Chevron

Chevron (pronounced shev-ruhn (U) or shev-run (non-U))

(1) In heraldry, an ordinary in the form of an inverted V-shaped charge on a shield, one of the most ancient of the English ordinaries.

(2) An insignia consisting of stripes meeting at an angle, worn on the sleeve by non-commissioned officers (NCO) in the military, police officers etc, as a mark of rank (variously upwards or downwards), length or service or for other purposes (usually always upwards).  In casual use, the use to the display the NCO ranks are referred to as “stripes”.

(3) In interior decorating, an ornamental form in a zigzag pattern used often on moldings and also called a dancette; the design most historically most associated with romanesque architecture in France, England and Sicily.

(4) In the manufacture of fabrics, as chevron weave, the application of the shape (the herringbone a subset of this use).

(5) In road-traffic management (1) a pattern of horizontal black and white V-shapes on a road sign indicating a sharp bend (usually in the plural) or (2) one of the V-shaped markings on the surface of roads used to indicate minimum distances between vehicles (use varies between jurisdictions).

(6) In design, any V-shaped pattern or device.

(7) In language, an informal term for the guillemet, either of the punctuation marks “«” or “»”, used in several languages to indicate passages of speech (the equivalent convention in the English language the same placement of inverted commas (“_”).

(8) In language, as “inverted chevron”, an informal term for a háček, a diacritical mark resembling an inverted circumflex.

(9) In publishing, an angle bracket used both as a typographic and scientific symbol.

(10) In architecture, a rafter (a specialized type of strut or beam) of this shape, usually load-bearing and supporting a structure such as a roof and sometimes exposed, doubling as a decorative device.

(11) In aerospace, components fashioned in a saw-tooth patterns used internally (and externally (briefly) on exhaust nacelles as a noise-suppression mechanism) in jet engines.

(12) In anatomy, a bone of this shape.

(13) In entomology, the moth Eulithis testata.

(14) In geology, (1) a fold of this shape in layers of rock and (2), a sediment deposit in this shape across the surface.

(15) In pediatric medicine, as chevron nail, a rare transient fingernail ridge pattern seen only in children.

(16) In mathematics, as chevron plot, a technique of data representation.

(17) In computing, the informal term for the angle bracket when used in HTML (also sometimes called the “wicket” reflecting the English origins of HTML in the Conseil européen pour la recherche nucléaire (CERN; the European Organization for Nuclear Research)).

(18) In folk arts & crafts, as chevron bead, glass beads in this shape.

(19) A style of moustache in this shape.

(21) In music, a wavy line indicating a trill

(22) In the optical devices associated with ballistics, a symbol used in reticles in firearm scopes.

1300–1350: From the Middle English cheveroun, from the Old French chevron (rafter; chevron), from chévre (a goat), from the Vulgar Latin capriōnem & capriōn- (stem of capriō), ultimately from the Latin caper (goat).  The alternative spelling was cheveron which in commercial use is still used, presumably as means to achieve product differentiation.  Chevron is a noun & verb, noun, chevroned & chevrony (also as chevronny) are adjectives, chevroning & chevroned are verbs and chevronwise is an adverb; the noun plural is chevrons.

Late twelfth century doorway at Gradefes Convent, Spain.

The technical class into which architects classify decorative (as opposed to structural) chevrons is “inflected ornament” or, in the slang the “zig-zag” (or zigzag) and they were widely used in romanesque architecture in France, England and Sicily.  In this decorative mode, it’s though at least one inspiration for their use was the metal casings frequently seen in early wood columns.  The meaning of the word in French is said to be based on structural engineering, the reference the rafters of a shallow roof, the idea based on there being some resemblance to the rather angular hind legs of a goat, the Vulgar Latin capriōnem & capriōn being from the Classical Latin caper (goat).  This actually had echoes in the Latin capreolus (props, stays, short pieces of timber joined at angles for support) which translated literally as “wild goat; chamoix”.  However, some historians of architecture doubt the story about the hind legs, suggesting the image was more likely the horns of a butting goat and there’s some support for this in that the first use of the word in English was in heraldry when chevrons began appearing on shields, the horns of a charging beast presumably more appealing to the military mind than the beast’s back legs.

1938 Citroën 11B Traction Avant Coupé (sometime referred to as the Faux Cabriolet) with the company’s distinctive double chevron emblem in the radiator grill.

