HotShoe Studios, Inc. - Automotive Art, Sculpture & Concept Design by Anthony Lauro

Goodwood Audi Sculpture

Anyone who appreciates automotive sculpture or classic cars in general would have to agree that one of the world's best venues is the Goodwood Festival of Speed.

Held annually on the 12,000 acre Goodwood estate in West Sussex, the festival is marked with a different themed sculpture honoring a featured marque. These sculptures are always the most impressive pieces of art you've ever seen if not simply for their massive scale alone. Imagine standing in the presence of a 40 ton, 135 foot tall ribbon of steel and cars. I don't think there are any superlatives that could accurately convey the experience. Breathtaking would be an understatement.

Click here for a gallery of some of the past displays or read below for this year's official press release:

VAST 35-METRE AUDI 'MONUMENT' TAKES CENTRE STAGE AT GOODWOOD

Audi Celebrates its Centenary at 2009 Goodwood Festival Of Speed

Every year since 1997, Lord March has surprised us all with ever more vast and spectacular centrepieces for the Festival of Speed at his home, Goodwood House in West Sussex. For 2009 the latest sculptural 'monument' will be unveiled for the start of the three day Festival (3 to 5 July), which is likely to entertain a record number of 130,000 visitors for this year.

The Festival's work of art is the focus of Audi's global centenary celebrations - a truly breathtaking 35 metre high automotive 'monument'. The Audi 'central feature' art installation is one of the most ambitious and stunning sculptures ever constructed for Lord March's unique and world leading annual Festival, representing the unique style of one of the world's most progressive automotive brands.

The jaw-dropping 2009 Festival of Speed Central Feature actually marks the second occasion that Audi has chosen to celebrate a significant anniversary at Goodwood. In 1999, Audi was honoured with one of the most striking and memorable Goodwood central features to date for its 90th anniversary. The famous Avus race track banking was recalled in an astonishing installation that also included the iconic Auto Union Streamliner and a stunning Audi Avus quattro concept car perched high on the banking.

Designed by the award-winning Gerry Judah, Lord March's evergreen creative collaborator, the sculpture features two Audi cars – the legendary 1937 Auto Union streamliner as well as the just launched R8 V10 sports car suspended in the air, at either end of a dramatic 'swoosh' of tyre tracks, as if they are driving off into the sky. The sculpture is the latest in a grand tradition of central displays at the Festival. Each year Judah honours the featured marque with its own central display but this year's is something very special.

"I wanted to design something iconic because this year is Audi's 100th anniversary," explains Judah. "The sculpture had to have a celebratory theme and it also had to encompass the qualities of the Audi brand: sporty, prestigious and progressive.

"I drew about 20 ideas and some had elaborate bridges with vaulted arches but somehow they didn't have quite the right style. I then had a flash of inspiration and designed this 'swoosh' with a car at either end to represent Audi's 100-year history.

"It's made entirely of steel and although the design looks simple, it's actually extremely complex, because the structure has to be rigid and completely balanced without the need for hundreds of supporting props."

The total weight of the structure is 40 tonnes – the equivalent of 40 small family cars. It took two 100 tonne cranes to erect the structure and four weeks for 12 men to fabricate, build and install the structure.

As well as the Audi sculpture, the Festival will showcase Audi's most important cars and drivers from its illustrious century – from the days of the Grand Prix Auto Union 'Silver Arrows' of the thirties, through the 'quattro years' of the Eighties, right up to the present day.

Ten years on from its Goodwood debut, the Audi marque has progressed to become an even more significant player in the global premium car market, combining an enviable image for innovation and quality, and exhibiting consistent worldwide sales growth breaking the million global the widest and most comprehensive product programmes in the premium car sector, ranging from the hugely successful A3, right through to the pioneering R8, and including the Q7 V12TDI, with an engine directly developed from Audi's all-conquering turbo diesel sales barrier last year.

The Festival is famously held on the hill climb course and the grounds of Goodwood House on Lord March's 12,000-acre West Sussex estate.

Labels: Artwork, Design

Don't Call It a Comeback!

In case you haven't noticed, the Hot Shoe home page has been heralding January 22, 2009 as my triumphant return into the world of automotive art.

Well, at least I hope it will be triumphant despite the current economic environment of which I have the misfortune to relaunch the pursuit of my life-long dream. A successful art career is a long shot in the best of financial climates. Recession not withstanding, I'm maintaining an optimistic attitude. With only 65 days to go I won't have to wait long.

