COLOURS - Politecnico Di Milano

COLOURS - Politecnico di Milano

5 Dicembre 2016 Un laboratorio di design primario

Baolab è un Design primario laboratorio che Cosa significa indagare un lavora nel mondo del oggetto partendo dalle disegno industriale e sue qualità sensoriali. si occupa di tutto ciò che non riguarda la forma degli oggetti. La ricerca di variabili non oggetivvabili

L’identità emozionale CMF di un prodotto è L’analisi delle qualità di data dalla somma un prodotto si sviluppa di elementi molto principalmente in 3 ambiti differenti tra loro. principali: il colore, i Alcuni sono materiali e le finiture quantificabili, altri no ma sono altrettanto determinanti. MOLESKINE

Design del materiale Accessories - Stationery

Moleskine è un’azienda Qualificazione sensoriale produttrice di taccuini, La variazione dell’aspetto agende, borse, tattile di un prodotto iconico strumenti per scrivere molto noto prende le sue e per leggere. mosse anche dall’analisi Cultura, immaginazione, dei nuovi target viaggio, memoria e identità personale sono le parole chiave in cui si identifica. MOLESKINE

Design del materiale Accessories - Stationery

Ad ogni mondo identificato pertengono specifici materiali e precise palette cromatiche MOLESKINE

Design del materiale Accessories - Stationery

Una volta identificate le principali sensazioni sinestetiche che si voglio raggiungere il lavoro si concentra sulla messa in atto delle possibilità materiche MOLESKINE

Design del materiale Accessories - Stationery

Un momento importante per il progetto è capire se il prodotto viene poi scelto dall’intelocutore presunto. A volte accade, altre invece prende strade inaspettate LUXOTTICA

Trend forecasting Fashion accessories

Luxottica è una Ricerca transdisciplinare azienda che disegna, La ricerca dei trend è il primo produce e distribuisce passo per la definizione occhiali in tutto il di linee guida condivisibili mondo. Lavora con all’interno di gruppi molti brand diversi tra industriali molto ampi loro il che permette esplorazioni stilistiche molto ampie LUXOTTICA

Trend forecasting Fashion accessories

L’analisi e la ricerca di assetti attitudinali, di mercati meta geografici o di appartenenze culturali crea cluster valoriali entro i quali si individuano i linguaggi estetici nascenti LUXOTTICA

Trend forecasting Fashion accessories

I trend si strutturano attingendo a fonti molto diverse tra loro, ma tutte collegate all’azienda per cui si lavora. In questo caso si 2 2 analizzano i mondi della moda, lo street colour PALETTE style, il furniture C SKIN-LIKEC SKIN-LIKE SURFACES SURFACES sophisticated | delicate | deep

Body Sensation is expressed through a delicate and sophisticated design il food design palette with tones that recall skin, veins, arteries and in addition other alchemical and alien elements, for instance bright greens which give a certain freshness and originality to a composition. Colours are chosen in a specific way to recreate as vividly as possible e lo sport system. the subtle nuances and the overlaying of organic tissues.

2330 c

2139 c

7520 c

white c

337 c

7642 c

19 D THIN DSEMI-TRANSPARENTTHIN SEMI-TRANSPARENT LAYERS LAYERS E BODY-AUGMENTATIONE BODY-AUGMENTATION

A “TOUCHA THAT“TOUCH TASTE!” THAT BITTER TASTE!” SLIPPERS, BITTER SLIPPERS, MARTYNA MARTYNA BARBARA BARBARAGOLIK, 2015 GOLIK, 2015

B BIOLOGICALB BIOLOGICAL ATELIER : ATELIERSS 2082 :‘EXTINCT’ SS 2082 ‘EXTINCT’ COLLECTION COLLECTION BY AMY GONGDON BY AMY GONGDON

C GIGI BARKER,C GIGI STUDIO BARKER, 9191 STUDIO 9191

D WARRIORSD WARRIORS OF DOWNPOUR OF DOWNPOUR CITY. A POETIC CITY. PROSPECTIVE,A POETIC PROSPECTIVE, OF SILHOUETTES OF SILHOUETTES IN THE RAIN IN THE RAIN

E BY ANNEE KNITBY ANNE PROJECT KNIT BYPROJECT JESPER BY DANIELSSON, JESPER DANIELSSON, 2013G.F.HAWTHORNE 2013G.F.HAWTHORNE AW 2015/2016 AW 2015/2016 LUXOTTICA