Designed by French engineer André Lefèbvre (1894-1964) and Italian industrial designer Flaminio Bertoni (1903-1964), the Citroën Traction Avant was introduced in 1933 and was the machine which more than any other legitimized both unitary construction (ie no separate chassis) and the front-wheel-drive (FWD) configuration (Traction Avant translates literally as “front traction”) in mass-produced cars.  Although a great success and in production until 1956 (with severe disruptions during wartime occupation 1940-1944), the costs incurred in its development and the tooling needed for volume production meant that by 1934 the company was compelled to declare bankruptcy, taken over by Michelin, the most exposed creditor by virtue of having for some time supplied tyres on the basis of “delayed payment”.  Although total Traction Avant production exceeded 760,000, there were only 15 coupés, all from the pre-war years and of these, only four were built in 1938.

1935 Citroën TA22 Traction Avant prototypes, cabriolet (left) and saloon (right).  To mark the installation of a V8, an appropriate numeral adorned the double chevron.  Unfortunately, because the chevrons weren’t inverted, the chance to make a “V8” statement was missed.  Perhaps the French found such a thing vulgar.

Another genuine rarity among the Traction Avants was the TA22, an intended top-of-the-range version equipped with a 3.8 litre (232 cubic inch) V8 created by joining two of Citroën’s 1.9 litre (116 cubic inch) four-cylinder units in a common crankcase.  Apparently 20 were built but the combination of the financial turmoil of bankruptcy and Michelin’s subsequent rationalization saw the project abandoned and although there are many stories about the fate of the prototypes, eighty years on none have ever surfaced so it’s reasonable to assume none survived (at least not with the unique power-train) although there have been some privately built (partial) recreations, most using some variation of the contemporary Ford Flathead V8 including the 2.2 litre (136 cubic inch) version which was used in Europe or the later 2.4 litre (144 cubic inch) unit built by Ford’s French operation (the tooling for which was sold to Simca which, in small volumes, offered V8 cars between 1954-1961.

Daimler SP250 (1959-1964).  Citroën’s double chevron remains their corporate emblem even though they no longer produce interesting or innovative machinery, their range in recent decades dreary and derivative.  Many others however use chevrons and inverted chevrons from time to time, sometimes as part of emblems as Cadillac has done and sometimes as a decoration.  Quite what the designers thought a chevron added to the Daimler SP250’s catfish-like face isn’t recorded but opinion seems to remain divided because some owners appear to have removed the embellishment.  Daimler didn't take advantage of the chevron to add an "8" either, even though that the time their marvelous little hemi-head 2.5 litre (155 cubic inch) V8 was a unique selling point.  They may have thought the splendid exhaust note was a sufficient advertisement.  

Boeing 747-8 with chevrons in the engine nacelles.

Not all exhaust notes were as pleasing as those emitted by the Daimler V8s and for some years Boeing produced passenger airliners with chevrons cut into the engine nacelles, a trick which reduced the blast noise by up to 15 decibels on the ground and in the forward cabin, the engineers referring to this as “fan-tone” adjustment.  Boeing defined and patented the technology as part of its second Quiet Technology Demonstrator (QTD2) program in 2005 and it was adopted (regardless of whether the installed engine was supplied by General Electric, Rolls-Royce, Pratt & Whitney or CFM) for the 787 Dreamliner, 737 MAX aircraft and even the 747-8, the last generation of the old workhorse.  One benefit of a lower fan-tone was that Boeing was able to reduce the mass of sound deadening fitted to the fuselage by some 600 lbs (272 kg), something which made a measurable difference to the rate of fuel burn.  The QTD2 programme was conducted in conjunction with General Electric and the US National Aeronautics and Space Administration (NASA), using a Boeing 777-300ER as a benchmark device, a notable choice given it was already the quietest in its class.

Lindsay Lohan in chevron themed ensemble with gladiator sandals, Ibiza, Spain, July 2014.

Curiously, given they were dealing with the same physics Airbus never used the chevrons on the nacelles of their airplanes and according to them, Boeing’s patent had no effect on their decision.  Airbus say they detected no advantages when testing the chevrons but there was a penalty because fuel consumption increased.  Instead, Airbus developed what they call a “zero splice” acoustic inner barrel to lower the fan-tone, the combination of new-generation insulation materials and the zero-splice’s “high-bypass” technology achieving a similar outcome, without the additional weight and fuel burn induced by the chevrons.  Boeing too has recently announced development of the chevrons would not continue and despite the early publicity shots of the 777X being built with the chevrons, the production versions have appeared without them.  That attracted some comment and Boeing released a statement which indicated the change was part of normal product development and that while the chevrons were at the time a way to achieve noise reduction, ongoing research has found a method which achieves that without the associated costs in drag, weight and thus fuel burn.  The essence of the new system appears to be the application of a honeycomb acoustic treatment in strategic areas of the exhaust ducting, the drilling of thousands of holes in the composite skin to disperse and capture noise in the core.  It’s noted however chevrons, for many reasons, remain an essential part of many internal components in jet engines, as they’ve been since the early days of the technology in the 1930s.

