The idealized people's sports car
03/29/2013
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Until the 1960s, many car brochures often featured illustrations instead of photos. Snappy drawings were not only fashionable. They also had the advantage that certain areas could be idealized and highlighted. In addition, they were razor-sharp right down to the furthest corner, which could not always be said of the photos of the time. They made expensive and time-consuming studio projects and the cutting up and dismantling of cars superfluous. The draughtsman could do it faster and cheaper back then.
The brochure of the VW Karmann Ghia Type 14 in the first facelift version from 1959 - recognizable by the larger "nostrils" at the front and elongated rear lights - is a great example of how a vehicle is ideally depicted by true brochure artists. Because anyone can now use such tricks in the age of Photoshop, this art has completely fallen by the wayside.
The cover says it all: a good-looking guy at full speed in an elegant Karmann coupé with slightly exaggerated proportions to impress the ladies. Because the main role is played by the pretty woman's face, which outshines the scene as a retouched photo with lots of color and breathes meaning and purpose into the gray Ghia and its owner. A woman would like to be picked up in this car. Do you understand, man?
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The first interior page then shows the driver in more detail. A James Dean type who, armed with gloves, knows how to tame a technically sophisticated sports car and, thanks to his streamlined hairstyle, is obviously also fast on the road. The text underneath, however, is much more sobering than the idealized driver image and explains in a few sentences that the Karmann Ghia is based on the tried and tested Beetle. It's good that this is said. The black and white cockpit silhouette would also have suited a high-engined sports car.
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The proportions on the third page are far less idealized than on the cover and show the simple elegance of the design by Luigi Segre, head designer at Ghia in Turin. Incidentally, the design is not new, but already existed in the form of the Chrysler D'Elegance prototype - also designed by Luigi Segre - at the 1952 Paris Motor Show.
However, the Chrysler was never turned into a production car; VW snapped up the concept and in 1955 it became the Karmann Ghia.
The small interior picture at the bottom right doesn't reveal much, but it does show the most important features. It is waiting for two passengers who would like to take a seat in front of the ivory steering wheel in elegant green-on-green seats with white stitching.
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The black Karmann Ghia wants to look as masculine as the gentleman behind the wheel. Nothing like a secretary's Porsche. But apart from that, all the clichés are catered for, as the practical femininity (or the womanizing man) is satisfied on the same side. The trunk in the rear is again slightly exaggerated, the annoying front seats have been omitted and everything is nice and light and airy. If you believe the illustrations, no estate car could be better!
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After so much reason, emotions again: Coupé and convertible with closed top in elegant colors and perfect shapes are depicted as drawings, which must have been based on a photo. In contrast to the title page, their proportions are realistic. In order to photograph the vehicle so perfectly, elaborate studio shots with lots of auxiliary material for lighting, background and correct sheet metal reflections would be necessary. Or a lot of post-processing.
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The car shown looks a little dull. The light blue looks much prettier in reality. In the brochure, it is slightly grayed and would need a car wash again. Incidentally, this is not mentioned anywhere in the brochure. Car washes did not seem to have played a role in 1959.
The text only briefly touches on the beautiful shapes. The sentence: " With the Karmann-Ghia-Cabriolet, you have (...) the racy open-top automobile for summer driving in light, air and sun." is skillful. But then the focus quickly switches back to practicality and common sense. After all, you are Volkswagen!
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The open brown convertible with its elegant beige interior looks much more sophisticated and is an excellent illustration of what a good graphic designer can achieve. A dark artificial horizon reflected in the sheet metal explains the play of waves from the front fender, which runs out into the door, and the attached rear side panel. This perfectly accentuates the three-dimensionality of the shapes. Add to this the elegant Ghia lettering on the engine cover. Luigi Segre must have been highly satisfied with such a representation of his work.
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The two neatly drawn side views of the open and closed convertible appear somewhat lost on the page. The arrangement was probably created by the printer without precise instructions from the artist. The upper vehicle is drawn from a higher viewpoint, the lower one from a lower one. This should be exactly the opposite and looks very unnatural. But this is the case throughout the entire brochure: not a single vehicle is shown in its natural environment on the street or in front of a terraced housing estate. They are all cut out on a white background. The rest is up to you.
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The quotes indicate that the Karmann Ghia is not a macho car despite its sporty design. The delicate lady's foot stands "true to size for all heel heights" on the large "step plate", as the accelerator pedal is beautifully named. We have blogged about this topic/detail before.
The woman's face at the bottom right is again an interesting mixture of photo and retouching. A black and white photo serves as the basis, as can be seen from the instruments. These are cut out together with the steering wheel and partially colored. The rest has been omitted or only traced as a line drawing. An interesting composition that presents the Ghia cockpit in a simple and clear manner and (cliché alert) is also manageable for the non-technical lady. The two sectional views, which explain heat distribution and seat adjustment, among other things, are presumably also for female customers.
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The full truth is finally revealed on the last page: 30 hp and a top speed of 115 km/h. Well! And the acceleration from 0 - 100 is not even mentioned. The carmakers in Osnabrück hid only home cooking from the Mittelland Canal under the elegant Italian dress. The Karmann Ghia was a success despite its weak engine. The advertising artist's clichés obviously struck a chord with the buyer. Or rather: the buyer.
The original brochure can of course be foundin the Zwischengas archive.
