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What is NASCAR Stock Car?什么是 NASCAR Stock Car？

Curio · Updated更新于 2026-07-11

NASCAR Stock Car takes the loudest object in American motorsport — a door-numbered, sponsor-plastered 1970s racecar — and turns its livery into a design system: oversized numerals, speed-raked stripes, and a wall of decal color with zero interest in restraint.NASCAR 赛车风格把美国赛车运动里最喧闹的物件——一台贴满赞助商贴纸、车门印着巨大号码的1970年代改装赛车——变成一套设计系统：超大数字、斜切速度条纹，以及一整墙毫不克制的贴花色彩。

NASCAR Stock Car in briefNASCAR Stock Car 速览

NASCAR Stock Car is a design system built around the livery of a late-1970s American stock car: the painted and decaled skin that turned a mass-production sedan into a rolling advertisement built to be read at 150 miles an hour from a grandstand a quarter-mile away. Everything about the visual language exists to solve a legibility problem first and a beauty problem second — door numbers were sized so spotters and fans could identify a car mid-race, sponsor logos were stacked in whatever space was left, and the paint itself had to survive tire smoke, gasoline spray, and metal-on-metal contact.NASCAR 赛车风格是围绕1970年代末美国改装赛车车身涂装建立的一套设计系统：那层被喷绘和贴花覆盖的车壳，把一台量产轿车变成一块行进中的广告牌——设计目标是让四分之一英里外看台上的观众，在时速150英里的赛车上依然能一眼认出号码。这套视觉语言首先要解决的是识别问题，其次才是美观问题：车门号码大到足以让观察员和车迷在比赛中辨认车辆，赞助商标志见缝插针地堆叠，而涂料本身还必须扛得住轮胎烟雾、汽油飞溅与金属碰撞的考验。

The result reads as maximalist by design, not by accident. Where a luxury or editorial system earns attention through restraint, stock car livery earns attention through density and contrast — a blue quarter panel butting against a yellow decal butting against a red contingency patch, held together only by heavy black outlines and a shared glossy vinyl sheen. There is no neutral background in this system the way there is cream in Bauhaus or void in a minimal tech brand; the 'background' is already a saturated body color, and everything layered on top of it has to fight for legibility using scale and outline rather than open space.呈现出的效果是有意为之的极繁主义，而非无心之失。奢侈品或编辑类设计系统靠克制来吸引注意，赛车涂装则靠密度与反差来吸引注意——一块蓝色叶子板紧挨着黄色贴花，黄色贴花又紧挨着一张红色赞助徽章，全靠粗重的黑色轮廓线和统一的光亮乙烯基质感把它们捆在一起。这套系统里没有像包豪斯的奶油色或极简科技品牌的留白那样的中性背景；「背景」本身就已经是一块高饱和车身色，叠加其上的一切都得靠尺度和轮廓线而非留白来争夺可读性。

This is also, distinctly, a system about identity through sponsorship. A car's colors were rarely chosen by an aesthetic committee — they were dictated by whichever motor-oil, cigarette, or soft-drink company was paying for the season, and the driver's number and personal color scheme became a brand in its own right, recognized by fans the way a sports jersey number is recognized today. The visual system inherits that logic: bold, assigned color fields; big identifying numerals; and small badge-like marks scattered wherever a spot was open.这也是一套鲜明地借赞助关系建立身份认同的系统。车身配色很少由审美委员会决定——它由当季出钱的机油商、烟草商或汽水品牌说了算，而车手的号码与个人配色也因此成了独立的品牌，被车迷记住的程度不亚于今天一件球衣的号码。这套视觉系统继承了那种逻辑：大胆的、被指派的色域；巨大的识别数字；以及散落在任何空隙里的、像徽章一样的小标记。