Herringbone

Herringbone (pronounced her-ing-bohn)

(1) A pattern, the weave resembling the skeleton of a herring fish, consisting of adjoining vertical rows of slanting lines, any two contiguous lines forming either a V or an inverted V, used in masonry, textiles, embroidery etc and .  Also called chevron, chevron weave, herringbone weave; a type of twill weave having this pattern.

(2) A fabric constructed with this weave.

(3) A garment made from such a fabric, applied especially to jackets and coats.

(4) In skiing, a method of going up a slope in which a skier sets the skis in a form resembling a V, and, placing weight on the inside edges, advances the skis by turns using the poles from behind for push and support.

(5) A type of cirrocumulus cloud.

1645–1655: The construct was herring + bone.  Herring was from the Middle English hering, from the Old English hǣring, from the Proto-West Germanic hāring (herring) of unknown origin but it may be related to the Proto-Germanic hērą (hair) due to the similarity of the fish’s fine bones to hair. It was cognate with the Scots hering & haring, the Saterland Frisian Hiering & Häiring, the West Frisian hjerring, the Dutch haring, the German and Low German Hereng & Hering, the French hareng, the Norman ĥéren and the Latin haringus; all borrowings from the Germanic.  Bone is from the Middle English bon, from the Old English bān (bone, tusk; bone of a limb), from the Proto-Germanic bainą (bone), from bainaz (straight), from the primitive Indo-European bheyhz (to hit, strike, beat).  It was cognate with the Scots bane, been, bean, bein & bain (bone), the North Frisian bien (bone), the West Frisian bien (bone), the Dutch been (bone; leg), the Low German Been & Bein (bone), the German Bein (leg), the German Gebein (bones), the Swedish ben (bone; leg), the Norwegian and Icelandic bein (bone), the Breton benañ (to cut, hew), the Latin perfinēs (break through, break into pieces, shatter) and the Avestan byente (they fight, hit). It was related also to the Old Norse beinn (straight, right, favorable, advantageous, convenient, friendly, fair, keen) (from which Middle English gained bain, bayne, bayn & beyn (direct, prompt), the Scots bein & bien (in good condition, pleasant, well-to-do, cozy, well-stocked, pleasant, keen), the Icelandic beinn (straight, direct, hospitable) and the Norwegian bein (straight, direct, easy to deal with).  The use to describe a type of cirrocumulus cloud dates from 1903.  The alternative form is herring-bone (not herring bone which would be a bone of a herring).

The herringbone shape (left) and a herring's bones (right).

The herringbone pattern picked up its rather fanciful name because of a resemblance to the fine bones of the fish.  First used in masonry, the motif has for centuries been used in wallpaper, mosaics, upholstery, fabrics, clothing and jewellery.  In engineering, the pattern is found also in the shape cut for some gears but this functionally deterministic.

Roman herringbone brickwork, Villa Rustica, Mehring, Trier-Saarburg, Rhineland, Germany.

The original herringbone design was a type of masonry construction (called opus spicatum, literally "spiked work”) used first in Ancient Rome, widely adopting during medieval times and especially associated with Gothic Revival architecture; it’s commonly seen today.  It's defined by bricks, tiles or cut stone laid in a herringbone pattern and is a happy coincidence of style and structural integrity.  Although most associated with decorative use, in many cases the layout was an engineering necessity because if tiles or bricks are laid in straight lines, the structure is inherently weak whereas if built using oblique angles, under compression, loads are more evenly distributed.  One of the reasons so much has survived from antiquity is the longevity of the famously sticky Roman concrete, the durability thought in part due to chemical reactions with an unusual Roman ingredient: volcanic ash.

1974 Holden HQ Monaro GTS (308) in Barbados Green over Doeskin vinyl with Herringbone cloth inserts (left & right) and reproduction fabric (centre) is available from Global Trim.  Holden in 1973 had replaced the previous houndstooth cloth insert option with one in a herringbone pattern (Ranier, option code 30Y), the most popular combination early in the availability being 1854-30Y (black vinyl + herringbone cloth inserts); the factory code for an all vinyl interior in black was 1854-30X.  At the time, option 30Y listed at Aus$75.00 (4 seats) and Global Trim's reproduction fabric lists at Aus$330 per metre (the bolts 1.5m wide); to re-trim an interior to factory specifications demands 2m.

