The history of the building of a cafe racer. Part three - Anatomizing the beauty.

"There is no formula of beauty (as well as a recipe for happiness), but if by some miracle they become known to you, then do not rush to touch them, because you deprive yourself of one of the brightest joys of life - the process of creative search ... "- the life observation of a middle-aged man.
In the field of building a cafe racer, designer Charlie Trelogan made an excellent attempt to translate his intuitive sensations of beauty into the language of proportions, constructions and mathematical calculations in his article How to Build Your Cafe Racer.

Undoubtedly, all the laws that the author drew attention to are very interesting and useful although they are not an absolute, but also a direct guide to action.
At first. Abilities, opportunities, tastes, vision, etc. are different for every author.

They are all different, but you can’t say that they don’t have taste, style and harmony.
Secondly. The aim, what should happen in the end, are also different (concept bike or bike for every day).
In my case, the task was in the following: the motorcycle should be exclusive, look great and be able to deliver the thrill of driving.

And universality, practicality, economy, cheapness in service, etc., are properties for a mass product.
Thirdly. Its significant contribution makes a motorcycle donor, taken as a basis.
If the motorcycle is not made from scratch, in my opinion, it is very important to consider in the available donor all its features, advantages and disadvantages. And then, in the process of alteration, save and use as much as possible of the best features, delete unnecessary, add missing.
I did not consider the big tank of my Suzuki GS 1000 the essential disadvantage and tried to reduce it visually by means of color (brown plane at the top).

Common for cafe racers clearance under the seat did not change anything essential for the better in a silhouette of a motorcycle. Rather, for the worse.

Therefore, I left the side covers as planes, which connected the tank and the tail part by a white color.

In addition, the side covers served as a line for the seat to be formed. At this point the frame GS has a disadvantage - it has a "dip" there and there is no straight line, which is very important for the thin and dynamic silhouette.

Covering the problem part with the seat, it was possible to avoid serious interference in the construction of the frame.
In the process of work, I had 4 version of the tail. Here I mainly used the two following rules.

As I believe that only the masters of the high level are capable of breaking them and not losing the harmonious and dynamic silhouette of the motorcycle.

Any attempts (regardless of the donor) to create a dynamic silhouette will be zero if you do not understand the handlebar, the height of the feathers, the size of the headlamp and the location of the device board. Here the basic principle is extremely simple - shifting everything down as far as possible.

- Its own handlebar is for sale.
- Instead of it are the clip-ons and as a result, the landing of a rider is not comfortable.
- The original speedometer and tachometer remained unchanged. Only the rims were painted in the main color of the motorcycle.

- The headlamp with its shape and size (19 cm) fit the style of the bike. Only the mounts were made for it, the glass from the usual became yellow and the outer rim turned white.

With all the operations described above, the ideal proportions still could not be achieved if you look at a standing motorcycle. But everything is much better with a rider sitting on it and while driving, when shock absorbers come to life and dynamic changes occur naturally during the movement.

P.S. Categorical following the rules in the creative process is fatal, as initially conclude the creator in the narrow framework of the already existing stereotyped thinking. Much more important in this matter is the process of creative search, with its mistakes and doubts.