Trend forecasting Fashion accessories

E CELLULAR TRANSPARENCIES design HINTS 2 E’ sempre molto textures | patterns | details F SEMI-TRANSPARENT SURFACES importante riuscire a tradurre le informazioni che A SEMI-TRANSPARENT DECORATIONS arrivano dai vari ambiti in materiali e superfici presenti sul mercato. B SMOOTH ELASTICITY G ORGANIC MESH Non necessariamente devono essere prodotti H BODY-ALIKE DETAILS industriali, sono sempre interessanti C BOTANICAL INSERTS ad esempio le sperimentazioni in campo artistico D AGING LEATHER I BIONIC INSERTS

A COLLECTION INLAID FANTASIES BY ANDREEA MANDRESCU

B MOON-JELLY BY EVA WALKUSKI

C BLOOM MAGAZINE ISSUE 12

D GRADUATION PROJECT AT ARTEZ 2014 BY RENEE VERHOEVEN

E EXHIBITION ULTRABODY, BRAND MELANGE.LAB, 2012

F WARRIORS OF DOWNPOUR CITY BY ANNE VAN GALEN

G RUBBER COLLECTION MAN AND IDENTITY, BY FLOOR VAN DOREMALEN

H SENSATIONS THROUGH TOUCH AND HUMAN BODY BY GIOELE ANTONELLO

I RUBBER COLLECTION MAN AND IDENTITY, BY FLOOR VAN DOREMALEN 13 LUXOTTICA

Trend forecasting Fashion accessories

La raccolta di materiali attinenti ai singoli trend serve a rendere evidenti le qualità indagate, sia a livello cromatico ma soprattutto per quanto riguarda tattilità, pesi e temperature. BORMIOLI

Product revamping Tableware - Glass

Rocco Bormioli fonda Rinnovamento di gamma la sua azienda all’inizio Per creare una nuova dell’800 fa e da allora identità a oggeti presenti da è presente sul mercato molto sul mercato si passa di massa con un attraverso lo studio del innumerevole numero materiale e delle tecnologie di prodotti di vetro per con cui sono costruiti. la tavola e la casa. BORMIOLI

Product revamping Tableware - Glass

I prodotti molto conosciuti hanno bisogno di una nuova identità per riposizionarsi sul mercato. Fondamentale è capire a chi ci si vuole rivolgere e che canali distributivi utilizzare. BORMIOLI

Product revamping Tableware - Glass

Pantone Pantone Pantone Pantone Pantone Pantone 7450 C 548 C 467 C 7717 C 259 C 2167 C La calibrazione di una palette cromatica emergente deve tener presenti la qualità del materiale che la supporta e le possibili variazioni in termini di decorazioni e creazioni di pattern. BORMIOLI

Product revamping Tableware - Glass

Nella selezione del cluster più appropriato all’azienda intervengono molte figure: il brand management, il marketing, l’ufficio stile e lo sviluppo prodotti... BORMIOLI

Product revamping Tableware - Glass

I criteri meta progettuali, una volta definiti, funzionano come linee guida condivise e possono essere estesi a una famiglia di prodotti coesi tra loro. /////////////

Colour and Trim Automotive

Uno dei pochi Costruzione dell’identità ambiti lavorativi in Il progetto dell’identità cui il progetto del dell’auto parte da un brief colore è gestito da tematico tradotto in immagini figure professionali e board, fino ad arrivare specifiche è quello all’identificazione di materiali dell’automotive. specifici e relativi produttori Nel 99% dei casi il gruppo di lavoro è formato da donne. /////////////

Colour and Trim Automotive

Sviluppo del brief consegnato dal cliente. La comunicazione tramite immagini e materiali fisici chiarisce fin dai primi momenti le differenti possibili identità del futuro prodotto. /////////////

Colour and Trim Automotive

I materiali sono in questa fase ancora ispirazionali, solo successivamente si definiscono le specifiche appropriate (trasformabilità, reperibilità, costi...). /////////////

Colour and Trim Automotive

Il prodotto poi fa suoi i materiali selezionati, li integra e a sua volta ne viene plasmato. Il risultato finale è sempre un a sè, diverso dall’immaginato e sorprendente. DESIGN PRIMARIO

Perception haptic perception

The body, in its psychosomatic unity, is the privileged instrument of relationship with the external and internal world. Until the Renaissance, was absolutely shared the unitary conception of the person.