Although in 1974 the 350 cubic inch (5.7 litre) Chevrolet small-block V8 remained on the option list, it was by then available only with an automatic transmission.  The HQ's new, coil-sprung rear suspension had never been equal to the task of delivering the 350's power to the ground and this the automatic disguised by acting as a fluid cushion between torque and tarmac; quietly, and with no public announcement, late in 1973 the option of pairing the 350 with a manual transmission was withdrawn.  Coincidently, by 1974, the 350 (fully-imported in US specification) could satisfactorily have again been paired with the manual because, now compliant with US emission regulations, output had dropped so much the 350 offered little over Holden's locally-manufactured 308 (5.0) V8 other than additional cost, weight and fuel consumption;  with the coming of the HJ range in October, 1974, the 350 was deleted from the option list.  In mid-1976, Australia introduced more stringent emissions regulations which meant the now less toxic 308 became thirstier and less powerful so the 350 would again have offered additional performance but, in the post oil-shock world, its reintroduction was never contemplated and Chevrolet V8 would not again be used in Holdens until 1999 when, after 30 years, local production of the V8 ended.   

Lindsay Lohan in herringbone flat-cap.

Of gears

Although the term “herringbone cut gears” is more poetic, to engineers they’re known as double helical gears.  In both their manufacturing and operation they do present challenges, the tooling needed in their production demanding unusually fine tolerances and in use a higher degree of alignment must be guaranteed during installation.  Additionally, depending on use, there is sometimes the need periodically to make adjustments for backlash (although in certain (usually lower-speed) applications they can be designed to minimize this).  However, because of the advantages the herringbone structure offers over straight cut, spur or helical gears, the drawbacks can be considered an acceptable trade-off, the principle benefits being:

(1) Smoothness of operation and inherently lower vibration:  The herringbone shape inherently balances the load on the teeth, reducing vibration and generated noise.

(2) A high specific load capacity: The symmetrical design of herringbone gears offers a high surface area and an even distribution of load, meaning larger and more robust teeth may be used, making the design idea for transmitting high torque or power.

(3) A reduction in axial thrust: Probably the reasons engineers so favour the herringbone is that axial thrust can be reduced (in certain cases to the point of effective elimination).  With helical gears, the axial force imposed inherently acts to force gears apart whereas the herringbone gears have two helical sections facing each other, the interaction cancelling the axial thrust, vastly improving mechanical stability.

(4) Self-regulating tolerance for misalignment. Herringbone handle small variations in alignment better than spur gears or single helical gears, the opposing helix angles assisting in compensating for any axial misalignment, contributing to smoother gear meshing and extending the life of components.

(5) Heat dissipation qualities: The symmetrical structure assists heat dissipation because the opposing helices create a distribution of heat through a process called mutual heat-soak, reducing the risk of localized overheating, something which improves thermal efficiency by making the heat distribution pattern more uniform.

Gears: helical (left), herringbone (or double helical) (centre) and straight-cut (right).  Although road cars long ago abandoned them, straight-cut gears are still used in motorsport where drivers put up with their inherent whine and learn the techniques needed to handle the shifting.

Amethyst

Amethyst (pronounced am-uh-thist)

(1) A purple or violet transparent variety of quartz used as a gemstone.  The color is caused by the presence of iron compounds in the crystal structure.

(2) As the oriental amethyst, a purple variety of sapphire.

(3) A variety of shades of purple; darker hues of fuchsia.

(4) A thing containing or set with an amethyst or amethysts.

(5) A nymph from Greek mythology.

1250-1300: From the Middle English amatist, from the twelfth century Old French ametiste (the Modern French being améthyste) and directly from the Medieval Latin amatistus, from the Classical Latin amethystus, from the Ancient Greek αμέθυστος (améthystos) (amethyst) a noun use of the adjective which translated literally as "not intoxicating; not drunken", the construct being a- (not) + methyskein (make drunk) from methys (wine (and a variant stem of methýein (to intoxicate), the source of methylene)) + -tos (the Latin verbal adjective suffix); the source was the primitive Indo-European root medhu- (honey; mead), famous as the nectar the Valkyries would serve to fallen warriors in the halls of Valhalla.  The meaning in Ancient Greek was literal, the belief being that the stone prevented drunkenness, the link to reality being the color which resembled red wine diluted with water which was of course less intoxicating; chemistry then rather than magic but those who took their wine pure were still inclined to wear rings with an amethyst stone in the hope of avoiding a hangover.

One (dodgy) legend of Amethyst

Lindsay Lohan in amethyst-colored tank-top.

