TEXT: Chris Hunter ALL ARTWORK: Fernando Pino
ars and posters go together like chrome and sunlight. And if you grew up with a poster of your favorite vehicle on your bedroom wall, you’ll know that the connection isn’t just aesthetic—it’s emotional.
Over the decades, graphic designers have shaped our perception of cars, selling dreams as well as specifications. In turn, those posters have charted the history of graphic design itself. They’ve mirrored society’s changing tastes, from the ornate styles of early 20th-century lithographs to the minimalist, clean lines of modern advertising.
One of the most talented graphic designers in the automotive world today is Fernando Pino. His work is intriguing because it bucks the trend of simple minimalism: the vibe is edgy and often retro, with vivid colors and a heavy emphasis on typography as a visual element.
We’re not the only fans of Pino’s contrarian style. He’s been commissioned by brands such as Acura®, Hot Wheels®, and the magazine Autoweek, and we’re proud to say that his latest work is two posters for Scout Motors.
Pixels may be Pino’s medium of choice, but petrol flows through his veins. He owns several cars, including a 1987 Mercedes 190D and a 1985 VW Vanagon Westfalia.
“My father always worked on cars when I was younger,” he recalls, “and that carried through to me. I now work on all my cars, often with my dad. Many times, I’ve wished I could work on other specific cars, and found myself making a poster instead.”
“My father always worked on cars when I was younger...and that carried through to me...Many times, I’ve wished I could work on other specific cars, and found myself making a poster instead.”
Pino’s upbringing was somewhat migratory: born in New York to Paraguayan parents, he was raised in Florida and now lives and works in Boston. You might guess that’s a reason for his edgy, intense style, but Pino points towards the controlled chaos of work by the American graphic designer David Carson, known for his collaborations with Ray Gun magazine and major brands such as Nike® and Levi®.
“Carson broke a lot of rules, especially at a time when it was popular to be minimal. Sometimes I look at a design I’m making, and say in my head, ‘Is this Carson enough?’”
Another influence is the Dutch graphic designer Karel Martens. “His use of color and shape is unmatched,” says Pino. “I try to aim for that vibrancy and playfulness in all the work I do.”
Like many top designers, Pino is a refugee from the world of advertising. “I wasn’t totally satisfied with what I was making,” he explains. “So, I went freelance, but I also designed an album cover every day for a year. It opened my eyes to many more techniques and helped me understand the graphics I enjoyed making.”
Pino’s latest works are not his first encounter with Scout® trucks. “I found the Scout brand after I started in design,” he tells us. “I loved working with vintage car advertising and Scout had some amazing examples that I’ve used in some of my posters.
“For me, the design of those vehicles was so earnest: they did a fantastic job making them feel simple and dependable, yet contemporary at the same time.”
“I loved working with vintage car advertising and Scout had some amazing examples that I've used in some of my posters...”
He’s a fan of the new Scout trucks too. “They look great. It’s really difficult to create vehicles with lines that are straight and more contemporary these days. As someone who makes art by taking older things and making new things with them, I have a lot of respect!
“I think the look of the older vehicles carries a lot of sentiment in the automotive community. It’s amazing how the designers were able to pull that through in the current models, with all the hoops they have to jump through now.”
