Ode to the TL
06-18-2008 | 02:22 AM
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Ode to the TL
Alright, this paper I wrote around the time when I just got my TL (2005) for an art course in one of my college classes. I think it is quite the ode to the TL (although the way I describe might make it sound more like a six-figure Italian sports car). I know it is long as hell and most people don't really go on internet boards looking to read essays, but whatever, I'll just put it out there for anyone who's bored and doesn't mind reading some "feel-good" material for our most precious cars.
Barreling off towards the sunset, I gradually shift the weight of my right foot on the accelerator, as I revel in the comfort and safety of the interior. Other times I stand at a distance and appreciate the gleaning, sharp look of the exterior of my new Acura. In the context of visual culture, the automobile has existed since sketches made of motor vehicles by the likes Leonardo da Vinci and Isaac Newton outlined the desire for a brave new invention to carry mankind into the future. In more recent times, technology has advanced and improved tremendously to allow the creators, designers and engineers of the automobile to transcend mere function, but move into grounds of innovative and vanguard visual design. However, form follows function and every minute and painstaking detail of the Acura TL work together to create a means of supreme and efficient transportation (and several other sub-functions) when examining the visual elements and composition of this mobile and utilitarian work of art.
From the exterior, the Acura TL is a slick looking piece of metal machinery. The glistening anthracite metallic coat shines and shimmers under the sun. Most immediately, the element of color comes to mind. Through the phenomenon of color perception, observers notice the hue of rich anthracite, the fullness in value and the varying intensity in different conditions of light. Anthracite, a dense, shiny coal, is an amalgamation of gray, carbon, coal and dark green. And because of the paint material, the anthracite hue has the properties of the subtractive color system, brightening under light and dulling under darkness. Initially, the singular effect of color in this object may just be appealing to individual tastes and may not help to achieve the TL’s primary function as a means of transportation. It does however contribute and work with other formal elements to achieve this goal.
The glossy and unperturbed effect of paint on the exterior of the TL contributes much to the visual and tactile texture of the object. Were the object dull and unpainted, the perception of smoothness would hardly be the same. The shininess of the exterior augments the feeling of a smooth and seamless visual texture and when one moves in closer, visual becomes tactile as uninterrupted metal flows in continuous and unvarying motion. The fluid texture of the body not only contributes to the function of the TL as a means of transportation, but also illustrates how it achieves this. Smoothness begets flow, which is key in aerodynamics, aiding the TL to move from one point to another swiftly and adeptly. Texture is especially evident on the tires. Rough and riddled with dips and depressions, the tires contrast greatly with the rest of the smooth design of the TL, but all in reason. Roughness serves the function of keeping the TL grounded and gripped onto the road. In the interior, the plush, soft leather communicates a sense of comfort in transportation to any who step within its sanctuary.
Linear direction is an overwhelming element that contributes to the TL’s function as a supreme and efficient form of transportation. A lengthy indentation, which runs along the side body panels and through the door handles of the TL, can be interpreted as actual horizontal lines, which typically represent rest. In the case of the TL however, the horizontal line is an exaggerated diagonal line, and represents not just movement, but fast and intense movement, describing how the TL transports its passengers. Linear direction does not end there. Contour lines outline the overall shape of the TL, subtle, sleek and fit for travel at high speeds. The multitude of lines creates a sense of flow and underlines the fact that this object is not meant to be stationary. There are no stray or meandering lines, signifying that this object is one of organization and cleanliness. As opposed to the actual contour and bodylines of the object, the implied lines created when the headlights are turned on make an interesting interpretation of linear direction. The horizontal implied lines of the TL guide its direction and its continual desire to move forward.
Within the interior, linear direction is perhaps even more apparent. From the interior side paneling to the center divider and the center console, actual horizontal lines differ from those on the exterior in meaning. While the horizontal linear movement on the exterior implies speed and intense movement, the interior lines suggest quite the contrary. The primary function of the TL is to provide a means of transportation, but safety and comfort are equally important functions within achieving the object’s ultimate function, transportation. The interior lines of the TL create a sense of flow, similar to the exterior, but eventually all meet at the driver’s steering wheel and gauges. Actual lines in this case create a focal point, at the most important part and the heart of the object, and where control of the object is achieved.
