 8 regulation 67, 133, 184, 207 signage 68
Post-it notes 2 reintegration phase 23, 190 signature elements 42, 58, 71–2, 88, 95,
post-modernism 7 rendering 16, 71–2, 91, 148, 150–2, 98, 110–11, 113, 116–17, 124
posture 63–4 154–5, 161, 164, 213–14 silhouettes 46, 63, 65–6, 68, 86, 90, 96,
powertrains 61–5, 68, 132, 154, 198, rental cars 102 154–5, 201, 215
205, 214 replacement vehicles 197–211 simulators 172
presentation types 187–96 required resources 37 situational awareness 7, 35
primary information 133 research 1, 5–6, 17–18, 95, 97; and sketches 63, 65, 68, 71–2, 213; and
privacy 201 analysis 28; and evaluation 198; and development 97–8, 104, 107; and
PRNDL 133 ideation 77–8; and implementation ideation 75, 81–2; key sketches
processing 172 87, 89; market research 104, 110, 90–1; and modeling 147, 149–50,
product design 7, 10–11, 27, 86–7, 128, 113, 125, 171, 177–8, 180, 187, 214; 154–6, 159; and synthesis of ideas
201 and mission statements 53; and 129–30, 136–45

index 221
Skunk Works 78 third-read phase 75 virtual 3D design 147–70
slogans 87 Thomas, F. 61, 76–9 virtual reality 172
Smith, M. 86 threats 3, 6, 39, 178, 215 vision 5, 28, 31, 37, 59; angles of 65;
social networking 178 timeframes 2, 37, 133 concise 57; corporate 214; creative
sociology 21, 29 Tokyo Auto Show 54 15, 35, 38; definition 1–2; and
Soderberg, D. 76 touch points 24, 58, 75, 82, 130, 132, 134 evaluation 210; and ideation 79;
software 150, 152, 154 Toyota 83, 209; Toyota Cross Cruiser 18, and implementation 83, 87, 90; and
solar power 201 23, 26, 68–74; Toyota Tacoma 62 product launches 193; shared 22;
Sony 50 track cars 215 statements of 36
sorcery 81, 83, 159 tractors 77 visual language 39, 61, 93, 96–7, 191, 197
South America 179, 192 transition phase 23, 190 visualization 68, 81, 95, 150, 154, 157,
spiritual energy 30 transportation design 30, 76, 84, 127, 214
sponsorship 86 215; and engineering 171; and Volkswagen (VW) 11, 76, 209
sports cars 3, 11, 22, 38, 46, 53, 56–7, evaluation 210; and modeling Volkswagen (VW) Beetle 76–7
63, 65–6, 155, 191–2 147, 149, 152, 165; and product Volkswagen (VW) Concept 1/New Beetle
spreading the word 35–60 launches 191, 197–8; and synthesis 76
stakeholders 38, 169, 171, 187, 189–90, of ideas 136 Volkswagen (VW) Golf 62, 193
193 triangulation 191 Volkswagen (VW) Group 84, 91
storage 63 triggers 27, 30 Volvo 173
storyboarding 15–18, 23, 26, 67, 133, 215 trucks 29, 62, 65
storytelling 15, 18, 21–3, 27–30, 63, trust 37, 59, 133, 179, 188–90, 207, 210
77–9, 85–6, 95, 187–96 Tversky, A. 28 W
streetcars 56 two-wheel drive 64 wagons 86–7
strengths and weaknesses (SWOT) Wall Street 59
analysis 3–4, 6, 8, 188, 197, 215 Wardle, G. 63
structure 61–3, 65, 67–8, 74, 154–5, U Warkuss, H. 76, 86–7, 90
190–1 Uber 200 weatherproofing 172
students 35, 38, 58–9 understanding 35, 62, 88, 133, 147, 157, weight requirements 38
stuff 62–3 169, 177, 180, 189 Weltman, A. 15, 27–32, 95
stylists 4, 77, 193 uni-body construction 65, 215 whalebone buck 157, 215
subordinate information 133 unique selling points 16, 61, 75, 83 white space 11, 180
Superego 30 United Kingdom (UK) 192 wind tunnels 43
surface language 74–5, 215 United States (US) 11, 53, 86, 94, 96, windshields 65
surrealism 7 102, 125 wireframes 136, 156
sustainability 36 usage scenarios 16, 23, 65–6, 200, 207, work streams 127
SUVs 3, 64–5, 84, 86 209 workflow 188
symbolism 21, 29, 68, 78, 95, 215 user experience (UX) 127–47, 178, 187, World Endurance Challenge (WEC) 59
synergies 2 191, 209, 215 Wright, F.L. 77–8
synthesis of ideas 127–46 users 37, 61–8, 79, 82–3, 97; and
development 106; and engineering
177; and evaluation 209–10; and X
T modeling 157; and product launches XYZ coordinates see Cartesian
taking stock 197–211 189, 194; profiles 35; prospective coordinates
tape drawings 90, 107, 149, 152, 154, 161 187–8, 190; and synthesis of ideas
targets 1–2, 13, 28, 32, 37–8; customers 127, 133–4; understanding 15–35;
28, 30–1, 61–2, 109, 180, 214; usability 133, 171–2, 215 Y
and engineering 173, 178; and final youth-karting 53
selections 109; and ideation 79;
markets 180, 214; and synthesis of V
ideas 133 validation mockups 147, 156–8, 178, 180, Z
taste-makers 11 214 zero emissions 21, 30, 59, 65, 215; and
teamwork 22, 38, 40, 76, 79, 90, 94–7, Value Added 17 engineering 184; and evaluation
102, 111, 119, 124, 127, 156–7, vehicle architecture 61–5, 67–8, 71, 74–6, 197–8, 201, 205; and ideation 67,
179–80, 187–8, 193 215; and development 93, 96, 98; 78; and product launches 194
technical resources 37 and engineering 184; and evaluation Zipcar 200
technical solutions 61–2, 82 201, 205; and final selections 119;
templates 157, 161 and product launches 187–96;
tension 11, 30, 83, 86 vehicle classification 62; vehicle
Tesla 132, 184; Tesla Autopilot 207; lifespans 172; vehicle speed 133,
Tesla Giga 204; Tesla Model S 194, 155
203–6 verbalization 1–2, 8, 35–60
testing 172–8, 180 vetting 171–3, 176–8, 180–1, 187
Thanatos 30 videogaming 50, 154
themes 81–109, 113, 133, 138, 177 vintage cars 42

222 index