In antiquity, the Greeks believed amethyst could prevent intoxication and the practice was to wear the gem in a ring if the drinking session was to be epic although some maintain there were those who kept a stone in their mouth which seems not a good idea when taking strong drink.  As was often the case, later writers also created their own Greek "myths" and one was the story of the how the beautiful nymph Amethyst, while walking to worship at the Temple of Diana, had the misfortune of crossing paths with Bacchus, the god of wine.  Angry (as often he was), he had vowed vengeance on the next person he met so unleashed his two guardian tigers upon the poor nymph.  As the great beasts bounded towards her, the goddess Diana intervened and to spare her from her terrible fate, transformed her into a pure, clear stone.  Remorse immediately seized Bacchus and in an attempt to atone, poured his wine over the stone, staining the crystal a deep, violet hue and that's how Amethyst lent her name to the crystal.  Although presented in Classical guise, this "myth" dates only from the Renaissance, the French poet Remy Belleau (1528-1577) creating the tale in 1576.

1994 Porsche 911 Turbo 3.6  (964) in Amethyst Metallic over Classic Gray.

The presence of manganese in clear Quartz produces Amethyst, while additional amounts of iron vary the purple coloration. It ranges in hue from pale red-violet to deep violet and may be transparent or opaque. In addition, it is sometimes layered with white Quartz (as Chevron Amethyst), found in combination with Cacoxenite, mixed with Citrine as Ametrine, or in rare cases, “rutilated” with Goethite.  In the modern system of, it's a semi-precious stone but to the ancients it was a “gem of Fire" and at some points in history has been as highly valued as diamonds.  Anglican bishops wear an episcopal ring often set with an amethyst, an allusion to Acts 2:15 in which the Apostles are noted to be sober at nine in the morning, the piece of scripture from which is derived that measure of English respectability: never taking a G&T before noon.  Medieval European soldiers wore amethyst amulets into battle in the belief the stone had healing properties and in several cultures, they were a popular burial stone, found most often in Anglo-Saxon graves in England.  Faith in the healing power of the stone is maintained by the new-age movement, something probably no more nutty than their other beliefs.

An amethyst crystal cluster.

In the weird word of the new age, crystals are of great significance and each is said to be imbued with its own unique properties, the amethyst known often as the “stone of the dreamers”, apparently because it can inspire positive thoughts and inspire one to go forth and turn one’s dreams into reality.  Long associated with February, the month the Romans dedicated to the water god Neptune, it’s the stone of Saint Valentine and faithful love, signifying ecclesiastical dignity as the Bishop’s Stone.  To new agers, it carries the energy of fire and passion, creativity and spirituality; yet bears the logic of temperance and sobriety and crystal specialists among the practitioners extol its properties:

"In the modern world, Amethyst’s healing properties and meanings are similar to their historic roots and it remains a remarkable stone of spirituality and contentment; known for its metaphysical abilities to still the mind and inspire an enhanced meditative state.  Its inherent high frequency purifies the aura of any negative energy or attachments, creating a protective shield of light around the body, allowing one to remain clear and centred while being open to spiritual direction.  Amethyst stimulates the Third Eye, Crown, and Etheric Chakras enhancing cognitive perception as well as accelerating the development of intuitive and psychic ability. It initiates wisdom and greater understanding and is a stone of comfort for those grieving the loss of a loved one.  Amethyst’s ability to expand the higher mind also enhances one’s creativity and passion, strengthening the imagination and intuition while refining the thinking processes. It helps in the assimilation of new ideas, putting thought into action, and brings projects to fruition; amethyst is also well-known as a talisman of focus and success.  Amethyst is an exceptional crystal for wearing on the body, for use in healing rituals, and for enhancing one’s environment.  It has however been known to fade if left in direct sunlight so care should be taken and it’s wise from time to time to clear its energies by holding the stone under running water for short periods.  Remarkably, an unpolished amethyst also has special properties which can recharge other crystals so keep one in a dark space and leave some crystals with it to re-energize."

Boomerang

Boomerang (pronounced boo-muh-rang)

(1) A bent or curved piece of tough wood used by some of the Indigenous peoples of Australian as a throwing stick (and for other purposes), one form of which can be thrown so as to return to the thrower.  Such throwing sticks have also been found in archaeological digs in other places.

(2) Based on the use Indigenous peoples of Australia, an object in the shape of a flat curved air-foil that spins about an axis perpendicular to the direction of flight, used for various purposes including sport, training and aeronautical purposes.

(3) In design, anything using the boomerang shape (not always symmetrically)

(4) Something which in flight assumes the shape of a boomerang, such as the “boomerang kick” in certain football codes.

(5) In theatre and other stage environments, a mobile platform (mobile and height-adjustable) used for setting or painting scenery.

(6) In theatre and other stage environments, a batten, usually suspended vertically in the wings, used for mounting lighting units.

(7) In theatre and other stage environments, a device for changing the color of a follow-spot(light).