Shape and volume coincide and are especially significant in making the TL a supreme form of transportation. While the TL is a three-dimensional entity, it can still be dissected into two-dimensional shapes. The fundamental shapes that make up the TL are fairly regular and geometric, yet the edges and vertices are not sharp. The front end of the TL is more irregular, with corners and sides smoothed, so as not to give the object a very box-like appearance, which may be interpreted as austerity and rigidity. Instead the more natural and smooth-like appearance of the front end may reflect flexibility, modernism and confidence. The side paneling and doors of the TL are much more rectangular, showing strength and rigidity, which would lull a sense of comfort and be important in any type of accident. The rear end of the TL is also more rectangular, promoting a sense of strength and durability from any who observe it from its rear. Overall, the conglomeration of shapes that make up the TL and all its directional lines espouse virtues of agility and speed.
Time and motion are perhaps more pertinent to this object than any other formal elements, yet peculiarly defined in the special case of the automobile. Typically, time and motion are elements used when describing performances or aging pieces of artwork and how they are viewed over history. In the case of the TL, these elements are indicative of its actual function. The TL uses time and motion together to define itself and its purpose: to be a modern, utilitarian, mobile and constantly adaptable piece of visual culture. This piece of visual culture changes with time as tires spin, gauges move, pistons pump and cylinders move up and down.
The TL is not only characterized by formal elements, but by principles of composition as well. Balance is a keenly important principle when observing the TL. It is easy to see that this object is symmetrically balanced. Visual weight is evenly distributed when viewing the TL from head-on and keeps the flow of the object even, especially important in its function of transportation. The balanced and symmetrical nature of the TL also shows its real-life function (as opposed to abstract), organization and practicality. Proportion is significant as is scale in the composition of the TL as each individual part of the object is specifically designed to be a certain proportion to other parts as to allow this object to achieve its function as a real, practical and utilitarian object. The size of the TL is also what we consider to be “normal”, once again appealing to its realistic and utilitarian nature.
Perhaps the most important compositional principle of the TL is its use of materials. In achieving its function as a modern and efficient way of transportation, the TL incorporates only materials most important to that function, utilizing aluminum body paneling, a steel chassis, high profile rubber, plush leather seats and high quality paint. These materials, beyond their individual properties, affect the meaning of the TL in asserting its quality, assurance, performance, reliability, handling, durability, safety and comfort in transportation.
Through the use of a wide range of formal elements and principles of composition, we have seen how the TL ultimately achieves its function as a modern, efficient and supreme way of transportation. Most will look at the TL and simply acknowledge it as the common automobile it fundamentally is. At a quick glance, it is easy to recognize its prime function, yet it is hard for one to see the connection between the Mona Lisa and the modern day TL. But rest assured, the TL achieves this function by way of many of the same formal elements and principles of composition as the renaissance masterpiece.
A Mobile Masterpiece
Barreling off towards the sunset, I gradually shift the weight of my right foot on the accelerator, as I revel in the comfort and safety of the interior. Other times I stand at a distance and appreciate the gleaning, sharp look of the exterior of my new Acura. In the context of visual culture, the automobile has existed since sketches made of motor vehicles by the likes Leonardo da Vinci and Isaac Newton outlined the desire for a brave new invention to carry mankind into the future. In more recent times, technology has advanced and improved tremendously to allow the creators, designers and engineers of the automobile to transcend mere function, but move into grounds of innovative and vanguard visual design. However, form follows function and every minute and painstaking detail of the Acura TL work together to create a means of supreme and efficient transportation (and several other sub-functions) when examining the visual elements and composition of this mobile and utilitarian work of art.
From the exterior, the Acura TL is a slick looking piece of metal machinery. The glistening anthracite metallic coat shines and shimmers under the sun. Most immediately, the element of color comes to mind. Through the phenomenon of color perception, observers notice the hue of rich anthracite, the fullness in value and the varying intensity in different conditions of light. Anthracite, a dense, shiny coal, is an amalgamation of gray, carbon, coal and dark green. And because of the paint material, the anthracite hue has the properties of the subtractive color system, brightening under light and dulling under darkness. Initially, the singular effect of color in this object may just be appealing to individual tastes and may not help to achieve the TL’s primary function as a means of transportation. It does however contribute and work with other formal elements to achieve this goal.
The glossy and unperturbed effect of paint on the exterior of the TL contributes much to the visual and tactile texture of the object. Were the object dull and unpainted, the perception of smoothness would hardly be the same. The shininess of the exterior augments the feeling of a smooth and seamless visual texture and when one moves in closer, visual becomes tactile as uninterrupted metal flows in continuous and unvarying motion. The fluid texture of the body not only contributes to the function of the TL as a means of transportation, but also illustrates how it achieves this. Smoothness begets flow, which is key in aerodynamics, aiding the TL to move from one point to another swiftly and adeptly. Texture is especially evident on the tires. Rough and riddled with dips and depressions, the tires contrast greatly with the rest of the smooth design of the TL, but all in reason. Roughness serves the function of keeping the TL grounded and gripped onto the road. In the interior, the plush, soft leather communicates a sense of comfort in transportation to any who step within its sanctuary.