Leonardo Da Vinci, studies and tables on physiognomy that represent the “movements of the soul” in his portraits DESIGN PRIMARIO

Perception haptic perception

Haptic comes from Haptisch, a greek word, and means “touch” or “tangible” in a better shape: it involves not only the localization of the sense of touch, but also the tactile feel with your whole body. The word haptic was introduced by Erwin Panofsky (1892- 1968) and used also by Maurice Merleau- Ponty, the philosopher of phenomenology of perception. Bruno Munari, Pre Libri, 1980 DESIGN PRIMARIO

Perception haptic perception

“The haptic sense is something more than just tactile sensations (rough, smooth, warm, cold, etc..) because it does not refers only to touch, but implies to feel and to perceive with “everything”, with the prehensile, with the contact of the outer and inner body, with the dy- namics of movement of the body structures“

A. Marcolli, “Image-action. Design”,Sansoni Makiko Shinoda, Material Teddy, 2011 1983 DESIGN PRIMARIO

Perception sensoriality

The primary design is a particular approach to the discipline of industrial design: it is an approach to design that pays attention to all those who are the intangible values of the environment. It derives from all the sensory experiences that form the human experience in the artificial environment.

Vitruvian man,Leonardo da Vinci, 1490 Sapta Chakra, from a Yoga manuscipt, 1899 DESIGN PRIMARIO

Perception space perception

The starting point of the primary design derived from the wrong observation on which the industrial design based its foundamental quality, namely the standard correctness. compare to this tradidion, the primary desig shifts its attention to the sensory and perceptive values of space. The human body is considered an active tool capable of processing sophisticated levels of environmental Andrea Branzi, Cattedrale Sensoriale, 1992. Theorical model of a Perceptive Architecture for the exhibition “Citizen Office” al Vitra Design Museum Weil am Rhein, Collection Galerie Italienne knowledge DESIGN PRIMARIO

Perception space perception

The Gretel Sweet Diagram is one of the first diagrams designed by Clino Castelli that represent the perceptional dimension of Palais Stonborough. This diagram gives information about intangible elements such as light sources, thermic radiators, smells, colour vibration of wallsand other elements able to stimulate the senses

Clino Castelli, Gretel0s sweet diagram, 1977 | Ludwig Wittgenstein, Palais Stoborough, 1926 QUALISTICA

Quality vs Quantity? emotional identity

Soft structures, to distinguish them from the hard ones, are represented by the color, the finish, the decorations, the microclimate. In primary design these qualities are the central qualities of a project. They have a cultural value and not just a technical one.

Luis Barragan, Gilardi house, Mexico City, 1975-77 QUALISTICA

Soft structures immanent qualities

Objects have anyhow, inexorably and always a shape. However, they have also many other qualities: they have a temperature, a weight, a smell, they can be rough or soft, they are made to stand still or have to move ...

Gaetano Pesce, I Feltri for Cassina, 1980 CMF

Metaproject emotional identity

We are surrounded by products that have not only a form and shape – but also a color, material and finish. Although they are physical features, they affect us on an emotional level. By mastering the designing of colors, materials and finishes, designers can control how other people react to our designs.

Rinkak, CMF x 3D Prints, 2015 CMF

Metaproject emotional identity

Color, Material And Finish Design (known as CMF design) is a specialized area of design that focuses on three elements of a surface – color, material and finish to support both functional and emotional attributes of a product.

Lensvelt, Boring Collection, 2016 CMF

Sensorial design product identity

CMF design is still a relatively unknown field of design, which is being mainly used by large or trend-orientated corporations. It supports both the functional and emotional attributes of design. CMF

Perception reactions e relations

To interpret the surrounding world, we use our five senses; sight, hearing, taste, smell and touch. The information that our brain gathers via the different senses is more than 80 percent. Therefore the look and feel of a material is undeniable important, since they give us so much information.

Nendo, Fadeout chair, 2009 CMF

Leverage the senses feeling the product

For a product to stand out from the shelf, it needs to be designed to please and attract the human eye. CMF design focuses on the details and on the consumers’ perception of a product. Senses have a significant effect on both psychological and economical level, as fifty percent of our buying decisions are driven by emotions.

