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Fords And The Furious - Artwork

Ford’s staged finish of the 24 hours of Le Mans in 1966 was one of the most controversial and mysterious chapters in the GTs saga. Although they dominated the race with not one but three of their GT40s leading with 16 laps ahead of the closest competitor, the final outcome was convoluted. Ken Miles and Denis Hulme in their blue #1 GT40 were leading the race until they received the order to slow down and let the other two GT40s catch up for a staged photo finish with all three crossing the finish line only car lengths apart. Miles was announced winner and about to approach the podium when the officials corrected their statement and confirmed, he was only second. The black #2 GT driven by Bruce McLaren and Chris Amon actually won as they had covered the most distance within the 24 hours, after being placed 40 yards behind Miles at the start. Despite Ford winning the race regardless, it was a slight loss for the Americans as they could have achieved a triple triumph with Miles, as his blue GT had previously won Daytona and Sebring – something even Ferrari never managed to do. Rumor has it, it was the Italian rivals who actually pointed out the mistake in the first place.

Initially the GT40 was not only built for racing purposes but also as an act of revenge targeting Enzo Ferrari. In 1963, Henry Ford II intended to combine forces with Ferrari before the Italian sports car manufacturer abruptly ended all negotiations at the last minute. Furious about this decision, Ford decided to get its revenge by beating the long term winner at Le Mans – which they managed to repeat the following three years.

In the end it didn’t really matter who took the victory amongst the drivers as long as the race was a win for Ford over Ferrari.

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Fords And The Furious - Artwork
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Research and Concept

Every image created is based on a real-life historic event. To ensure accuracy, extensive research is carried out to piece together every last detail. In-house concept artists, then, work up several visual ideas – using different views, settings, and perspectives – before a final design is settled upon.

3D Modelling and 3D scanning

Once the concept is established, a 3D model is created using computer-generated imagery. Studying every piece of reference material available, Automobilists’ artists, then, digitally rebuild the vehicle from scratch, slowly constructing layer upon layer with painstaking detail – even down to the last coat of paint.

Photoshoot

With pre-production complete, it’s time to go on-location and start shooting photographs. This stage can last for several days and involves crews of up to 70 people, depending on the concept. The highest grade of professional equipment is used to ensure the highest quality and resolution images, and extensively detailed sets are also built when required.

Composition

The last step in the production process involves consolidating the digital assets to form the final artwork. In this phase, the 3D elements are rendered with the photoshoot imagery, and to this composite, additional elements – such as light, smoke, shadows, dirt, flames, and weather – are added, to bring the piece to life. Only with these details included it is time to print and frame.

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We only use the very best Epson fine art printers, and premium Hahnemühle paper due to its fine texture, which guarantees long lasting color and saturation.

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Each Fine Art print is special and carries a unique number. Medium and Large Fine Arts are also accompanied by a certificate of authenticity.

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Our framed options comprise a dark brown hand-made oak frame with an embossed matt, anti-reflective glass and adequate packaging for safe transportation. Individual framing options are available upon request.

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