(8) In psychology, as “boomerang effect”, a strong opposing response caused by attempts to restrict a person's freedom or change their attitudes.

(9) In pathology, as “boomerang dysplasia”, a lethal osteochondrodysplasia in which the bones of the arms and legs are congenitally malformed into the shape of a boomerang.

(10) In air force (originally Royal Air Force (RAF)) slang, the early return of an aircraft from an aborted mission, often attributer to mechanical or other technical problems.

(11) A cocktail made with rye whiskey and Swedish punsch.

(12) Figuratively, something or someone which come backs or returns (as the boomerang behaves when correctly thrown) and when applied to people used especially of those who habitually return (often as “serial boomeranger”).

(13) Something (physical and otherwise, such as a scheme, statement or argument) which causes harm to the originator (the idea of a “rebound” or “backfire”).

(14) The action of coming back, returning or backfiring:

1827: From būmariny (missile weapon used by Aborigines), the recorded phonetic form of a word in one of the now extinct languages spoken by the Dharuk people native to an area in New South Wales now known to geographers as the Sydent basin.  A word pronounced as wo-mur-rang was noted in NSW in 1798 which may have been related but there’s no documentary evidence.  Boomerang is a noun & verb; boomeranger is a noun, boomeranged & boomeranging are verbs, the noun plural is boomerangs.

Benson Microfibre Boomerang Pillow. The manufacturers claim the shape is adaptable to all sleeping positions and provides additional support for joints and relieves pressure points.  It’s also ideal for reading, tablet or laptop use in bed.

The verb use in the sense of “throw a boomerang” seems to have come into use in the 1800s while the figurative sense of “fly back or return to a starting point” was in use by the early twentieth century.  A “boomerang baby”, “boomerang child” or boomerang kid” is one who returns to live in the family home after a period of independent living and known collective as the “boomerang generation”, the phenomenon noted in many countries and associated with financial distress, related especially to the cost of housing.

Indigenous Australian boomerangs from the collections of the Australian National Museum: In pigmented wood (left), a hooked, "number 7" by Yanipiyarti Ned Cox (centre) and with carving of horse and cow (right).

For the Indigenous (Aboriginal) peoples of Australia, the boomerang is as old as creation and since white settlement it has become also a symbol of the enduring strength of Aboriginal culture.  Although no written form of language (in the structured sense used elsewhere) evolved among them, an oral tradition now known “the Dreaming” (apparently no longer “Dreamtime”) extends from the past into the present. In the Dreaming, many of the physical formations of the (lakes, rivers, rock structures, mountains etc) were created when Ancestors threw boomerangs and spears into the earth.  Although the boomerang of the popular imagination is the familiar chevron shape, during the nineteenth century almost 300 language groups were identified by anthropologists and the construction of boomerangs varied, the divergences dictated mostly by the prevailing environment: Larger, heavier boomerangs were associated with inland and desert people while the lighter versions were thrown by coastal and high-country inhabitants.  Despite the perceptions, most were of the non-returning variety and were used as hunting weapons for the killing of birds and game including emu, kangaroo and other marsupials.  Not only was the boomerang a direct-impact device but the technique was also noted of a hunter making a boomerang ricochet off the ground to achieve an ideal angle.  The early observers recorded in skilled hands (and over thousands of years those skills would have been well-honed) the boomerang could be effective when hunting prey at a range up to 100 yards (90 m).

Back To Me (Cavalier's Boomerang Club Mix, 2020) by Lindsay Lohan.

Combination tactics were also observed.  When hunting for birds, a returning boomerang might be thrown above a flock of ducks to simulate the effect of a hovering bird of prey, inducing fright which would make the birds fly into nets set up in their flight path or, if within range, a hunter could cast a non-returning boomerang in the hope of a strike.  A special application and one which relied on a design with none of the famous aerodynamic properties was in the harvesting of fish, heavy boomerangs effective killing weapons of in areas of high tidal variation where fish became trapped in rock pools.   They were also Battle-weapons, used both to throw from some distance and in close combat, the types seen including small, hand-held “fighting sticks” device and some even two yards (1.8 m) in length.  Remarkably, the much the same implements served also as digging sticks used to forage for root and could be used to make fire, the familiar idea of “rubbing sticks together”.  Although these practical may have declined in significance as Western technology has been absorbed, boomerangs remain a prominent feature in Aboriginal dance and music.