NASCAR Stock Car design style applied to a Article page

See the NASCAR Stock Car design system查看 NASCAR Stock Car 完整设计系统

Where does NASCAR Stock Car come from?NASCAR Stock Car 从何而来？

Stock car racing grew out of Prohibition-era bootlegging in the American South. Drivers who ran moonshine through the back roads of Georgia, North Carolina, and Tennessee modified ordinary production sedans for speed and handling so they could outrun revenue agents, then raced each other informally once the whiskey runs were done. That outlaw pedigree is baked into the culture: several early NASCAR stars, most famously Junior Johnson, had literally learned to drive fast while evading the law before the sport had formal rules at all.改装赛车运动脱胎于禁酒令时期美国南方的私酒运输。车手们在佐治亚、北卡罗来纳和田纳西的乡间小道上运送私酿威士忌，为了甩开税务稽查员，他们把普通量产轿车改装得更快、操控更好；私酒送完之后，便顺理成章地私下比起了速度。这段「不法出身」深深刻进了这项运动的文化基因：早期几位 NASCAR 明星车手——最著名的是小琼森（Junior Johnson）——在这项运动还没有正式规则之前，就已经在躲避执法时练就了飞车本领。

NASCAR itself was organized in 1948 by Bill France Sr. in Daytona Beach, Florida, to bring order — and a single set of rules and a single champion — to a patchwork of regional stock car races. Crucially, the cars raced were meant to be 'stock,' meaning recognizably related to what a customer could buy from a dealership, which is why manufacturer identity and sponsor identity became so central to how a car was read visually. A fan in the stands wasn't just watching a race; they were watching a rolling proxy war between Ford, Chevrolet, Oldsmobile, and Dodge.NASCAR 本身由比尔·法国（Bill France Sr.）于1948年在佛罗里达州代托纳海滩正式组织成立，目的是给一盘散沙般的地区性改装赛车比赛带来秩序——统一的规则和唯一的总冠军。关键在于，参赛车辆要求是「量产车」，也就是要明显能对应到经销商展厅里能买到的车型，这也是为什么厂牌身份与赞助商身份会在视觉上变得如此核心。看台上的车迷看的不只是一场比赛，而是福特、雪佛兰、奥兹莫比尔和道奇之间的一场行进中的代理人之战。

By the late 1970s the sport had matured into its golden commercial era. Sponsorship money from petroleum and consumer-product companies paid for cars, and livery became a full-body billboard: door numbers stretched to be legible from the cheap seats, hoods and deck lids carried primary sponsor logos, and every remaining inch of sheet metal carried 'contingency' decals from parts suppliers who paid bonus money to any winning car displaying their sticker. Richard Petty's Petty blue and STP's day-glo red became two of the most recognized color combinations in American sport, run by a driver — 'The King' — who won more races than anyone else in the sport's history.到1970年代末，这项运动已经步入其商业黄金时代。石油公司和消费品公司的赞助资金支撑起赛车，车身涂装也变成了一整块行驶中的广告牌：车门号码被放大到即使坐在最便宜的看台席位也能看清；引擎盖和尾翼上印着主赞助商的标志；而车身剩下的每一寸钣金都贴满了「参赛赞助」贴花——零部件供应商愿意为任何展示其贴纸并夺冠的赛车支付额外奖金。理查德·佩蒂（Richard Petty）的佩蒂蓝与 STP 的荧光红，成了美国体育史上辨识度最高的两种配色组合之一，而驾驶这台车的「大王」正是这项运动历史上赢得比赛次数最多的车手。

The style's defining cultural moment arrived at the 1979 Daytona 500, the first 500-mile race broadcast live, flag to flag, on national television. A snowstorm blanketing much of the country had trapped huge numbers of viewers indoors, and they watched leaders Cale Yarborough and Donnie Allison crash while battling for the lead on the final lap, followed by a televised fistfight involving Yarborough and Bobby Allison in the infield grass. The broadcast made NASCAR a mainstream national phenomenon overnight, and the loud, sponsor-saturated livery of that era became the visual shorthand for stock car racing that persists in design references today.这种风格的决定性文化时刻出现在1979年的代托纳500——那是第一场从起旗到收旗全程直播、面向全国电视观众的500英里赛事。一场席卷全国大片地区的暴风雪把大量观众困在了家中，他们守在电视机前，看着领跑者凯尔·雅伯罗（Cale Yarborough）与唐尼·艾利森（Donnie Allison）在最后一圈争夺头名时相撞，随后又目睹了雅伯罗与鲍比·艾利森（Bobby Allison）在赛道内草坪上被镜头拍下的斗殴场面。这场转播让 NASCAR 一夜之间成为全国性的主流现象，而那个时代喧闹、贴满赞助商标志的车身涂装，也从此成为改装赛车运动在设计语汇里的视觉代名词，延续至今。

