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Revving up: exploring the intersection of automobile racing and graphic design

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Revving up: exploring the intersection of automobile racing and graphic design

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Content REVVING UP:
EXPLORING THE INTERSECTION OF AUTOMOBILE
RACING AND GRAPHIC DESIGN
by
Yuhao Kong
A Thesis Presented to the
FACULTY OF THE USC ROSKI SCHOOL OF ARTS AND DESIGN
UNIVERSITY OF SOUTHERN CALIFORNIA
In Partial Fulfillment of the
Requirements for the Degree
MASTER OF FINE ARTS
(DESIGN)
May 2023
Copyright 2023 Yuhao Kong

ii
Acknowledgements
I wish to express my deepest appreciation to my family, friends, and the faculty members at
the University of Southern California who provided unwavering support throughout my graduate
studies. Specifically, I would like to extend my gratitude to Ewa Wojciak, Jason Ellenburg, Bruno
Lemgruber, April Greiman, Miya Elise Desjardins, and other faculty members for their exceptional
mentorship, valuable guidance, and constructive feedback, which have been instrumental in
shaping my perspective as a designer and honing my professional skills.
Furthermore, I acknowledge that the completion of this manuscript would not have been
possible without the unwavering support of my family and the insightful advice of my friends,
particularly Rena Zhang's invaluable guidance. I am deeply appreciative of their contribution to
my academic success.

iii
Table of Contents
Acknowledgements ................................................................................................................. ii
List of Figures ........................................................................................................................ iv
Abstract .................................................................................................................................. vi
Introduction .............................................................................................................................. 1
Chapter One: “KONG” - My Racing Brand ............................................................................ 3
Chapter Two: “The Good Old Days” ....................................................................................... 6
Chapter Three: Colors and Decals ......................................................................................... 14
Chapter Four: Contemporary Artists’ Take on Racing .......................................................... 20
Chapter Five: See through the Helmet ................................................................................... 27
Chapter Six: Nightdrive ......................................................................................................... 30
Chapter Seven: Installation .................................................................................................... 35
Conclusion ............................................................................................................................. 38
References .............................................................................................................................. 39

iv
List of Figures
Figure 1 . "24 Stunden Le Mans '82" Porsche poster. ............................................................. 3
Figure 2 . KONG Racing logo designed by Yuhao Kong. ...................................................... 4
Figure 3 . KONG Racing Motion Graphics by Yuhao Kong .................................................. 5
Figure 4 . Pneumatik by László Moholy-Nagy. ....................................................................... 6
Figure 5 . "Gran Premio dell'Autodromo Monza" design by Max Huber. .............................. 7
Figure 6 . General Motors Suisse design by Max Huber. ........................................................ 9
Figure 7 . "Le Mans 1966 24 Hour Grand Prix Race Motor Sport" poster designed
by Eric Strenger. ...................................................................................................... 9
Figure 8 . "Furious" design by Yuhao Kong. ......................................................................... 11
Figure 9 . "Monza" design by Max Huber. ............................................................................ 12
Figure 10 . Ford GT in Gulf livery. ....................................................................................... 13
Figure 11 . Porsche 906 racecar. ............................................................................................ 15
Figure 12 . Sunbeam racecar from "Go Faster: The Graphic Design for Racing Cars,"
by S. Voelker, 2009. ............................................................................................. 16
Figure 13 . Chrysler C-2R. ..................................................................................................... 17
Figure 14 . Images of classical racing stripes: Brock Racing, Castrol, Brumo Racing,
Alitalia, Rothman’s, Marlboro, Gulf Racing, Falken Tires, Martini Racing,
John Player Special, BMW M, Coca-Cola (from left to right, top to bottom). ..... 18
Figure 15 . BMW 320i Art Car by Roy Lichtenstein ............................................................ 21
Figure 16 . Ed "Big Daddy" Roth and his iconic character Rat Fink. Adapted from
" Enter the mind of Big Daddy Roth, the one true Rat Fink"
by Autoweek, 2020. ............................................................................................ 22

v
Figure 17 . The 19th BMW Art Car by John Baldessari. ...................................................... 23
Figure 18 . Gavel by John Baldessari .................................................................................... 23
Figure 19 . BMW M1 Art Car by Andy Warhol. ................................................................... 23
Figure 20 . M3 GT3 by Jeff Koons. ....................................................................................... 25
Figure 21 . BMW 8 Series Art Car by Jeff Koons. ................................................................ 25
Figure 22 . BMW M2 Competition by Yuhao Kong. ............................................................ 26
Figure 23 . Brock Racing Enterprises .................................................................................... 27
Figure 24 . Brumos Racing .................................................................................................... 27
Figure 25 . KONG Racing website by Yuhao Kong. ............................................................ 28
Figure 26 . Instagram post by Team_n0hesitati0n ................................................................. 31
Figure 27 . Robert and Virginia Huston in Jacques Tourneur's Out of the Past (1947). ....... 32
Figure 28 . Nightdrive by Yuhao Kong. ................................................................................ 33
Figure 29 . Nightdrive by Yuhao Kong. ................................................................................ 33
Figure 30 . Nightdrive by Yuhao Kong. ................................................................................ 34
Figure 31 . Nightdrive by Yuhao Kong. ................................................................................ 34
Figure 32 . Need for Speed Heat. (2019). [Screenshot from video game]. Electronic Arts. . 35
Figure 33 . Nightdrive Installation by Yuhao Kong .............................................................. 36
Figure 34 . Nightdrive Installation #2 by Yuhao Kong. ........................................................ 37

vi
Abstract
Ever since I was a child, I have had a passion for car culture and car racing. The sleek design
of racing cars with their vivid racing stripes and colors has left an enduring impression on me,
influencing the aesthetics of my design work. Drawing inspiration from the heritage of car racing
and its culture, I utilize car design, car advertisement, and popular car culture as a source of
inspiration for my creative work. I aim to share this same excitement, vibrancy, and pressured
frenetics and capture the loud noise, the feel of asphalt, and the rush of adrenaline. By blending
classic racing elements from the 1930’s with the vibrancy of today’s street racing culture, my work
aims to evoke the same level of excitement and stimulation that I have experienced. I designed my
own racing brand and accompanying branding, graphics and decals.
Inspired by my own late-night street racing experiences, I aim to share the energy and allure
of the night streets with others through a series of compelling images and an immersive installation.
Ultimately, my work offers a unique perspective on the intersections between past and present
racing cultures, inviting viewers to engage with the rich history and cultural significance of racing
in a new and exciting way.

