Designing the ultimate motion blur.
The core of the problem was recognisability. Grand Prix trophies are visible from all angles: up on the podium, held aloft by the drivers, from distant grand-stands and on millions of TVs. I wanted these trophies to identify the Grand Prix from every angle.
My inspiration was the cars themselves. At top speed, they are more like fast swipes of blurred colour than anything identifiable. By translating the flag of the Grand Prix host nation into bursts of overlapping colour, each trophy would be iconic, no matter the vantage point.
This design approach was taken and applied to all the Heineken sponsored Grand Prix trophies. Covid, unfortunately got in the way of their realisation. Except for one race: Pierre Gasly's historic first ever Grand Prix win at Monza.