What defines the NASCAR Stock Car look?NASCAR Stock Car 的视觉特征是什么？

Color色彩

The palette runs hot and saturated: a dominant body color — often a deep racing blue or a bright competition red — collides directly with sponsor-mandated yellow, white, and orange rather than blending toward them. Colors are assigned by panel, not gradiated across the surface, so a fender may be one flat hue and the door directly beside it another, separated only by a hard outline. Day-glo orange-red, associated with period motor-oil sponsorship, appears as an accent that reads as urgent and synthetic rather than natural.色板热烈而高饱和：以深赛车蓝或明亮竞赛红为主导的车身色，与赞助商指定的黄、白、橙直接碰撞，而非彼此过渡融合。色彩按板块分配而非在表面渐变，因此一块挡泥板可能是一种纯色，紧挨着的车门却是另一种纯色，中间只靠一道硬边轮廓线分隔。与当年机油赞助相关联的荧光橙红色作为强调色出现，读起来紧迫而人工，而非自然柔和。

Numerals数字

Door and roof numbers are the single largest element in the system, often outsizing the sponsor logos around them. They are drawn in heavy, blocky forms with thick outline strokes designed to stay legible at a distance and under motion blur — closer to hand-painted grandstand signage than to a refined typeface. Treating a numeral as hero furniture, rather than as incidental labeling, is the single most important move when adapting this style.车门与车顶上的号码是整套系统里最大的单一元素，尺寸往往超过周围的赞助商标志。它们以粗壮、方块化的字形绘制，配以厚重的描边，确保在远距离和运动模糊中依然可辨——更接近看台手绘招牌，而非精修字体。把数字当作主角道具来处理，而非附带标签，是移植这种风格时最重要的一步。

Diagonal Speed Lines斜向速度线

Stripes and swooshes are raked diagonally, almost always left to right, to imply forward motion even on a static graphic. These lines cut across panel boundaries rather than following them, creating a sense of the whole surface being pulled forward. They are used sparingly relative to the color blocks and decals — usually one or two dominant sweeps rather than a repeating pattern — so the eye reads speed as a single gesture, not decoration.条纹与扫线一律斜向切割，几乎总是从左往右，即使在静态图形上也要暗示前进的动势。这些线条横切板块边界而非顺着边界走，制造出整个表面被向前拉扯的感觉。相对于色块和贴花，这类线条使用得很克制——通常只有一两道主导性的扫线，而非重复图案——让眼睛把「速度」读成一个单一手势，而不是一种装饰。

Sponsor Decal Density赞助贴花密度

Every open surface carries a mark: a primary sponsor logo commanding the hood or quarter panel, secondary sponsors on smaller real estate, and a scatter of tiny contingency-associate patches wherever space remains. The composition principle is coverage, not hierarchy through emptiness — a panel with visible bare paint reads as unfinished rather than clean. Marks vary wildly in scale and typeface within the same surface, which is itself part of the authentic texture.每一块暴露的表面都要打上标记：主赞助商标志占据引擎盖或叶子板的核心位置，次级赞助商占据较小的地盘，剩余空隙则散落着各种参赛赞助的小徽章。构图原则是「铺满」，而非靠留白制造层级——露出裸漆的板块读起来像是没做完，而非干净利落。同一块表面上的标记在尺寸和字体上差异极大，而这种参差本身正是这套风格真实质感的一部分。

Glossy Vinyl Finish光亮乙烯基质感

Surfaces carry a wet, reflective sheen consistent with vinyl decal material and fresh enamel paint under speedway lights, rather than a matte or textured finish. Highlights are treated as hard specular streaks rather than soft glows, reinforcing that every surface is a manufactured, applied skin rather than a painted illusion of depth.表面呈现出湿润、反光的光泽，一致于赛道灯光下乙烯基贴花材料与新鲜瓷漆的质感，而非哑光或有肌理的表面。高光被处理成硬边镜面光带，而非柔和的光晕，进一步强调每一处表面都是被制造、被贴附上去的「皮肤」，而非用绘画手法营造出的深度幻觉。

Heavy Black Outlines粗重黑色轮廓线

Because so many colors and marks sit adjacent to one another without transition, a heavy black keyline does the structural work of keeping each element legible. Numerals, panel color boundaries, and decal edges are all reinforced with a firm outline, which is what allows the system to stay readable despite its density — the outline is doing the job that whitespace does in a quieter system.由于大量色彩与标记彼此紧邻、没有过渡，一条粗重的黑色勾线便承担起维持每个元素可读性的结构性工作。数字、色块边界与贴花边缘都由一道扎实的轮廓线加固——这正是这套系统在如此高密度下依然保持可读的原因：轮廓线在这里承担的，是留白在更安静的系统里承担的功能。