1
Introduction
“I attempted to show speed as a visual image. When an automobile is really traveling fast, all
the lines and colors are transformed into a blur.”
1

——Andy Warhol

For me there is nothing more exhilarating than the high-pitched roar of an engine, the smell
of combusted gasoline, or the breathtaking form and color of fast-moving racing cars. My father
took me to racetracks in Macao to watch live racing, and on weekends we would sit at home
together to watch racing events on television, and my passion for car racing was already ignited
when I was a very young boy.
In my memories, the colors and stripe combinations of racing cars left a long-lasting
impression, even if I couldn't remember the names of the drivers. "That red car and that blue and
yellow car are really fast," I would excitedly tell my father. The colors of racecars always caught
my attention first, and streamlined bodies of the cars would then leave a long-lasting image in my
head. With an enduring passion for vibrant hues and the exhilarating rush of speed, I embarked on
my journey as a graphic designer during my high school and college years. Drawing inspiration
from the swift momentum of race cars, my design aesthetic is imbued with their dynamic energy
and vitality, which is evident in almost all of my creative output.
The use of computer-related graphics and art emerged after the 1950s, however posters with
hand-made graphics about racing had already been produced by this time. The earliest documented

1
BMW M GmbH. The BMW M1 Art Car by Andy Warhol Celebrates Anniversary 2019. https://www.bmw-
m.com/en/topics/magazine-article-pool/the-bmw-m1-art-car-by-andy-warhol-celebrates-anniversary.html (accessed
March 25, 2023).

2
racing-related graphic design was a poster design called “Pneumatik” by László Moholy-Nagy in
1926. Posters from this time started to showcase colored streamlines, smooth sans-serif fonts, and
car shapes caught in motion. Vibrant colors such as guard red, sky blue, and signal yellow were
often selected to draw attention, while fonts were made heavy, thick, and sheared at times to create
movement. Color overlays on top of black-and-white images were also frequently used. Many of
these elements can still be found in racing graphics today. Although color palettes have expanded,
the selection of colors remains unchanged - vivid, powerful, bright, and alarming.
The impact of the designs inspired by the early days of speed experiences is far-reaching and
enduring. It has left its mark on contemporary pop culture, car culture, and even the design
community. Celebrated artists such as Andy Warhol, Jeff Koons, and John Baldessari have all
created their own unique automobile artworks, showcasing their ability to infuse traditional
everyday objects like cars with their personal design aesthetics. Through the use of paint, decals,
and innovative materials such as vinyl, enamel, and dyed leather, they have seamlessly bridged the
worlds of art and car design. For over seven decades, artists and designers have sought to define
speed in their own unique languages, and their creative expressions continue to influence my own
design aesthetic, with the integration of pop culture and car culture serving as a consistent source
of inspiration.

3
Chapter One: “KONG” - My Racing Brand
My graphic design approach towards speed involves preserving the aesthetics of early racing
and contemporary racing design while adding my own interpretations and ideas. I took inspirations
from racing advertising materials in 1930s to the 1980s and contemporary graphic design from
family owned racing brands and big racing events like Formula 1. To create a distinctive brand, I
chose to use my family name, "KONG," following the example of other family-owned early racing
teams like Brock Racing Enterprises and Brumo Racing. For my logo, I selected a heavy sans-serif
font, modifying and skewing the letters to evoke the style of 1950s racing posters, where heavy
and skewed fonts were prevalent from the 1930s to the 1980s. For example, figure 1 shows the Le
Man’s poster in 1982 featuring a fast passing Porsche racecar along with heavy skewed letters.

Figure 1. "24 Stunden Le Mans '82" Porsche poster.

Drawing inspiration from the graphic elements of early racing posters and racing stripes, my
racing brand's logo, shown in Figure 2, incorporates these classic design features.

4

Figure 2. KONG Racing logo designed by Yuhao Kong.

To bring my brand to life, I have created two animations, shown in Figure 3. For the first
animation, I have drawn inspiration from Max Huber's Monza poster as well as Erich Strenger’s
Le Mans’ posters of the 1970s, which employs a blurry effect to convey speed (discussed in more
detail in a later section). In contrast to the limited animation techniques of the 1970s, my design
animation captures the rapid movements of modern racecars as they launch, conveying momentum,
instability, and quickness.
For the second animation, I have drawn inspiration from the graphic elements of early racing,
particularly the use of racing flags and crossing lines in the 1920s. The parallelogram shapes
integrated with the logo create a sense of left-to-right movement, while the bright color palette
ensures high visibility. Overall, my approach is to pay homage to the graphic elements of early
racing while also incorporating contemporary and old-school design elements, resulting in a strong
brand identity for KONG.

5

Figure 3. KONG Racing Motion Graphics by Yuhao Kong

6
Chapter Two: “The Good Old Days”
I draw my inspiration from the early years of racing and its forward-looking designs: I am
particularly drawn to the dynamic and moving tendency present in most of the early racing posters.
In designing my own posters, I aim to capture the speed, momentum, and power of racing through
still graphics. Racing and graphic design have been intertwined since the beginning of 1930s. By
incorporating their techniques, I aim to create a eye-catching and strong visual language for my
own designs.

Figure 4. Pneumatik by László Moholy-Nagy.

In 1926, Moholy-Nagy created a black and white poster design to showcase Pneumatik tires,
shown in Figure 4. This early design captures the essence of speed and momentum in a 2-
dimensional static image composed of colors (black, white, and gray), typefaces, graphics, and
streamlines. The vehicle riding on a distorted typeface creates the illusion of approaching

7
movement. As graphic design and racing evolved, Max Huber emerged as a notable figure in this
field. Huber, an iconic Swiss designer, produced a series of captivating posters that set the tone for
early graphic design in racing. His work also marks the integration of avant-garde style
2
into the
commercial graphic design world.