Linear direction is an overwhelming element that contributes to the TL’s function as a supreme and efficient form of transportation. A lengthy indentation, which runs along the side body panels and through the door handles of the TL, can be interpreted as actual horizontal lines, which typically represent rest. In the case of the TL however, the horizontal line is an exaggerated diagonal line, and represents not just movement, but fast and intense movement, describing how the TL transports its passengers. Linear direction does not end there. Contour lines outline the overall shape of the TL, subtle, sleek and fit for travel at high speeds. The multitude of lines creates a sense of flow and underlines the fact that this object is not meant to be stationary. There are no stray or meandering lines, signifying that this object is one of organization and cleanliness. As opposed to the actual contour and bodylines of the object, the implied lines created when the headlights are turned on make an interesting interpretation of linear direction. The horizontal implied lines of the TL guide its direction and its continual desire to move forward.
Within the interior, linear direction is perhaps even more apparent. From the interior side paneling to the center divider and the center console, actual horizontal lines differ from those on the exterior in meaning. While the horizontal linear movement on the exterior implies speed and intense movement, the interior lines suggest quite the contrary. The primary function of the TL is to provide a means of transportation, but safety and comfort are equally important functions within achieving the object’s ultimate function, transportation. The interior lines of the TL create a sense of flow, similar to the exterior, but eventually all meet at the driver’s steering wheel and gauges. Actual lines in this case create a focal point, at the most important part and the heart of the object, and where control of the object is achieved.
Shape and volume coincide and are especially significant in making the TL a supreme form of transportation. While the TL is a three-dimensional entity, it can still be dissected into two-dimensional shapes. The fundamental shapes that make up the TL are fairly regular and geometric, yet the edges and vertices are not sharp. The front end of the TL is more irregular, with corners and sides smoothed, so as not to give the object a very box-like appearance, which may be interpreted as austerity and rigidity. Instead the more natural and smooth-like appearance of the front end may reflect flexibility, modernism and confidence. The side paneling and doors of the TL are much more rectangular, showing strength and rigidity, which would lull a sense of comfort and be important in any type of accident. The rear end of the TL is also more rectangular, promoting a sense of strength and durability from any who observe it from its rear. Overall, the conglomeration of shapes that make up the TL and all its directional lines espouse virtues of agility and speed.
Time and motion are perhaps more pertinent to this object than any other formal elements, yet peculiarly defined in the special case of the automobile. Typically, time and motion are elements used when describing performances or aging pieces of artwork and how they are viewed over history. In the case of the TL, these elements are indicative of its actual function. The TL uses time and motion together to define itself and its purpose: to be a modern, utilitarian, mobile and constantly adaptable piece of visual culture. This piece of visual culture changes with time as tires spin, gauges move, pistons pump and cylinders move up and down.
The TL is not only characterized by formal elements, but by principles of composition as well. Balance is a keenly important principle when observing the TL. It is easy to see that this object is symmetrically balanced. Visual weight is evenly distributed when viewing the TL from head-on and keeps the flow of the object even, especially important in its function of transportation. The balanced and symmetrical nature of the TL also shows its real-life function (as opposed to abstract), organization and practicality. Proportion is significant as is scale in the composition of the TL as each individual part of the object is specifically designed to be a certain proportion to other parts as to allow this object to achieve its function as a real, practical and utilitarian object. The size of the TL is also what we consider to be “normal”, once again appealing to its realistic and utilitarian nature.
Perhaps the most important compositional principle of the TL is its use of materials. In achieving its function as a modern and efficient way of transportation, the TL incorporates only materials most important to that function, utilizing aluminum body paneling, a steel chassis, high profile rubber, plush leather seats and high quality paint. These materials, beyond their individual properties, affect the meaning of the TL in asserting its quality, assurance, performance, reliability, handling, durability, safety and comfort in transportation.
Through the use of a wide range of formal elements and principles of composition, we have seen how the TL ultimately achieves its function as a modern, efficient and supreme way of transportation. Most will look at the TL and simply acknowledge it as the common automobile it fundamentally is. At a quick glance, it is easy to recognize its prime function, yet it is hard for one to see the connection between the Mona Lisa and the modern day TL. But rest assured, the TL achieves this function by way of many of the same formal elements and principles of composition as the renaissance masterpiece.
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