Grid-Like Panel Layout网格化板块布局

Despite its apparent chaos, decal placement follows an implicit grid inherited from the car's own panel structure — door, quarter panel, hood, roof, rear deck each function as a discrete zone with its own dominant element. Reading the livery means scanning zone by zone rather than as one continuous image, which is what allows dozens of competing marks to coexist without collapsing into visual noise.尽管看上去杂乱，贴花的摆放其实遵循一套隐含的网格，继承自车身本身的板块结构——车门、叶子板、引擎盖、车顶、尾翼各自作为一个独立区域，拥有自己的主导元素。阅读这套涂装意味着逐区块扫视，而非把它当作一整幅连续图像来看，这也是几十个相互竞争的标记能够共存而不至于沦为视觉噪音的原因。

NASCAR Stock Car design style applied to a Dashboard

See the NASCAR Stock Car design system查看 NASCAR Stock Car 完整设计系统

Who shaped NASCAR Stock Car?谁塑造了 NASCAR Stock Car？

Richard Petty

Petty won more NASCAR races and championships than any driver in the sport's history, racing under a signature Petty blue livery that became synonymous with the number 43 and his family's racing operation. His long partnership with STP, whose day-glo red and orange branding covered his car through the 1970s and beyond, made the Petty-blue-and-STP-red pairing one of the most recognized color combinations in American motorsport.佩蒂在 NASCAR 历史上赢得的比赛与总冠军数量都超过其他任何一位车手，他标志性的佩蒂蓝涂装与43号车、以及他家族的车队运营紧密绑定。他与 STP 长期的赞助合作关系，让荧光红橙的 STP 品牌色覆盖了他的赛车贯穿整个1970年代及以后，也让「佩蒂蓝配 STP 红」成为美国赛车运动中辨识度最高的配色组合之一。

Cale Yarborough

Yarborough was one of the sport's most successful drivers of the 1970s and the central figure in the crash and post-race fight at the 1979 Daytona 500 that turned national television attention toward NASCAR for the first time. His on-track rivalry with the Allison brothers is remembered as the moment stock car racing crossed from a regional sport into mainstream American culture.雅伯罗是1970年代最成功的车手之一，也是1979年代托纳500事故与赛后斗殴事件的核心人物——正是这场风波第一次把全国电视观众的目光引向了 NASCAR。他与艾利森兄弟之间的赛道恩怨，被视为改装赛车运动从地区性运动跨入美国主流文化的关键时刻。

Bobby Allison

Allison, alongside his brother Donnie, was one half of the rivalry that defined the 1979 Daytona 500 broadcast. A championship-winning driver in his own right, his involvement in the televised infield confrontation cemented the image of stock car racing as a sport of raw, unscripted personality carried on brightly liveried machines.鲍比·艾利森与其兄弟唐尼一起，构成了定义1979年代托纳500转播的那场恩怨的另一半。他本人也是夺冠车手，他在电视镜头前那场内场对峙的参与，进一步固化了改装赛车运动作为一项由鲜艳涂装赛车承载、充满原始未经修饰个性的运动的形象。

Junior Johnson

Johnson learned to drive at speed running moonshine through the back roads of North Carolina before Prohibition-era enforcement pressure pushed bootleggers' informal races into an organized sport. As both a champion driver and later a team owner, he personally bridged stock car racing's outlaw origins and its commercial, sponsor-driven future.小琼森在北卡罗来纳的乡间小道上运送私酒时练就了高速驾驶的本领，那正是禁酒令时期私酒贩子的非正式比赛演变为一项有组织运动之前的历史。作为夺冠车手、后来又成为车队老板，他本人正是连接改装赛车运动「不法出身」与其商业化、赞助驱动未来的桥梁人物。

Bill France Sr.