Figure 5. "Gran Premio dell'Autodromo Monza" design by Max Huber.

On top of the Pneumatik tires poster, Huber pushed the boundary a little more in his work for
the Gran Premio di Monza in 1948, in a homage to Moholy-Nagy, shown in Figure 5. However,
more colors were used (red, green, and blue) to create a new look alongside typefaces set in a
perspective. Influenced by Swiss design, the image becomes simpler and cleaner with only words
and a few shapes to make the composition.

2
The avant-garde style emerged as a movement that challenged traditional artistic norms and conventions (Harrison &
Wood, 2003).

8
“The type (reading ‘Gran Premio dell’Autodromo’) that storms forth perspectively from the
background underlines this effect. With this poster, Huber entered the pantheon of a specifically
Italian mass art illustrates Ettore Scottsass’ dictum of 1947: ‘One can state calmly that the people
of Greece would never have existed without the sea, and that the sea is their great story. I believe
our great story, by contrast, is velocita (speed).”
3
Italians have a great fascination with speed and
racing. In Monza, Italy, the very first Italian Grand Prix was held in 1922. However, there was no
early graphic design documented back then. It was not until the 1940s that graphics about Monza
Grand Prix emerged. Germany, the United States, England, Italy, and France were the biggest
manufacturers of race cars. Italy, as one of the biggest racing event holders, is a pioneer in early
racing-related graphic design. Most of the posters from Italy were showcasing the amazing shapes
of racing cars, the curved and dynamic racetrack, and the environment in which the racing event
have taken place. Huber’s work was greatly influenced by the Zurich School of Arts and Crafts
from which he graduated from. Inspired by Bauhaus designers as well as the Russian
Constructivists, and the Avant-Garde, Huber’s international style fused them all together. The
studio work that he did at the beginning of the 1940s in Milan gave him the opportunity to explore
graphic design in Italy which often consists of passion, speed, and intensity. Huber’s became
famous for his work designing racing posters, political works and posters on the subject of sport
in Milan around 1936. Constructivism which is a modernist art movement that originated in Russia
in the early 20
th
century
4
(Bolt, 2017) was an inspiration in those early racing-related graphic

3
Moos Svon, Campana M, Bosoni G. Max Bill and Allegory. Max Huber, London: Phaidon; 2006

4
Bowlt, J. E. (2017). Constructivism. In Oxford Art Online. Oxford University Press.

9
designs as well. It blends in well with poster design not just in racing but also golf, winter sports,
and even musical posters and brochures. What these works have in common are the color overlays,
overlaps, and sharp, constructive color blocks. The arrangement of typefaces is just as important
as other elements. In Figure 6, the graphic is constructed by concrete towers and color stripes that
represent the directions of buildings. This is an example of a very early Swiss interpretation of the
automobile industry that incorporates the idea of Constructivism in a still image.

Figure 6. General Motors Suisse design by Max Huber.

Figure 7. "Le Mans 1966 24 Hour Grand Prix Race Motor Sport" poster designed by Eric Strenger.

Another designer who has had a huge impact on me is Eric Strenger. Unlike Huber or
Moholy-Nagy, Strenger was hired by Porsche as their brand graphic designer from 1951 to 1987.

10
Working closely with Porsche cars, he developed and created his own interpretation towards speed.
In his “Le Mans 1966 24 Hour Grand Prix Race Motor Sport” poster shown in Figure 7, Strenger
stretched out the letters and put different color overlays to create momentum with the Porsche car
on the right, in contrast with the static typefaces that surround the graphics. He also used very
bright color lava orange, yellow and red to make a strong image. Dynamic is created with just a
few elements.
While I am deeply impressed by these early racing-related graphic designs, my experience of
speed is also very distinct from theirs. In my poster design, FURIOUS, I captured the moment of
driving fast at night. Everything that is lit up has a streamlined and offset shape, creating a unique
vibe that cannot be replicated during the daytime. I took the photo that is used as the primary image
while driving at maximum speed at night and found that the lights were exaggerated and captured
the exact effect I wanted. I then shifted the photo elements to create a stronger composition.
The font used in the poster is a modified sans-serif font with offset effects to make it more
dynamic. The line "After Dark, There is Light" was inspired by Liam Wong's book AFTER DARK,
in which he discovers the different light sources that can be found after sunset. I have made similar
discoveries when speeding at night.
While my understanding and interpretations of speed may be slightly different from Huber's
or Moholy-Nagy’s, the use of bright colors and glitch/offset effects to convey the feeling of speed
can be related to theirs. Glitch/offset effect were commonly used among artists after 1900s.
According to Prown (1980), the use of visual distortion in Dada and Surrealist art was intended to
create a sense of disorientation and subvert traditional modes of representation
5
. In the early 1900s,
racing posters were often printed using stone lithography, which could result in visual distortions

5
Prown, J. D. (1980). The language of images. Smithsonian Institution Press.

11
and variations in color, that were intentionally used to create dynamic and eye-catching designs
6
.
I personally love the accidental side of glitch effect because they are less intentional and more
naturally composed. Being greatly influenced by dada, surrealist and early racing posters, my
poster FURIOUS aims to capture the excitement and thrill of speed on a late night drive. In
addition to the glitch effect, which was commonly used in the early days of racing and graphic
design, my work benefits from advancements in technology. I draw inspiration from contemporary
digital gauge clusters and hyperlapse
7
photography, which allow me to push the boundaries of my
design work beyond what was possible in the past. Poster is shown in Figure 8.

Figure 8. "Furious" design by Yuhao Kong.

6
Bridson, G. D. R. (2014). The art of the poster. Antique Collectors' Club.
7
Hyperlapse photography, also known as time-lapse on motion, is a technique in which the camera moves over a long
distance while capturing a series of still images at timed intervals. These images are then combined to create a video that appears
to be in fast motion.

12
How to present speed on a non-moving 2-dimensional canvas has always been a hard task for
designers. “There are three very simple ways to do this. First, the color overlays on the curved
track are actually a superimposition of each stripe. This technique was also used in a lot of Swiss-
designed printworks. Second, the blurred effects on a moving automobile produced in the
darkroom with an enlarger. Third but not least, perspective was often used to show the approaching
of automobiles and their fast-moving effect. Primary color combined with organic, harmonious
lines to produce playfulness.”
8

Figure 9. "Monza" design by Max Huber.