Since the techniques developed for the shaping of Perspex and other plastics were (more or less) perfected during World War II (1939-1945), they’ve been widely adopted in industrial mass-production, for better and worse.  One thing made possible was boomerang-shaped taillights on cars which for years were about the most avant-garde of their type although of late, designers have been unable to resist the contortions and complexity made possible by the use of LEDs (light emitting diode).  Some critics insist the “boomerang” tag should be applied only to something in the shale of the “classic” boomerang and that anything asymmetric is properly a “hockey stick” but most seem content with the label.

Top row, left to right: 1969 Pontiac Bonneville, 1970 Hillman Avenger and 1967 Plymouth Barracuda.  Those which point "up" probably work better than those pointing "down" because the latter imposes a "droopiness".

Middle row, left to right: 1967 Chrysler Valiant VE Safari (Wagon), 1967 Chrysler Valiant VE Sedan and 1962 Pontiac Bonneville.  Strangely, although the sedan and wagon versions of the VE Valiant both used the boomerang shape, the moldings were different.

Bottom row, left to right: 1958 Edsel Bermuda station wagon, 1960 Chrysler New Yorker and 1975 Mazda RX-5.  The Edsel's tail lights worked as indicators and because the boomerang shape had link with the detailing on the rear quarter panels, when flashing, they actually "point" in the direction opposite to which the car is turning.  It was a harbinger of the Edsel's fate.

Louis Vuitton’s Fall 2014 campaign shoot with 1972 Maserati Boomerang, Giardini della Biennale, Venice.

The photo-shoot for Louis Vuitton’s Fall 2014 campaign at Venice’s Giardini della Biennale featured the 1972 Maserati Boomerang concept car.  Coordinated by Nicolas Ghesquière (b 1971; LV's women's creative director since 2013) and shot by German photographer Juergen Teller (b 1964), it was a rare appearance of the Boomerang which, designed by Giorgetto Giugiaro (b 1938), had first appeared at the Turin Motor Show as a static mock-up in Epowood (a versatile epoxy used for forming shapes) before being engineered as a fully-finished and working vehicle, built on the underpinnings of a Maserati Bora (1971-1978).  In that configuration it was displayed at the 1972 Geneva show where it was understood as one of the “high-speed wedges” of an era which included the original Lancia Stratos, the Lotus Esprit and, most influentially of all, the Lamborghini Countach, the cluster defining the template around which exotic machines would for decades be built, the design motif still apparent in today’s hypercars.  Eye-catching from the outside, the interior also fascinated with a steering wheel and gauge cluster built as a single console emerging from a distant dashboard, the wheel rotating as the gauges remained stationary.

1972 Maserati Boomerang by Giorgetto Giugiaro.

It was Italdesign, founded by Giorgetto Giugiaro which designed the Maserati 3200 GT (Tipo 338; 1998-2002), a car which, although not exciting in a way many of the marque’s earlier models had been, was an important element in the establishing Maserati’s twenty-first century reputation for functionalism and quality.  Importantly, although in production for only four of the transitional years during which ownership of the brand passed from Fiat to Ferrari and the solid underpinnings would be the basis for the succeeding Coupé and Spyder (4200 GT, Tipo M138; 2001-2007).

Maserati 3200 GT (left) and 1973 Dino 246 GTS (C&F) by Ferrari.  Round lights are better than other shapes.

It was on the 3200 GT that Italdesign used tail-lights in the shape of a boomerang, much comment upon at the time but also a landmark in that they were the first production car to be sold with taillights which were an assembly of LEDs, the outer layer the brake lights, the inner the directional indicators (flashers).  Following the contours of the bodywork and integrated with the truck (boot) lid, they were the most memorable feature on what was otherwise an inoffensive but bland execution which could have come from any factory in the Far East.  They generated much publicity but it’s hard to argue they’re better looking than the classic four round lenses known from many of the best Italians.  Like architects, designers seem often drawn to something new and ugly rather than old yet timeless, the former more likely to attract the awards those in these professions award one-another.

Northrop YB-49 in flight, California, 1952.

The aerodynamic properties of the “flying wing” have long intrigued aircraft designers.  The USAF (United State Air Force) even contemplated putting into production on of Northrop’s design but in the mid-1940s, needing a delivery system for its nuclear bombs which was a known, reliable quantity, opted instead for the Convair B-36 which they acknowledged was obsolescent but would provide a serviceable stop-gap until wings of the upcoming Boeing B-52 could be formed.  That doubtlessly was the correct decision and in the decades since, neither a military or civilian case has been made for the “flying wings”, the machines which have entered service really variations on the proven delta-wing concept but the big Northrop YB-49 & XB-35 possessed an undeniable beauty and it’s a shame all were scraped by 1953.  The air force personnel actually preferred to call them “bat bombers”.

Logo

Logo (pronounced loh-goh)

(1) A graphic representation (a visual symbol) of a institutional name or trademark (occasionally called a logotype).