Gucci, Aviator sunglasses CMF

Pioneers Industrial approach

Despite the absence of CMF design in fashion and product design, the field of design has existed in the automotive industry since 1920s, where it had been a curtail part of the design process for decades. CMF design in the automotive industry is known as ‘color and trim’ design, which includes in depth trend and consumer research and their application to the vehicles. Chrysler advert, 1956 COLOUR

Physical approach light eye action

The word “Colour” can be defined as a set of different cerebral and visual sensations that are produced by the light coming out from objects in relation with theirs surfaces’s atomic qualities. COLOUR

Double effect colour as a bridge

In the earth’s athmosphere there are several actors of the phenomenon of LIGHT - AIR - OBJECT - EYE - BRAIN colour. These elements create 2 different processes: one is about perception and it actives a psycological answer from the subject based VISION PERCEPTION on his own cognitive references; the other - - one is on vision physiological reaction phycological answer and it is a complex physiological reaction. COLOUR

Physical approach light eye action

Colour

Each color has its What is colour? own wavelength and a frequency. In itself, the light waves are colorless, the color Color is neither a property of an eye, brain is produced only in nor of the surrounding world – but of all our eyes and in our them combined together creating a bridge brains. So if we say between the observer and observed. that an object is red, we are saying that Arnkil & Hämäläinen 1995 the surface of the object has a molecular structure that absorbs all electromagnetic radiation except the red ones.

13 - 42 COLOUR

Addittive synthesis RGB

The additive synthesis is produced by superimposing lights on a same portion of space. In order to establish a reliable system for the creation of colors obtained by mixing colored lights, usually it is used a three colour system made by red, green and blue (RGB), that are defined primary colours. COLOUR

Subtractive synthesis CMYK

The subtractive synthesis is produced by the superposition of pigments on a same portion of space. The subtractive synthesis is the process through which the black is created: by subtracting all the coloured radiations reflected from material colors. COLOUR

Naming light eye action

Due to problems with understanding how colours can be describable in physical terms, many philosophers, painters and scientists tried to explain colour relationships with the creation of colour systems. The most famous is the one developed by Munsell in the thirties.

Philipp Otto Runge’s colour study, 1810 COLOUR

Systems 3 attributes

The current colorimetry considered as basic attributes of color: the tint (hue) or chroma, the clarity (brightness) and the saturation (colorfullness). The hue is the characteristic of a color that is not achromatic (red, yellow or blue ad example), the clarity is the presence of white or black in a hue, the saturation depends on the percentage of gray that a hue apparently contains. COLOUR

Hue yellow green blue...

Hue is one of the main properties of a color, defined technically as “the degree to which a stimulus can be described as similar to or different from stimuli that are described as red, green, blue, and yellow” that are caaled the unique hues. A hue refers always to a pure color.

Mr. Chevreul, Cercle chromatique, 1839 COLOUR

Brightness | Value from black to white

Lightness measures the relative degree of black or white that has been mixed with a given hue. Adding white makes the color lighter (creates tints) and adding black makes it darker (creates shades). This property of color tells us how light or dark a color is based on how close it is to white. COLOUR

Saturation | Chroma Pureness

Saturation refers to how pure or intense a given hue is. 100% saturation means there is no addition of gray to the hue. The colour is completely pure. At the other extreme a hue with 0% saturation appears as a medium gray. The more saturated (closer to 100%) a colour is, the more vivid or brighter it appears. COLOUR

Munsell colour solid

Munsell determined the spacing of colors by taking measurements of human visual responses: there is no an inherent limit to the saturation value. Different areas can have different colors spatial coordinates related to their maximum saturation. For example, the light- yellow colours have a potential values of saturation higher than the light-violets. This deformation of the solid is due both to the physical nature of the human eye that to optical stimuli. COLOUR

Harmonies some rules

Colour combination is really the most important part of colour theory and designing with colours, and also the hardest. It always comes down to your personal judgement and how you look at colours. There are, however, some guidelines that can be used to make a colour combination that is interesting and pleasing to the eye. COLOUR

Harmonies some rules

Chromatic Harmonies are divided in Classic Harmonies and Expressive Harmonies. Classic Harmonies are a combination of colors whose point of balance in the color sphere is medium gray. Expressive Harmonies are a combination of colors whose point of balance in the color sphere is NOT medium gray.

