By Style
Some bicycles are defined by their appearance.
- Art bikes are built so that the frame appears to be made of junk or found objects: Bongo the Clown built several ridable parade bikes which were as much kinetic sculptures as transport.
-
- Dekocharis are a form of art bike indigenous to Japan dating back to the mid 1970s.
- Chopper bicycles are low-rider bikes with extended forks designed to provide a smooth ride. There are factory-made chopper bicycles as well as custom-made bicycles.
- Clown bicycles are designed for comedic effect or stunt riding. Some types of clown bicycles are:
-
- Bucking bike (with one or more eccentric wheels)
- Tall bike (often called an upside down bike, constructed so that the pedals, seat and handlebars are all higher than normal) -- other types of tall bikes are made by welding two or more bicycle frames on top of each other, and running additional chains from the pedals to the rear wheel.
- Come-apart bike, (essentially a unicycle, plus a set of handlebars attached to forks and a wheel).
- Reverse-steering bike, in which rotation of the handlebars is transmitted to the front wheel through a pair of interlocking cogs, so that turning to the left steers the bike to the right.
- Sideways bikes are bikes ridden sideways with the rider steering both wheels.
- Clown bikes are also built that are directly geared, with no freewheeling, so that they may be pedaled backwards. Some are built very small but are otherwise normal.
- Lowrider bicycles are highly customized bikes with a long wheelbase and styling inspired by lowrider cars.
- Wheelie bikes are a type of stylized children's bicycle designed in the 1960s to resemble a chopper motorcycle.
Read more about this topic: List Of Bicycle Types
Famous quotes containing the word style:
“To me style is just the outside of content, and content the inside of style, like the outside and the inside of the human body—both go together, they can’t be separated.”
—Jean-Luc Godard (b. 1930)
“The flattering, if arbitrary, label, First Lady of the Theatre, takes its toll. The demands are great, not only in energy but eventually in dramatic focus. It is difficult, if not impossible, for a star to occupy an inch of space without bursting seams, cramping everyone else’s style and unbalancing a play. No matter how self-effacing a famous player may be, he makes an entrance as a casual neighbor and the audience interest shifts to the house next door.”
—Helen Hayes (1900–1993)