(2) In computing (as Logo), a high-level programming language widely used to teach children the foundation of coding.

(3) In printing, a logotype.

(4) An ensign, a badge of office, rank, or power (now mostly archaic except in formal use in some branches of the military.

(5) In scientific documents, a single graphic which contains one or more separate elements.

(6) As “sonic logo”, a sound or short melody associated with a brand and used in its advertising; a specific use of a jingle (the audio equivalent of a visually expressed logo).

(7) As Logo TV (spoken usually as “Logo”), a cable channel owned by Paramount Media Networks and originally focused on certain segments within the LGBTQQIAAOP community but now less specific.

1937: A clipping of logotype or logogram.  Logo was from the Ancient Greek λόγος (lógos) (translated usually as “word” but used (sometimes loosely) also in the sense of “speech, oration, discourse, quote, story, study, ratio, calculation, reason”).  As the prefix logo-, it operated as a combining form appearing in loanwords from Greek relating to “words, speech” (which produced forms such as logography) and the formation of new compound words (such as logotype).  A logogram is a character or symbol (usually non-alphanumeric but this is a practice rather than a definitional rule) which represents a word or phrase.  When used in the context of a word-game or puzzle, it should be styled as a logogriph.  In typography, a logotype is a single type combining two or more letters (the synonym being ligature (from the Middle English ligature, from the Middle French ligature, from the Late Latin ligātura, from the Classical Latin ligātus, past participle of ligāre (to tie, bind))) while in symbolism (usually but not necessarily commercial) it’s a symbol or emblem used as a trademark or a means of identification of an institution or other entity (the clipped form logo is almost universal in this context (and technically a synonym).  Logo is a noun; the noun plural is logos.

Lohanic logo: Lindsay Lohan’s corporate logo.

The IBM Logo

Good: The IBM logo in approved positive & reversed color schemes.

Known internally as the “8-bar”, the design of the IBM logo dates from 1972 and remains in its original form.  Despite the visual perception, the stripes alternate in height (the ratio being 11/10 or 10/11), something done to ensure they appear to be the same and whether the solid or the unfilled space is rendered larger depends on whether a light or dark background is used.  The other adjustment which is not immediately obvious is the variation in the points used in the counter shapes; the positive a sharp, the reversed more blunt.  The difference is too subtle to be noticed at a glance and again, is a designer’s technique to ensure optical integrity is maintained on both light & dark backgrounds.

Bad: Ways the IBM logo should not be deployed.

It’s apparently not an apocryphal tale there was a time when the only acceptable dress for men working for IBM was a blue suit and a white shirt.  That was relaxed but the rules regarding the use of the logo remain as stringent as ever and the preferred “core colors” come exclusively from the blue and gray families, the cautionary note added that while dark or light background colors both work well with the core colors, there must always be a minimum of five “steps” (the graduation of shades) between foreground and background colors to ensure an appropriate contrast and legibility. Any background color from the IDL color palette with sufficient contrast may be used with a core color 8-bar logo. Here are a few examples of possible color combinations.  Unapproved color combinations are banned as is the use of more than one color or any progression of gradients in the stripes.  Alignment is also specifically defined.  The 8-bar logo has both horizontal and vertical relationships with other objects (brand logotypes) which appear in the same image and the IBM logo is based on the cap height of the logotype or can scale larger by a defined ratio and must not be placed in containers of any shape.

Although the company traces it lineage to 1888 (by virtue of M&A activity), it was in 1924 the Computing-Tabulating-Recording Company (CTR) changed its name to International Business Machines (IBM) and the first logo used the whole name, stylized in the shape of a globe.  The present logo is an evolution of two earlier (1947 & 1956) designs which used solid text although the aspect ratios were essentially the same.

The logo you have when you’re not having a logo: McLaren MP4/4 (top) and Jordan EJ13 (bottom).  Around the turn of the century when Western governments began to extend the bans of print and television advertising for cigarettes to sporting sponsorship, the Formula One constructors found a loophole, removing the text while keeping the color schemes.  Semiotically, it worked well because Marlboro’s white chevron on a red background was so distinctive the message was conveyed even without the name.  Jordan, which ran with Benson & Hedges livery, changed the text to Be on Edge (BE(ns)ON (& H)EDGE(s) which was a nice touch.  The regulators amended their rules so outfits like fossil fuel companies took over the role.  They’ll be the next to be cancelled.

All publicity is good publicity: The Westinghouse logo on the hood of Caryl Chessman (1921–1960), gas chamber at San Quentin Prison, California, 2 May 1960.  The hoods were used to prevent the accumulation of cyanide particles in the hair.