An example of a dynamic and conceptual poster from the 1970s is the 12th Monza Lottery
Grand Prix poster, shown in Figure 9, which serves as inspiration for my logo animations. This
was a time when printing technology advanced, and the poster utilized this to great effect. By

8
Moos Svon, Campana M, Bosoni G. Portfolio: Sport. Max Huber, London: Phaidon; 2006.

13
incorporating newer technologies on large format printing, color photography, etc, Huber was able
to create a visually stunning design that remains influential today
The word 'MONZA' was placed in the center and slightly angled at around 10 degrees,
alongside other typefaces providing details about the event. The blurred and shaky lettering
conveys momentum and instability, simulating the feeling of driving a racecar to resonate with
viewers. The white typeface stands out prominently against the darker primary color stripes,
creating a contrast that adds yet another layer of dynamism.
The color palette of racing and graphic design often includes classical combinations that
immediately draw people's attention. For instance, Ferrari is known for its red color, Lamborghini
for yellow, Porsche for the Pink Pig butcher-style cuts, and Gulf Racing for sky blue and orange.
But why these colors? Where do they come from? Why do some become classics and remain
popular, while others fade away? Figure 10 below shows one of oldest heritage racing color
combinations called Gulf racing color on a Ford GT. The color was first used in 1960s and still
being applied to various of cars we can see on the street. I believe Inspirations can be drawn from
different racing teams with heritage designs and branding to create a unique identity.

Figure 10. Ford GT in Gulf livery.

14
Chapter Three: Colors and Decals
In the early days of racing and graphic design, the focus was primarily on posters, fences, and
billboards. However, as time went on, design and advertising began to make their way onto the
cars themselves. Car liveries served as a canvas for engineers, car manufacturers, and racers to
express their individuality and showcase their unique features. Some liveries were designed with
functionality in mind, while others reflected personal preferences or sponsorships.
In the 1900s, cars were distinguished by two things: colors and numbers. In the Gordon
Bennett Cup of July 2, 1903, twelve racing cars were marked with their own numbers from 0-12
to distinguish themselves from their competitors. The colors of the vehicles represented their
nationality: French was blue, German was white, Italian was red, and British was green (as its
colors had already taken by other countries). Even today, we can still find these heritage colors:
For example, the very classical "British Racing Green" color theme that has been used for 100-
plus years. Although racing cars today contain more complicated elements, many traditional and
heritage colors remain unchanged. One thing that has remained the same for most racing leagues
today is the numbering, with the font changing slightly different over time, but with the location
and color combinations remaining quite consistent: black lettering on a white background (in a
circle), typically located on the tail, top of the bonnet, or side doors.
Livery and decals must work on both 2-dimensional and 3-dimensional surfaces, unlike
posters. When colors are added, racing cars appear faster and more dynamic. The original purpose
of paints and liveries was to showcase the beautiful shape of racing cars, distinguish them from
their competitors, and highlight their unique designs. Manufacturers did not usually create or
designed liveries and colors; rather, they were often the result of input from sponsors, engineers,
and car designers. Although it seems somewhat unprofessional for people outside the design field

15
to design the graphics, the lack of a formal design process has led to a unique and impactful
aesthetic that appeals to both the design world and racing enthusiasts.
"Many of the design features of racing cars - no matter how simple, innocent or seemingly
haphazard - are intended as optical accelerators."
9
Customized racing liveries did not appear until
the 1960s, with the first being a simple black and yellow gaffer tape used on a Porsche 906 race
car by Ed Hugus and John Cannon in 1967. Unlike the racing stripes that we are familiar with
today, the black stripes were made of real black tape rather than paint or decals, which were more
common and cost-saving options, shown in Figure 11.

Figure 11. Porsche 906 racecar.

In the early 20th century, people could only view racing events through the fence of the circuit,
so commercial advertisements were prominently displayed in big capital sans-serif fonts. In 1924,
Kenelm Lee Guinness drove his famous Sunbeam motorcar with the font logo on the front engine
cover shown in Figure 12. Manufacturers and car parts advertisements could be seen on the track
fence in gigantic black-and-white fonts.

9
Voelker, S. (2009). Chapter 1. In Go faster the graphic design for racing cars. essay, Gestalten.

16

Figure 12. Sunbeam racecar from "Go Faster: The Graphic Design for Racing Cars," by S. Voelker, 2009.

The earliest documented stripe design was created by Briggs Cunningham, an American
racing car builder, and racer. In 1953, his Chrysler was spotted on the racetrack with two bright
blue stripes on the front that extended across the rear of the car. The car is shown in Figure 13.
The original purposes of the stripes included showing the driver’s side and helping identify the
direction of the racecar if there was a spin. Over time, racing stripes evolved to serve primarily
aesthetic and identification purposes.
Car manufacturers such as Porsche, Dodge, and Ferrari have been offering stripe options for
their cars for many years. Racing stripes not only add a unique visual element to a vehicle, but
they also help to make the car more easily identifiable on the track. Racing stripes have become a
popular and enduring design element in the world of racing and graphic design.

17

Figure 13. Chrysler C-2R.