James Turrel, The inner way, 1999 COLOUR

Harmonies some rules

The line that connects the colors has its center in the neutral gray, which is the core of the solid color. This line can be moved within the volume of the solid, but must maintain its fulcrum fixed in the middle gray. The harmony in two colors is particularly effective because complementary colours mutually charge and balance themselves. COLOUR

Harmonies harmonic composition

Paul Signac, Evening Calm, Concarneau, Opus 220, 1891 COLOUR

Harmonies Disharmonic composition

Notes A small river named Duden flows by their piace and supplies it with the necessary regelia- lia. lt is a paradisematic country, in which roasted parts of c-on+onl”’OC” flu in+n “’””’ 1r mn1 1th l:,1on +ho “.:llLnn,uorf1 il COLOUR

Harmonies harmonic composition COLOUR

Expressive harmonies Displacement of gray axis Fog effect

When combination of colors whose point of balance in the color sphere is not medium gray we have expressive harmonies. Shadow effect We can obtain different effects in according to where we move the the point of balance.

Diffuse colour light COLOUR

Expressive harmonies Displacement of gray axis

Here the point of balance is shifted to light gray, moving up to the top of the solid we usually obtain a “fog effect”

Luigi Ghirri, Argine Agosta, Comacchio, 1989 COLOUR

Expressive harmonies Displacement of gray axis

Here the point of balance is shifted to dark gray, moving to the lower portion of the solid we can obtain a “shadow effect”

Cecil Beaton, Charles James, 1929 COLOUR

Expressive harmonies Displacement of gray axis

Here the point of balance is related to one colour, in this case we obtain an effect of diffused colored light COLOUR

Simultaneous contrasts Environmental elements

Leonardo da Vinci had probably been the first to notice that, when observed adjacently, colours will influence each other. Goethe, however, was the first to specifically draw attention to these associated contrasts. Chevreul designed a 72-part colour-circle showing that the fading is not fading at all, but instead due to simultaneous contrast between adjacent colours. COLOUR

Metamerism Environmental elements

Due to light’s changing nature, there is never an absolute tint, shade or tone for an object, as demonstrated in the picture. The time of the day changes the light and, therefore, the color of an object. Even the weather conditions and surroundings reflect color and have an effect on the object’s coloring.

Alighiero Boetti, Oggi il primo giorno dodicesimo mese, 1988 COLOUR

Experiments testing ou eyes, and brain...

CAN EVERYONE PLEASE STARE STEADILY AT THE CENTER OF THE CIRCLE?

30 SECONDS

In spite of the crescent-moon shape appearing and moving along the periphery, you must continue to focus on the red point in order to assure the desired experience.

COLOUR

Materials Syntactic and iconic colour

The colour of a product is determined by a series of elements: kind, material, form and expectations of the market. In a colour project it’s important to differentiate between the features: Iconic Colours: The real and genuine colour of an object or material. COLOUR

Materials Syntactic and iconic colour

And syntactic Colours That means colour applied to a product by paint, dye or other processes. Syntactic colours are applied to objects that don’t have a colour reference, and must be available in a colour range. These colours are usually projected in agreement with the trends, and selected in order to offer the market a very articulated series of colours. COLOUR the ‘80 Interior

In interior design the syntactic colours have been used widely in the 80‘s, and have carried to the development and diffusion of polychromatic and polymateric objects. COLOUR the ‘90 Interior

Instead in the 90’s there was a renewed interest for ecology and a new conception of the material aspect of the objects. COLOUR generic or abstract belonging to different universe

The syntactic colours are generic becuse the greater part of daily use objects in plastic has a generic colour, and are available on the market in a wide range of colours.

The syntactic colours become abstract when they are applied to objects that have already their iconic colour of reference. The abstract colours separate the object from the real world and carry it in the world of fantasy. COLOUR

Identity Naming end awareness

Iconic colours are true colours. The natural and characteristic colours of some objects or materials. Iconic colours always refer to real objects or materials.

The identity of a colour is composed from a linguistic expression,from a code of reference, and, in many cases, from a cultural value that separates them from other generic colours. Some times the connection is so strong that the material becomes the icon of the colour. COLOUR

Funcion, historical and material Use of iconic colours

1. Iconic Functional colours originated from a functional purpose. The yellow of taxi light makes them easy visible...

2. Iconic Historical colours that are assert in time. The red of Malboro, the national colours, the colours of the Sport teams...

3. Iconic Material Iconic colours that characterize the material or object they are associated to. All the natural materials have just the iconic colour. COLOUR

Metamerism Environmental elements

Meaning of colours Worldwide GRAZIE