I have always loved creating automotive themed artwork. Having been through the transportation design program at the Cleveland Institute of Art, it was a natural progression to draw and paint the subject matter I so dearly loved.

Design is an exciting and ever challenging career but its real world demands and parameters limit you creatively to be less "artistic" in your approach. Automotive art lets you take this skill and add your own interpretation as an artist, there are zero rules. Dig a little deeper and you'll find that most of the industry's top designers also moonlight as automotive artists. I suppose it's cathartic.

The point being, it's something I truly love to do. When I was a bit younger I tried to make a full time career out of it but foolishly let it fall by the wayside in the quest for the more traditional "steady paycheck" approach. I'll divulge more details of the course of events that led me to this crossroads in the About section in the upcoming days. It's a long, long story.

Suffice it to say here and now that I'm back! As ridiculous as it sounds I've got that LL Cool J tune earworming in my head. Hence today's title.

This time I'm bringing out the big gun. You'll have to wait for the Cavallino Classic in January of 2009 for the official debut. I'm not going to show anything more than the vague teaser image above but I promise you it will be like nothing you've ever seen before. It has been the most demanding, intense piece of artwork I've ever created. I think everyone who has seen the piece since its inception thinks I'm insane for even attempting it. Hell, even I think I'm crazy!

It's been a nonstop roller coaster ride since I began one year ago. At my current pace I will have just over 1,000 hours of total time invested. The scariest thing is the amount of work still remaining. I will barely finish in time for the event. There are going to be a lot of late nights in the next 65 days! Against all odds it must be finished in time or my dream will end before it has even had a chance to begin. It's do or die.

I'll shed a little insight and additional images each week until the final unveiling. Be sure to check here weekly from now until Cavallino for more updates.

Mama said knock you out!

Labels: Artwork, Cavallino, Design

In Memoriam: John Herlitz

Living down in South Florida keeps me isolated from the automotive epicenter of Motown and I am often out of the loop when it comes to current news and events. I try to stay up to speed with the industry but work and family obligations often get in the way and take priority. I recently took a moment to try and catch up on the news in the automotive world when I was saddened to learn about the passing of John Herlitz on March 24th.

I'm sure most of you have already heard or read many of the articles in the press about the legendary retired Chrysler designer's recent death. All the major news outlets have journaled his career and accomplishments upon his passing but none really spoke about the type of person he was more than what he did.

I was blessed to have met and studied under Mr. Herlitz while I was a student at CIA. Back in the early 90's Chrysler sponsored a semester project for our transportation class. Every Saturday two of Chrysler's designers would drive down to Cleveland from Detroit to teach us and review our work. Every project culminated with a final review in which Mr Herlitz would visit and critique our work.

In the course of our studies and experience we often met several "high-ranking" automotive executives. While each was very cordial and professional in their own way, none had the charisma and charm of John Herlitz. Mr Herlitz was the type of man who instantly made those around him feel comfortable. Despite his hefty corporate stature and legendary past experience he never once carried himself above those in his company. I always respected and admired the fact that one of Chrysler's best designers and VP of Design would joke and hang around with 19 to 20 year old students as though we were equals. He was a man of hard work and humility.

John always had a smile and a friendly word of encouragement. He was eager to offer his guidance and criticism to help us achieve our goals but did so in an almost big-brotherly way. He was quick to wit and joke too. I remember a particular critique where Mr Herlitz was reviewing my sketches and jokingly commented that one design looked as though a 800 pound gorilla had sat on it! I was always at ease when he reviewed our projects due to such good natured ribbing but I always had a tremendous amount of respect and admiration for anything he had to say. Mr Herlitz was always more of the friendly neighbor next door than a Big 3 top dog.

I always wanted to work under such an incredible man but I unfortunately never had the chance. Despite never having had the opportunity to design with him at Chrysler I will always fondly remember the times he mentored myself and our class. It saddens me to know that the world will no longer have him here smiling and inspiring the people he meets but I take solace in the knowledge that John had a lifetime of teaching and inspiring others to greatness. What better legacy to leave the world than being the shining example by which other designers strive to meet each day?

I can just imagine John doing burnouts in a Cuda with St. Peter riding shotgun in a cloud of burnt rubber and smoke. I hope heaven has no speed limits. Farewell my friend!

Labels: Design, Editorial, Freinds

Concept 180: gestures

Wow! I can't believe it's been two months since my last post. Sorry for the dead time but between a heavy work schedule and a new daughter due in August I've been a little busy.