In the 1960s, racing stripes and color combinations became popular as a way to identify each
vehicle on the track. A broad range of vivid colors was selected to paint cars such as the Mirage,
Ferrari, Chaparral, and Porsche. Initially, function took priority over aesthetics, with colors being
used for identification purposes. However, over time, classic liveries with unique designs and long
histories emerged.
Brock Racing Enterprises, for example, had a double stripe in red and blue painted alongside
the first letter "BRE," creating a three-color combination. Castrol racing's livery covered the whole
car with curved green and red stripes, which were the classic brand color combination of Castrol
Oil. Brumos Racing, which worked with Porsche for decades, had a red and blue color combination
alongside the dual stripe, with the classical number plate 59 in the front.
Alitalia's airline brand logo, designed by Walter Landor, was applied to cars in a flawless
manner, with the letter "A" integrated into the rear fender. The cars also had Canary Yellow rims
that made them stand out. Rothmans International and Marlboro were two cigarette companies that
sponsored car racing, with Marlboro being the most iconic design, with an F1 car that resembled
a cigarette box from the top view.
Gulf Racing's sky blue with a lava orange stripe across the whole body of the car became one
of the most famous livery designs in the 1960s. Falken Tire's mint green and dark blue cross pattern

18
was unique when it first came out, with multiple stripes crossing one another. Martini Racing,
sponsored by Martini & Rossi, had five stripes across the body design, with its gigantic alcohol
logo in the middle of the engine cover. John Player Special had a minimalist design with a black
and gold outline and its logo printed on the side of the F1 car.
BMW M's livery design created a new visual identity of three colors that were put on all its
racing cars and performance cars. Coca-Cola's livery was easy to spot with its red-white curve
shape that was already famous on many of its products. Pink Pig's livery was a unique design that
showed the car like a pig chopped into pieces, while Apple computer racing has a refreshing and
innovative look, with its Porsche 935 appearing in a rainbow gradient design.

Figure 14. Images of classical racing stripes: Brock Racing, Castrol, Brumo Racing, Alitalia, Rothman’s, Marlboro, Gulf Racing,
Falken Tires, Martini Racing, John Player Special, BMW M, Coca-Cola (from left to right, top to bottom).

19
In summary, traditional car livery designs are primarily based on solid colors, stripes,
sponsorships, and functionality. Graphic designers were not heavily involved in creating these
classic designs, as different car manufacturers, engineers, and sponsors have varying approaches
to design for speed. While some utilize stripes, others prefer curves or color blocks. However, all
these designs have bright, eye-catching colors that make them stand out on the track and capture
the audience's attention.

20
Chapter Four: Contemporary Artists’ Take on Racing
In today's rapidly evolving pop culture landscape, artists and designers must create works that
capture and respond to the shifting tastes of their audiences. This has been a challenge since the
1930s, when racing culture first began to influence creative expression. After the 1970s, more and
more designers and artists started getting involved in creating graphic designs for cars. Car liveries
were the most popular format to work on. Designers and artists saw car liveries as a blank canvas
to apply anything two-dimensional. Notable contemporary artists who have made car liveries
include John Baldessari, Andy Warhol, Roy Lichtenstein and Jeff Koons. Their interpretations of
racing and speed offered a distinct look that set them apart from engineers, sponsors, and car
manufacturers. In addition to their individual artistic styles, all artists used their art car designs to
challenge traditional notions of what art should be and where it should be displayed, bringing their
art to a new audience and context.
Roy Lichtenstein commented on his design of the BMW 320i, stating that "I wanted the lines
I painted to be a depiction the road showing the car where to go. The design also shows the
countryside through which the car has travelled."
10
The design featured Lichtenstein's signature
comic book style and was intended to evoke a sense of motion and speed. His comic book style
mostly uses bold, primary colors and thick black lines to create signature shapes. In this case, he
used the body of the car to outline the road and landscape of countryside
11
. His iconic art car can
be seen in Figure 15.

10
Lichtenstein, R. (1986). Roy Lichtenstein BMW 320i Art Car. Retrieved from https://www.bmwgroup.com/en/brands-
and-services/BMW/Art-Cars/art-car-03.html
11
Freeman, D. (2007). Roy Lichtenstein: Pop art painter. New York, NY: Rosen Publishing.

21

Figure 15. BMW 320i Art Car by Roy Lichtenstein

John Baldessari, an American artist specializing in printmaking, art installation, sculpture,
and videos, created the BMW Art Car, which is the “fastest” work of art he has ever made. His
artwork is based on a BMW M6 GTLM race car that raced in multiple events, including the 24-
hour Daytona, where it took 8th place on the racetrack. The car's design is focused on the
integration of 2-dimensional and 3-dimensional elements.
The car's white background is adorned with red, and green circles on the front and a large red
circle on the top. To present speed in a very literal way, the word "FAST" is printed on the left
side of the car, and a thumbnail of the M6's side is printed on the right. The color palette is vivid
and varied, using yellow, red, green, and blue to create a colorful appearance, unlike most race
cars that typically use fewer than three primary colors. The presentation of the art is very literal,
with the circles and thumbnails working with the car's body and wing. Baldessari has a deep
connection to racing, having been into street racing when he was young, and car culture was a part
of pop culture when he created the art car at age 85. Compared to other artists such as Ed“Big
Daddy” Roth, who created a distinctive style of art that combined elements of pop culture, science
fiction, and automobile design, and Roth became famous for his big contributions to the field of

22
hot rod art and culture during 1950s to 1960s
12
.Exaggerated caricatures of hot rods, their drivers
and his iconic character Rat Fink became very popular symbols that burgeons the youth culture.

Figure 16. Ed "Big Daddy" Roth and his iconic character Rat Fink. Adapted from "Enter the mind of Big Daddy Roth, the one
true Rat Fink" by Autoweek, 2020.

John Baldessari shares similarity with Roth. They both use very strong colors on a car and
incorporate pop culture element such as wave shapes, color blocks. Their style vary. Baldessari’s
iconic color circles have been brought into car design, just like his other work, Gavel, shown in
Figure 18 where he uses the same technique to vinyl paint photographs. By presenting color shapes
on a white base color, the cars’ color pops and can be spotted quicker on the racetrack. Baldessari’s
car is shown in Figure 17.

12
Severson, A. (2015). Rat Fink: The art of Ed "Big Daddy" Roth. Process.

23

Figure 17. The 19th BMW Art Car by John Baldessari.

Figure 18. Gavel by John Baldessari

Figure 19. BMW M1 Art Car by Andy Warhol.

