The author recounts a shift in interest from minimalism, which was initially motivated by resource optimization and maintaining organized environments, but later lost appeal due to being excessively devoid of personality. He argues that small objects, even without commercial value, carry personal stories.
This change in focus was driven by an aesthetic linked to the game FlatOut, specifically by racing icons, emblems, and stickers. The fascination lies in a particular graphic language—characterized by large, slanted letters, outlines, shadows, colored stripes, numbers, and geometric shapes—which is easily associated with motorsport but manages to transcend that context.
Historically, race cars were marked by national colors. This dynamic changed significantly in 1968 with the relaxation of sponsorship rules in Formula 1. Initially, a private Brabham displayed the colors of the Gunston cigarette brand at the South African GP. Subsequently, at the Jarama race in Spain, Colin Chapman's Lotus swapped its traditional British green for the red, white, and gold colors of Gold Leaf, leading to the creation of the Gold Leaf Team Lotus.
In the following decades, motorsport developed a strong link with the tobacco industry, with brands like Marlboro, John Player Special, Rothmans, Camel, Gitanes, and 555 building visual identities inseparable from notorious teams and cars. It is notable that much of this graphic repertoire originated from the advertising of products now restricted, but these brands continue to be appreciated on clothing and accessories for their aesthetic composition and association with the legendary era.
Besides cigarettes, companies producing lubricants, tires, auto parts, fuels, and additives contributed to a rich visual vocabulary. STP is cited as an example of graphic synthesis: its three white, slanted, and robust letters occupy a red oval outlined by a dark blue contour, conveying dynamism and contrast. When Andy Granatelli took over the direction of STP in 1963, he transformed motorsport into a branding platform, using a recognizable logo, a product, and the race itself as a reason for being, culminating in an iconic American identity after partnering with Richard Petty and his blue and red Plymouth in NASCAR.
Wynn’s presents a distinct style, with rounded and voluminous letters enveloped by oval stripes in shades of orange, pink, and purple, evoking the graphic advertising of the 1960s and 1970s with a psychedelic touch. This brand shares a visual continuity where text and frame seem to belong to the same language, being recognizable even without knowledge of its automotive additives.
Martini is a special case because the FlatOut visual identity was inspired by it. Its original symbol, created in 1925, consisted of a red circle cut by a black rectangle with the name Martini in capital letters. The blue, light blue, and red stripes used in Martini Racing were introduced to motorsport in the early 1970s. Its simple yet impactful composition uses parallel lines to create rhythm, red for contrast, and shades of blue for depth, functioning perfectly at any scale.
These three examples demonstrate how distinct visual identities can achieve immediate recognition: STP focuses on impact and condensation, Wynn’s on curved continuity, and Martini on geometric balance. None of them relies on a literal representation of speed; the meaning is constructed through the association of shapes, colors, and letters.
Typography plays a crucial role in this process, favoring heavy, condensed, or extended sans-serif fonts, often slanted. Numerals are also specifically designed to be recognizable. These choices communicate speed, solidity, and dynamism. Typographic families such as Microgramma (developed by Alessandro Butti and Aldo Novarese in 1952) and Eurostile (created by Novarese in 1962), along with Bank Gothic and DIN 1451, are references of this geometric and industrial aspect.
The application of these letters, with outlines, offset shadows, and overlaps, lends depth and three-dimensional movement without complexity, echoing the printed advertising of the second half of the 20th century, where logos needed to be legible on various media. Furthermore, visual psychology explains the appeal of these compositions. Studies indicate that the ease of composition organization influences perception, and in racing stickers, even with a lot of information, shapes and colors establish a visual hierarchy, following Gestalt principles.
Colors such as red, blue, yellow, and orange are frequent, often in saturated tones. A 2025 review study in the journal Psychonomic Bulletin & Review, analyzing over 42 thousand participants, correlated reds with greater emotional intensity, yellows and oranges with positive high-activation associations, and blues and greens with lower activation positive states. Although this is not universal, it shows studyable patterns for advertising use.
While there is beauty in observing a pure white prototype, free of stickers, there is also a distinct beauty in the moment when numbers, stripes, and supplier logos are added, giving the car a new identity that does not need to reflect the manufacturer's original appearance.