France founded NASCAR in 1948 in Daytona Beach, Florida, unifying a patchwork of regional stock car races under a single rulebook and championship. His insistence that raced cars remain recognizably 'stock' — tied to what a manufacturer actually sold — is the structural reason sponsor and manufacturer identity became so central to how these cars were designed to be seen.法国于1948年在佛罗里达州代托纳海滩创立了 NASCAR，把一盘散沙般的地区性改装赛车比赛统一到单一规则手册和总冠军体系之下。他坚持参赛车辆必须保持可辨识的「量产车」属性——即与厂商实际销售的车型挂钩——正是赞助商与厂牌身份在这些赛车的视觉设计中变得如此核心的结构性原因。

How do you use NASCAR Stock Car today?今天怎么用 NASCAR Stock Car？

NASCAR Stock Car works best wherever a brand wants to project raw energy, competitive intensity, or unpretentious American vernacular rather than polish. It is a deliberately loud, maximal system, and applying it well means committing to that loudness rather than softening it into a tasteful accent.NASCAR 赛车风格最适合用在品牌想要传达原始能量、竞技强度或不加修饰的美式草根气质、而非精致感的场合。这是一套刻意喧闹、极繁的系统，用好它意味着全力拥抱这份喧闹，而不是把它软化成一个「有品位」的点缀。

On presentation slides, the style suits a cover page built around one oversized numeral or word treated the way a door number is treated — enormous, outlined, dead center. Content slides should keep one dominant panel color per slide rather than mixing several, using a single diagonal sweep to carry the eye toward the key takeaway, and reserving smaller decal-style badges for supporting logos, partner credits, or footnotes. Data slides can borrow the contingency-patch idea directly: individual data points or KPIs rendered as small badge shapes scattered around one big headline number.在演示文稿中，这种风格适合把封面页做成一个超大数字或词语——像车门号码那样处理：巨大、描边、正中居中。内容页应当每页只用一种主导色块而非多种混用，用一道斜向扫线把视线引向关键结论，把较小的、贴花式的徽章留给辅助性的标志、合作方致谢或脚注。数据页可以直接借用「参赛赞助徽章」的思路：把各个数据点或关键指标做成散布在一个巨大主标题数字周围的小徽章形状。

For web interfaces, this system is a strong fit for anything with a competitive or event-driven feel — sports platforms, gaming leaderboards, fantasy-league dashboards, ticketing and event pages. Dashboards should assign one saturated color per data zone rather than a unified neutral background, use oversized numerals for hero metrics, and let secondary badges (status tags, partner logos) sit dense in the margins rather than tucked away. Pricing pages benefit from the numeral treatment applied to the price itself — big, outlined, centered — surrounded by badge-like feature tags.对于网页界面，这套系统非常适合带有竞技感或事件驱动感的产品——体育平台、游戏排行榜、梦幻联赛仪表板、票务与活动页面。仪表板应当为每个数据区块分配一种高饱和色而非统一的中性背景，用超大数字呈现核心指标，让次级徽章（状态标签、合作方标志）密集地散布在边角，而非藏起来。定价页面适合把数字处理手法用在价格本身上——大号、描边、居中——周围环绕着徽章式的功能标签。

In editorial and marketing contexts, the style reads as high-energy Americana: think event posters, motorsport or automotive marketing, back-to-school or tailgate-season campaigns, and anything that wants to feel like a stadium rather than a boutique. A magazine spread can use the diagonal sweep as a section divider and stack sponsor-style credit badges along a margin the way a car's rear quarter panel stacks contingency decals.在编辑与营销场景中，这种风格读起来像是充满能量的美式风情：活动海报、赛车或汽车营销、开学季或球赛前派对季营销活动，以及任何想要有体育场氛围而非精品店氛围的场合。杂志跨页可以用斜向扫线作为分区线，并像车尾叶子板叠放参赛贴花那样，沿边距叠放赞助致谢式的徽章。

The most common mistake is applying the color and numeral treatment while quietly cleaning up the density — removing the badges, spacing things out, adding whitespace. That produces a generic 'racing stripe' look rather than authentic stock car livery. The system's identity depends on visible density and a hard black outline doing the organizing work that negative space usually does; strip those away and the reference disappears.最常见的错误，是套用了色彩和数字的处理手法，却悄悄清理掉了密度——去掉徽章、拉开间距、加入留白。这样做出来的只是一种泛泛的「赛车条纹」外观，而非真正的改装赛车涂装。这套系统的身份认同依赖于可见的密度，以及一道硬边黑色轮廓线承担起通常由留白承担的组织功能；一旦去掉这些，这份出处感也就随之消失了。