Baldessari's work shares some similarities with Andy Warhol's BMW M1 Art car, but with a
distinct difference. While John Baldessari's work was put to the test on a real race track, Andy
Warhol's M1 which is shown in Figure 19 was primarily used as a decoration and an art installation.
Both artists used paint to convey their interpretation of speed, but Warhol's car exhibits more

24
roughness and craft. As Andy Warhol himself has stated, "I attempted to show speed as a visual
image. When an automobile is really traveling fast, all the lines and colors are transformed into a
blur." This idea is similar to the MONZA poster mentioned earlier, where blur is a visual that
viewers might perceive when watching cars zoom by at high speeds. While Warhol's art car was
available for people to look at when stationary and Baldessari’s was meant to be seen moving , it
is interesting to note that both two contemporary artists approached speed conceptually.
In 2021, New York artist Jeff Koons created his dream car with BMW by modifying the
exterior, interior color combinations and adding the words “Pop! Pop! Pop!” painted on the car
and his signature along with dyed leather seats and trim inside the cabin to show his identity and
branding. Jeff Koons is a contemporary artist who has made several contributions to the art car
world. Koons, who maintains his own office and team in New York City, has extensive experience
working with everyday and contemporary objects, and he has collaborated with car manufacturers
to create unique works that thematize speed. In 2010, he created a striking and colorful livery for
the BMW M3 GT2 race car, shown in Figure 20, which had already garnered attention due to its
return to the 24-hour Le Mans after a decade-long absence. The car's sleek, streamlined design
features multiple pops and bangs in a cartoonish shape at the rear, creating an organic and dynamic
look that showcases Koons' keen understanding of aerodynamics. Compared to Warhol's art car,
Koons' approach appears to have more momentum when the car is stationary, while Warhol's car
appears to be more unstable. The works of both artists are highly innovative, and their concepts
are easily understood.

25

Figure 20. M3 GT3 by Jeff Koons.

Figure 21. BMW 8 Series Art Car by Jeff Koons.

In 2021, Koons collaborated with BMW once again, this time on the new 8 series, shown in
Figure 21. Titled "Pop!Pop!Pop!," the project features a cartoonish design with the word "Pop!"
printed on the side of the car and blue/yellow-themed cartoons that present speed in a playful way.
Koons describes the design as "sporty and flashy as well as minimalist and conceptual,"
13
with
lines that increase in size from the hood to the trunk, creating a sense of forward movement. The
8 series marks one of the newest models in the BMW lineup, replacing the discontinued 6 series.
The collaboration includes interior design, with a color combination that matches the exterior, and
Koons' signature on the console. It is fascinating to see the diverse range of artists' interpretations
of art cars over the years, beginning with Alexander Calder's colorful 3.0 CSL in 1975. Each artist

13
BMW M GmbH. (2022, February 17). The 8 x Jeff Koons. THE 8 X JEFF KOONS. Retrieved March 26, 2023, from
https://www.bmw-m.com/en/topics/magazine-article-pool/the-8-x-jeff-koons.html

26
brings their unique experiences, personal tastes, and style to their designs, while engineers, car
manufacturers, and sponsors focus on exposure, branding, and functionality.
I have also experimented with racing stripe applications on my own track car. I drew
inspiration from my KONG Racing's branding, which prominently features the bright green color
that is the same as my motion graphics. The stripes run the length of the car and indicate the
direction of travel, while the bright colors ensure that the car is highly visible and easily identifiable
on the track. The racing stripe combination is shown both off and on track in Figure 22.

Figure 22. BMW M2 Competition by Yuhao Kong.

27
Chapter Five: See through the Helmet

Figure 23. Brock Racing Enterprises

Figure 24. Brumos Racing

Every single one of the racing teams has a website. Some talk about their long family history
like Brock Racing Enterprise. Some are completely commercially-oriented like Martini Racing,
which tends to sell their branded products, shown in Figure 23; some great ones include Brumo
Racing, which has a very conceptual website structure. Brumo Racing’s website uses its oldest
model Peugeot L45 from 1914 to navigate its storyline along with its signature red/blue
combinations, which makes the whole branding more nostalgic and alive, shown in Figure 24. I
too envisioned a website that would differentiate from a traditional website structure used by most
racing-related brands. Instead of the conventional navigation options of Main Page, About Us,
Products, etc., I wanted to integrate elements related to racing into my website design.

28
The dashboard, originated from the 19
th
century, is the control panel that is set inside the
center console of the vehicle. The Racing helmet is a protective headgear first used in 1914. I drew
inspirations from both the dashboard and the racing helmet. I incorporated a digital gauge cluster
and a view of a racing helmet into the navigation design. Three modes, Comfort, Sports, and Eco,
can be selected, and the screen colors and palettes change depending on the mode chosen. My goal
was to distinguish my personal racing brand’s design from other racing teams, which focus on
sponsorship and advertising purposes. The website design is shown in Figure 25.

Figure 25. KONG Racing website by Yuhao Kong.

To broaden the user experience of my website, viewers are empowered with the freedom to
choose how they interact with the content. This allows each individual to create their own

29
interfaces, customize their own colors, views, tailored to their preferences. Additionally, the
interface itself is designed to change based on the time of day, with dynamic motion graphics
playing in the background to create a dynamic atmosphere. Nighttime driving scenes are
particularly captivating as they offer greater contrast, a sense of instability, and a touch of danger,
which add excitement to the user experience.

30
Chapter Six: Nightdrive
As Liam Wong has written in his book 'After Dark,' "After dark, there is light,"
14
and this
sentiment perfectly captures the essences of the nightdrive: colors shine and shift in the darkness.
I have been drawn to the rush of adrenaline that comes with moving fast. I would push the limits
of speed on open roads. These drives are a way for me to escape the pressures of daily life and
experience the surroundings in a unique and exciting way.
While studying graphic design in New York City, I would venture with my companions on
late-night, high-speed drives from Brooklyn to Captree. We typically hit the road between 8 pm
and 3 am when traffic was light, and police patrols were infrequent, allowing for a unique,
breathtaking view of the city. The neon lights that lit the way were more visible and striking at
night, creating an almost alarming effect. Driving at high speed caused a surreal blur, with the
passing lights creating an illusion of moving lines. The colors became more vivid and everything
else around seemed to fade into insignificance.
I would join a cruise with various crews. A night racing crew or team refers to a group of
individuals who participate in illegal street racing at night. These crews often modify their vehicles
for racing and participate in races on public roads, which can be dangerous and illegal
15
. One of
the craziest nightdrive group of people I have ever hungout with is called Team No Hesistation as
known as Team No Hesi, they are street racers who swim through traffic, clips shown in Figure
26. By recording every single crazy traffic cut of theirs and posting them online, they started to
gain fans and gather car meets at night. Team No Hesi typically goes out at night when the traffic

14
Wong, L., & Tarr, E. (2022). After dark. Thames and Hudson Ltd.

15
Night Racing Crew. (n.d.). In Urban Dictionary. Retrieved from
https://www.urbandictionary.com/define.php?term=Night%20Racing%20Crew

31
is loose and would start cutting into traffic quickly when there are no police around. Driving with
the crews was addictive. Imagine riding a roller coaster, racing and speeding is 10 times more
exciting than that.