Here are a few samples of a new technique I've been experimenting with for Concept 180 to break out of my comfort zone. I like to take at least thirty minutes each day to practice gesture sketching. During these mini-sessions I focus on creating a rapid, "stream of conscious" series of loose, abstract sketches. I put on some good music, free my mind, and randomly throw down loose, exaggerated lines and shapes . I do each sketch as fast as possible without bringing along any preconceived notions in hopes of discovering a fresh proportion, profile, line, etc.

This technique is similar to a process I saw illustrated in a Nick Pugh DVD. I use many of the same methods shown in Nick's DVD but I've adapted them a little to match my style. The principle and results are the same but I've tried to add to the accidental, abstract nature by using Photshop custom brushes.

I have a library of custom brushes I have created for this purpose based on abstract shapes from nature, art, architecture, etc. I simply start with a blank white canvas and then randomly make a few gestures with one or more of my custom brushes at various settings. I do this changing little things each time until I notice something that stands out. It could be anything that catches my eye. A composition, an arrangement of shapes, anything different. I save these interesting files in a separate folder and then I go back and overlay them to try and develop the features that I think are unique.

The key is to keep everything quick and loose. Whenever I catch myself spending too much time on a sketch I put it away. Five minutes at the most. This is about trying to discover something new and to stop drawing the same shapes and lines that I have subconsciously favored through the years. I strictly draw these gestures in black and white to take advantage of the positive-negative space.

As you can see, some work and some don't. I get more than my share of bombs but every attempt has the possibility of sparking something new. It's a great way to loosen up or break out of a creative block.

Stay tuned for more!

Labels: Concept 180, Design, sketches

Concept 180: Introduction

Comfort.

As human beings we spend the majority of our lives in pursuit of comfort. Whether it be a comfortable situation financially, emotionally, or physically we strive to create an existence that is wholly comfortable and stress free.

I believe this inherent longing for comfort and security in all of us is counterproductive to our success as designers.

Comfort lulls us into a false sense of security and accomplishment. It creates an imaginary bubble of creative novacaine around our brains that encourages us to play it safe, to not take any chances. Why push new ground? Why rock the boat? Why should we venture out of our comfort zone into the unknown? Why be different?

The answer is simple. Because we can.

We owe it to ourselves to try and be different. Isn't our ultimate goal as designers to create? To be original and push the boundaries in hope of discovering that next step? Our very creative nature compels us to go against the flow and stand out from the crowd. To be unique.

In an effort to break free of my own personal comfort zone, I've begun a design experiment called Concept 180. As the name implies, this exercise will be an attempt on my part to go in a different direction. To set out and shatter all of my preconceived notions, habits, and comforts that I have silently reinforced throughout the past 15 years. To stop designing and drawing the way every other designer is and discover my own path.

I'm going to approach things entirely different than ever before. Go against the grain and buck the system. Put the square peg in the round hole. I'm going to experiment with alternative methods and techniques. I'm going to push the limits of proportion and our interpretation of what's beautiful. I'm going to try and completely forget everything I have ever been taught about design and every preconceived notion so that I may break new ground. Hell, I'll try drawing with my left hand just to shake things up.

I'm sure that in the course of this learning process there will be some terrible mistakes, dead-end directions, and more than a few hideous sketches. There might just be some breakthroughs as well. I'll routinely post my work and notes here so that you can track my progress or lack there of. Either way, you'll get to see it all. The good, the bad, and the ugly.

Hopefully I won't embarrass myself too bad and I'll learn a thing or two along the way.

Labels: Concept 180, Design

Talk the Talk...

Walk the walk! Or at least sound like you know what you are talking about.

I found this little gem over at the New York Times website and thought I'd pass it along. You can follow this link to see the original flash file complete with rollover explanations of each term. If you are going to learn the correct words it would be wise to know what they stand for.

This is the perfect cheat sheet for any aspiring designer who doesn't yet have a grasp on the industry's terminology. Now you can talk car design with the "pros" and not look like a total rookie!

You can learn the lingo in a few minutes but the hard part of learning how to actually design and draw them is up to you.

Labels: Design

July 3, 2009

Goodwood Audi Sculpture

November 17, 2008

Don't Call It a Comeback!

April 16, 2008

In Memoriam: John Herlitz

June 20, 2007

Concept 180: gestures

April 16, 2007

Concept 180: Introduction

April 3, 2007

Talk the Talk...