An analysis of digital block design

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An analysis of digital block design

The car is a tornado of ideas. Step to the left or right, and either angle brings a whole new pattern. The hood is a series of parting ripples; the A-pillar seems upside down, thinner at the bottom than at the top.

Everything is about stance. On the left is the more aggressive SE version with its inward-pointing horns and gaping side grilles. On the right, his pencil roughs out the ribbed Cheshire cat grill of the LE.

See all 24 photos He grabs a new piece of paper and starts on a rear three-quarter perspective. Quickly, the light pencil marks harden into a chaotic pattern of lines.

Some collide, and others ricochet, like the crease that originates at the center of the front wheel, ignores all the others, and shoots toward the C-pillar. These lines go all the way to the front—all the way through the car to a focal point. View 24 Photos When we met up with chief engineer Masato Katsumata in Kentucky, we asked what his favorite angle is.

He puts heavy marks through the An analysis of digital block design. Toyota hopes this Camry will be perceived as two steps up in prestige.

An analysis of digital block design

The black roof is limited to blue, white, and silver body colors. Can you image that? A Camry with a red leather interior?

We went a little midcentury modern with it—compressed it and made it wide. Competing for Attention Tom: The sport model has a busy front end with disparate elements competing for attention.

We moved the Toyota symbol mark under and into the grille. In side view, the leading edge of the hood mimics an airfoil section. The A-line starting aft of the front wheel opening and continuing along the doors transitions into the tail lamp graphic to provide a comforting visual continuity. The Side Glass Opening Tom: The beltline and side glass opening are distinctive and settled on the body side.

Lightening the Visual Weight Tom: The concave area above the sill is effective at lightening the visual weight and also swelling back to the plane of the rear wheel.

The upper hard line of the concave area could be softer for my taste and would allow other great elements to star. Now Available With 19s Tom: Wheels are pulled out to the sides of the car with tighter opening gaps.

Wheel sizes range from 16 inches all the way to 19 inches. The fender peak and surfaces of the upper quarter panel reduce the apparent height and heaviness above the front and rear wheels. The placement of these elements on the surface also aids gesture and gives the design forward movement.

On both models, the side view of the bumper fascias, especially in the rear, disturbs the flow of surfaces.

It has this strong character line that has a subtle shaping on top and has this core going all the way through that links to the rear shoulder. That pillar creates that flow, but it also allows us to do that black roof feature.

Capturing the Essence of the Car Ian: From the side view, we bring the beltline down and sink the cabin into the body.

The other thing it does is kind of cool. From the side view, it makes the rear sporty and cuts off the corner. But from the rear view we can get the rear glass inside the shoulder. And these corners basically plant the car to the ground. Everything from the rear view is designed to enhance stance.

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An analysis of digital block design

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