Figure 26. Instagram post by Team_n0hesitati0n

In 2020, I captured an image while driving late at night with the No Hesi crew. It shows the
shifting colors and positions of the gauge cluster. This immediately resonated with me emotionally.
Through color adjustments and creative exaggerations, I began to make experimental, color-
exaggerated photographs. Usually the colors were kind of dull straight out of the camera meaning
less bright colors and less strong visuals and composition. I needed to adjust the curves, color
balancing and saturation to make them alive again.

32

Figure 27. Robert and Virginia Huston in Jacques Tourneur's Out of the Past (1947).

I also drew inspirations from noir films which are very closely linked to late night drives.
Noir films are frequently used as visual and narrative device in the latter
16
. The visual style of late
night drives in noir films often includes deep shadows and harsh lighting, which contribute to the
film's overall atmosphere of tension and unease. Figure 27 shows a classical scene in Noir Film.
Paying homage to noir films, I started to take more pictures and record more similar footage. I
marked them with a “Dashcam Format.” Like a dashcam, it shows the location, speed, and latitude
at the bottom of the screen, and records videos of car driving once initiated. These recordings are
lower quality than TV or computer screens, resulting in a lo-fi, delayed, glitchy light effect that
matches the chaotic style. The images were sourced from different devices, including my dashcam,
cellphone, and other cameras. The experiences while driving at night are diverse, ranging from
serene to intensely dramatic. Some of the footage features a shot of a police officer's car behind
me, shown in Figure 28, captured right after the police pulled me over for speeding. Another image

16
Spicer, A. (2014). Film noir and the cinema of paranoia. Edinburgh University Press.

33
features a police officer outside the car, shown in Figure 30, conveying the sense of conflict and
intensity that arises in such situations.

Figure 28. Nightdrive by Yuhao Kong.

Figure 29. Nightdrive by Yuhao Kong.

34

Figure 30. Nightdrive by Yuhao Kong.

Figure 31. Nightdrive by Yuhao Kong.

35
Chapter Seven: Installation
Another way to share my anxiety and excitement while racing was my next challenge. I
wanted to push the experience of danger and the road further. Video games and arcade games in
recent years have been doing the similar things. For example, Need For Speed
17
has been
publishing games related to street racing. The 2019 release called “Need For Speed” heat, shown
in Figure 32, featured open-world city called Palm City where players can earn reputations and
money at night doing illegal street races in the game.

Figure 32. Need for Speed Heat. (2019). [Screenshot from video game]. Electronic Arts.

“Arcade and video games, particularly racing games like ‘Need for Speed,’ have had a
profound impact on pop culture. The franchise's popularity and cultural significance have
extended beyond the gaming industry and into other media such as movies, music videos, and
TV shows. This influence has been a two-way street, as Need for Speed has been both influenced
by and has influenced pop culture. In addition to its widespread presence in pop culture, the
Need for Speed franchise has also made significant contributions to the history of video games

17
Electronic Arts. (2015). Need For Speed [Video game]. Retrieved from https://www.ea.com/games/need-for-speed/need-
for-speed-2015

36
and street racing culture. Its influence can be seen in the development of other racing games, as
well as in the real-world car culture
18
.”
Being influenced by games, arcade which have already been making graphics of street
racing and night drives. That is when the idea for an immersive installation came to me. I wanted
to create an experience that would allow viewers to step into the world of my night drives. To
achieve this, I set up a large-scale installation that incorporates sound, movement, and light
effects, shown in Figure 33. The result is an experience that transports viewers into the night
time world once they step into it, pushing viewers into experience extraordinary combinations of
noise, darkness and blinking lights.

Figure 33. Nightdrive Installation by Yuhao Kong

What’s more, I believe that these videos would be an excellent fit on an urban billboard.
Imagine driving through the city, stuck in slow traffic, and looking up to see a billboard featuring
the nightdrives, shown in Figure34. The contrast between the slow-moving traffic and the fast-
paced footage would be a powerful statement, one that captures the sense of freedom and
exhilaration that comes with pushing the limits of speed.

18
Smith, J. (2018). The impact of video games on popular culture. Journal of Popular Culture, 51(3), 497-512.

37
The proposed site-specific artwork would be situated in a bustling urban area, such as the
entrance of NYC's Williamsburg Bridge, where traffic is typically gridlocked and the
surrounding environment is eerily quiet at night. To ensure the safety of drivers, the artwork
would only be displayed during slow traffic conditions, both during the day and at night. The
intention of the piece is to convey a sense of energy, motion, and danger that is often associated
with driving while sitting stagnant in traffic.
To achieve this effect, the artwork would feature a collection of night drive videos from
various locations, carefully curated to capture the essence of each unique setting. Since this
artwork is more of a personal experience that may vary over time, it would require regular
updates if displayed over a long period. This stands in contrast to traditional advertising
billboards, which remain static and unchanging. Ultimately, the goal of this site-specific artwork
is to create a dynamic and engaging visual experience for drivers and pedestrians alike, offering
a glimpse into the thrilling world of night driving.

Figure 34. Nightdrive Installation #2 by Yuhao Kong.

38
Conclusion
As I conclude my manuscript on the intersection between car culture, the thrill of the night
drive and graphic design, I am reminded of the personal and natural elements that make this
experience exhilarating. From the sleek design of racing cars to the vivid colors and shifting
surroundings, my night drive experiences offer a way to escape daily pressures. Drawing
inspiration from the heritage of car racing and its culture, I utilize the aesthetics of car design,
advertisement, and popular culture as a source of inspiration for my creative work. By blending
classic racing elements from the 1930s with the vibrancy of today's street racing culture, I aim to
evoke the same excitement and stimulation that I have experienced.

