Vespas aren’t just scooters, they’re a fashion statement that’s an extension of the rider. This is particularly true of the Vespa S re-issue; its square headlight and mirrors may seem to some, like minute changes, but to those who know, the features makes the bike. Toronto-based ad agency Dentsu Canada enlisted artist/photographer Dan Bergeron of Fauxreel Studios to plaster Canada with 324, 7-foot Vespa Squarehead wheatpastes to promote Canadian Scooter Corporation’s new Vespa S.
The objective for the Squarehead shoot was to create images with an aesthetically retro, yet inherently modern, feel to them and to develop a relationship between the different characters in stance and attitude. Each character had a distinct personality for use in individual placements, but at the same time fit into the larger group. Also key was the marriage of the scooter head to the body, not only in terms of a seamless look, but also in terms of making a subtle comment about how consumers identify with the products they buy.
The characters were pasted-up primarily in areas where there already was some form of graffiti or street art (avoiding walls with murals and instead focusing on walls tagged or hit with smaller stencils). Characters were also pasted on walls, windows and storefronts that were either slated for demo or out of business, while others were pasted on construction site boarding because of their central locale and guaranteed audience.
It took about 20 days total to get all of the characters up in 5 cities across Canada.
The objective for the Squarehead shoot was to create images with an aesthetically retro, yet inherently modern, feel to them and to develop a relationship between the different characters in stance and attitude. Each character had a distinct personality for use in individual placements, but at the same time fit into the larger group. Also key was the marriage of the scooter head to the body, not only in terms of a seamless look, but also in terms of making a subtle comment about how consumers identify with the products they buy.
The characters were pasted-up primarily in areas where there already was some form of graffiti or street art (avoiding walls with murals and instead focusing on walls tagged or hit with smaller stencils). Characters were also pasted on walls, windows and storefronts that were either slated for demo or out of business, while others were pasted on construction site boarding because of their central locale and guaranteed audience.
It took about 20 days total to get all of the characters up in 5 cities across Canada.