NASCAR Stock Car design style applied to a Slide · cover

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NASCAR Stock Car — FAQNASCAR Stock Car · 常见问题

Why are the numbers so large in this style?为什么这种风格里的数字这么大？

Door and roof numbers had to be read by fans in distant grandstands and by television cameras at racing speed, so legibility at a distance and under motion was the design brief, not aesthetic preference. That functional origin is why treating a numeral as the single largest, most central element on a page — rather than a small label — is essential to reading as authentic stock car livery rather than a generic 'racing' theme.车门与车顶号码必须能被坐在远处看台上的车迷和以赛车速度拍摄的电视摄像机看清，所以「远距离、运动中依然可辨」才是最初的设计要求，而非审美偏好。正因为这一功能性起源，把数字当作页面上最大、最居中的单一元素来处理——而非一个小标签——才是判断一件作品究竟是真正的改装赛车涂装、还是泛泛的「赛车风」的关键。

Is the dense sponsor-decal look just clutter, or is there a structure to it?密密麻麻的赞助贴花是单纯的杂乱，还是有内在结构？

There is a structure, even if it isn't obvious at first glance: placement follows the car's own panel boundaries, with each door, quarter panel, and hood functioning as its own zone carrying one dominant mark plus smaller supporting ones. The apparent chaos is really a grid inherited from the object itself, which is why recreating the style well means organizing by zone rather than scattering marks randomly across a single continuous surface.确实有结构，只是乍看之下并不明显：贴花的摆放遵循车身本身的板块边界，每一扇车门、每一块叶子板、每一片引擎盖都各自作为一个区域，承载一个主导标记加若干辅助标记。看似的混乱其实是继承自物体本身的网格，这也是为什么想要还原好这种风格，关键在于按区域组织，而非在一整块连续表面上随意散布标记。

Where does the diagonal stripe motif come from?斜向条纹的意象从何而来？

The raked diagonal sweep is a visual shorthand for forward motion, a convention long used in period racing and automotive graphics to make a stationary object read as fast. In this system it is used as a single dominant gesture rather than a repeating pattern, cutting across panel boundaries so the eye reads the whole surface as being pulled in one direction.斜向倾斜的扫线是「前进动势」的视觉简写，是赛车时代与汽车图形长期沿用的惯例，用来让一个静止的物体读起来「在飞驰」。在这套系统里，它被当作一个单一的主导手势使用，而非重复图案，横切板块边界，让眼睛把整个表面读成正被朝一个方向拉扯。

Does this style only work for motorsport-related brands?这种风格只适合与赛车运动相关的品牌吗？

No — the underlying logic of oversized identifying numerals, saturated assigned color per zone, and dense supporting badges transfers well to anything competitive or event-driven: sports, gaming, ticketing, fantasy leagues, and campaigns built around a specific date or match-up. What matters is whether the brand wants to feel loud, immediate, and stadium-scale; if it wants to feel quiet or refined, this is the wrong system entirely.不。超大识别数字、按区域分配的高饱和指派色，以及密集的辅助徽章，这套底层逻辑同样适用于任何具有竞技性或事件驱动性的场景：体育、游戏、票务、梦幻联赛，以及围绕某个具体日期或对决展开的营销活动。关键在于品牌是否想要传达喧闹、直接、体育场级别的气质；如果想要安静或精致，这套系统完全不适合。

What is the 1979 Daytona 500 connection to this visual style?1979年代托纳500和这种视觉风格有什么关系？

The 1979 Daytona 500 was the first 500-mile NASCAR race broadcast live from start to finish on national television, and a snowstorm kept an unusually large audience indoors watching. The dramatic final-lap crash and post-race fight it produced turned stock car racing into a mainstream American phenomenon almost overnight, and the loud, sponsor-covered livery of that exact period became the visual reference point the design world now associates with the sport.1979年的代托纳500是第一场从起旗到收旗全程在全国电视上直播的500英里 NASCAR 比赛，一场暴风雪又让异常庞大的观众群守在家中收看。它所产生的最后一圈戏剧性相撞与赛后斗殴，几乎在一夜之间就让改装赛车运动成为美国主流现象，而正是那个时期喧闹、贴满赞助商标志的涂装，成为设计世界如今与这项运动联系在一起的视觉参照点。

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