Through my own late-night street racing experiences, I aim to share the energy and view of
the night streets through a series of images, posters , videos and an installation proposal. From the
adrenaline rush of speeding down open roads to the racing games, night drives have left a lasting
impression on me and influenced the aesthetics of my design work. Ultimately, my work offers a
perspective on the intersections between past and present racing cultures, inviting viewers to
engage with the history and cultural significance of racing in a new way. There is always a different
answer for designers and artists about speed. Mine is locked in the moment of me stepping on the
gas pedal while cruising on the highway to Captree at 2 am.

39
References
BMW M GmbH. (2017, January 15). BMW Art Car by John Baldessari. Retrieved March 5, 202
3, from https://www.bmw-m.com/en/topics/magazine-article-pool/bmw-art-car-by-john-baldessa
ri.html

BMW M GmbH. (2019, August 29). The BMW M1 Art Car by Andy Warhol celebrates annivers
ary. Retrieved March 5, 2023, from https://www.bmw-m.com/en/topics/magazine-article-pool/th
e-bmw-m1-art-car-by-andy-warhol-celebrates-anniversary.html

BMW M GmbH. (2022, February 17). The 8 x Jeff Koons. THE 8 X JEFF KOONS. Retrieved M
arch 5, 2023, from https://www.bmw-m.com/en/topics/magazine-article-pool/the-8-x-jeff-koons.
html

BMW's new M6 GTLM art car is fast. Top Gear. (2021, May 19). Retrieved March 5, 2023, from
https://www.topgear.com/car-news/motorsport/bmws-new-m6-gtlm-art-car-fast

Bridson, G. D. R. (2014). The art of the poster. Antique Collectors' Club.

Clark, J. (2015, May 19). What makes the Alitalia Racing livery so compelling? Petrolicious. Ret
rieved March 5, 2023, from https://petrolicious.com/articles/what-makes-the-alitalia-racing-liver
y-so-compelling

Freeman, D. (2007). Roy Lichtenstein: Pop art painter. New York, NY: Rosen Publishing.

Harrison, C., & Wood, P. (2003). Art in theory, 1900-2000: An anthology of changing ideas.
Blackwell Publishing.

Johnston, W., & Johnston, W. (2010, January 11). The graphic design of Racing Cars. Modular
4. Retrieved March 5, 2023, from https://modular4kc.com/2010/01/11/the-graphic-design-of-raci
ng-cars/

Lichtenstein, R. (1986). Roy Lichtenstein BMW 320i Art Car. Retrieved from https://www.bmw
group.com/en/brands-and-services/BMW/Art-Cars/art-car-03.html

Moos, S. V. (2011). Max Huber. Phaidon Press Ltd.

Night Racing Crew. (n.d.). In Urban Dictionary. Retrieved March 31, 2023, from
https://www.urbandictionary.com/define.php?term=Night%20Racing%20Crew

Prown, J. D. (1980). The language of images. Smithsonian Institution Press.

Silvestro, B. (2022, June 3). The 21 best racing liveries. Road & Track. Retrieved March 5, 202
3, from https://www.roadandtrack.com/motorsports/g22088459/best-racing-liveries/?slide=7

Spicer, A. (2014). Film noir and the cinema of paranoia. Edinburgh University Press.

40
Team_n0hesitati0n. team_n0hesitati0n • instagram. (n.d.). Retrieved March 26, 2023, from
https://www.instagram.com/team_n0hesitati0n/?hl=en

Voelker, S. (2009). Go faster the graphic design for racing cars. Gestalten.

Wong, L., & Tarr, E. (2022). After dark - Liam Wong: With 141 illustrations. Thames and Hudso
n Ltd.

Abstract (if available)

Abstract Ever since I was a child, I have had a passion for car culture and car racing. The sleek design of racing cars with their vivid racing stripes and colors has left an enduring impression on me, influencing the aesthetics of my design work. Drawing inspiration from the heritage of car racing and its culture, I utilize car design, car advertisement, and popular car culture as a source of inspiration for my creative work. I aim to share this same excitement, vibrancy, and pressured frenetics and capture the loud noise, the feel of asphalt, and the rush of adrenaline. By blending classic racing elements from the 1930’s with the vibrancy of today’s street racing culture, my work aims to evoke the same level of excitement and stimulation that I have experienced. I designed my own racing brand and accompanying branding, graphics and decals. Inspired by my own late-night street racing experiences, I aim to share the energy and allure of the night streets with others through a series of compelling images and an immersive installation. Ultimately, my work offers a unique perspective on the intersections between past and present racing cultures, inviting viewers to engage with the rich history and cultural significance of racing in a new and exciting way.

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Asset Metadata

Creator Kong, Yuhao (author)

Core Title Revving up: exploring the intersection of automobile racing and graphic design

School Roski School of Art and Design

Degree Master of Fine Arts

Degree Program Design

Degree Conferral Date 2023-05

Publication Date 05/01/2023

Defense Date 05/01/2023

Publisher University of Southern California (original), University of Southern California. Libraries (digital)

Tag furious,graphic design,nightdrive,OAI-PMH Harvest,speed

Format theses (aat)

Language English

Contributor Electronically uploaded by the author (provenance)

Advisor Ewa Wojciak, Ewa (committee chair), Ellenburg, Jason (committee member), Lemgruber, Bruno (committee member)

Creator Email yuhaok@usc.edu

Permanent Link (DOI) https://doi.org/10.25549/usctheses-oUC113091144

Unique identifier UC113091144

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Legacy Identifier etd-KongYuhao-11749

Document Type Thesis

Format theses (aat)

Rights Kong, Yuhao

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Source 20230501-usctheses-batch-1034 (batch), University of Southern California (contributing entity), University of Southern California Dissertations and Theses (collection)

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Repository Name University of Southern California Digital Library

Repository Location USC Digital Library, University of Southern California, University Park Campus MC 2810, 3434 South Grand Avenue, 2nd Floor, Los Angeles, California 90089-2810, USA

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