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Colour Futures International Colour Trends 2014 TM

UNLOCKING POTENTIAL


01 social trends

Design trends Economic trends

global design knowledge global colour expertise

welcome Welcome to AkzoNobel ColourFutures 2014. Trend and colour forecasting is a vital and inspiring part of our business,enabling AkzoNobel to be one step ahead of customers’needs for years to come. Our mission is to‘Add colour to people’s lives’

As the largest colour manufacturer worldwide we keep our fingers on the pulse of emerging social, economic and design trends around the world, as it is often here that we see the first signs of future colour movements.


02

unlocking

Potential the Driving Influence for 2014

Every year, ColourFutures presents one dominant idea which inspires us to create the five colour trends.This idea influences each of the trends in a different way but also holds them together with a single concept that determines what the most pivotal hue,The Colour of theYear, will be. We are in a time of great change and in order to capitalise on new and exciting opportunities we must understand who we are and how we fit into the new order of things. By looking afresh at what we have we can unlock the

potential that surrounds us. This applies to countries, businesses and individuals. Every home, office, school or factory has huge potential if you just know how to unlock the space and the ideas within. The mood of the moment has a great effect on the type of colours that are popular and for 2014 we see a world in search of answers, which provides us with an open and exciting palette of colours to inspire renewal in the year ahead.


margin of proof

Introduction 02-09

02 Unlocking potential 06 Colour of the Year 2014 08 2014 Palette

colour of the year

Trends 10-61

12 Silent revolution 22 Margin of proof 32 Urban folk 42 Secret garden 52 Do it now!

22

Colours 62-71

64 Reds 65 Oranges 66 Yellows 67 Greens 68 Blues 69 Violets 70 Warm neutrals 71 Cool neutrals

06

52

32

resources

72 Resources

Urban

Folk Silent

Revolution

42

12

contents

05


07

90GG19/151 P0.20.40

colour of the year 2014

Sophisticated Balanced Versatile Tranquil

The top trend colour for 2014 perfectly combines the natural harmony of green with the tranquillity of blue. Reflecting the overriding trend of unlocking, this muted teal has a gentle character and is a favourite in the world of design. Deeper and more sophisticated than turquoise, teal has a subdued richness which is often used to describe tropical seas of shimmering bluish green. A tertiary colour, teal is the combination of primary blue and secondary green which today is used to describe several different tones of this majestic colour. Somewhere between blue and green it has come to symbolise balance, but should be combined with neutral tones and shades of wood so as not to overwhelm a space.

For such a statement colour, teal is surprisingly versatile and works well in different colour combinations. Sitting opposite coral on the colour wheel it works beautifully with delicate pinkish tones and warm ochre yellow, but for a trend look should be combined with other tones of teal, green or blue to create a tone-on-tone effect. Layering teal with indigo, denim or navy provides an oceanic feeling, cool, dynamic and welcoming. Combining our Colour of the Year with greens such as mint, duck egg or emerald will give a fresh natural effect; or for a neutral combination choose a colour with a natural wood tone.

Colour of the year evolution


2014 palette

The colour story for 2014 is largely about complex tones that almost sit between colour families and keep you guessing as to which hue they truly are. These colours have an intriguing quality that changes depending on which shades they are combined with. This enables

colour scheming to become about exploring new combinations. If used alone, simple or primary colours can be dull and predictable but used in combination with this fascinating palette they add a touch of simplicity and clarity which feels new and surprising.


11 the five key trends for 2014

silent revolution

margin of proof

urban folk

secret garden

do it now!


Modest

I nt r o s p e c t i v e

hidden Quentin Crisp

‘For an introvert his environment is himself and can never be subject to startling or unforeseen change’

13

Introverted

human

Revolution

Silent


With power moving to the Introvert, design is starting to lose its ego, becoming more understated and thoughtful


Introverted design celebrates simplicity and innovation to create beautiful forms and spaces that don’t show off

17

Revolution Silent


19

The Silent Revolution palette is extremely subtle using slight shifts in hue and tone to create delicate combinations

Revolution Silent


20

sn.02.85 10bb 83/020

Silent

Revolution For decades we have listened to those who shouted the loudest and revered individuals who built the tallest building and the fastest cars. Since industry began, the power to shape our world has firmly been held by the extrovert, ready to speak up and push themselves forward with a new grand idea at the slightest chance. Though there is no evidence that the best speaker has the best ideas we have often followed these charismatic individuals who know how to work the crowd. But times are changing! We no longer communicate within a purely physical world where it is so important to‘be seen’. Gone are the days when a big financial backer was needed to get your work known as it can now be shared online and be judged and recommended to others by your peers. Power is moving to the introvert and with it design in many areas is starting to lose its ego and becoming more understated and thoughtful. In her top-selling book‘Quiet’, Susan Cain discusses how solitude breeds creativity and that we all need to‘stop the madness of constant group work’and be afforded the space at work and school for deep personal thought, as this is where the richest ideas are likely to lie.

qn.02.78 90BG 72/038

Our consumerist nature is starting to change too. For the majority of people money and space are at an increasing premium and it has never been more important to really consider what we need and how we will use it. Introverted design celebrates simplicity and innovation to create beautiful forms and spaces that don’t ‘show off’ but meet our changing needs in new and sophisticated ways. The Silent Revolution palette is extremely subtle, using slight shifts in hue and tone to create delicate combinations of tinted white and neutral mid tones. These colours give a restful and silent effect that showcases the trend’s clever use of texture and natural materials. Nothing says modernity and space like whites do and these shades have great warmth creating a look which is human and inviting rather than clinical and austere. Think of fluffy clouds and the soft variations of shade in arctic furs.The more robust shades are still delicate and can be found in pebbles and sun-dried shells.

gN.00.88 30gy 88/014

tN.02.82 72BG 75/023

on.00.76 30bb 62/004

qn.02.88 10bg 83/018

on.00.69 30bb 53/012

Fn.02.82 30yy 72/018

ON.00.83 30gg 72/008

hN.02.85 81yy 81/016

cN.02.67 50rr 54/018

on.00.86 50BG 83/009

vn.02.85 90bb 73/022


Kahn industrial

23

margin of proof

‘People have never before managed their lives so precisely’ John Fu


At the heart of this palette sit masculine neutrals with an architectural appearance


27

margin of proof

Having a number to hold onto can be comforting in the chaos of our fast paced lives


margin of proof

29

More of us are taking an analytical approach in our home life, setting objectives and measuring our performance in order to maximise our potential


30

margin of proof Just when we think life can’t get any faster it steps up another gear! The pressure to become the best you can be, the healthiest you can be and have the perfect work-life balance is a full time pursuit and one that requires us to analyse ourselves and our lives in order to stay on top. In the chaos of our fast paced lives, having a number to hold onto can be comforting. If we know our nutritional RDA, blood pressure and cholesterol level then we can evaluate our lifestyle and make changes that may help us avoid chronic disease. It is a recognised approach in business to review past performance and set development objectives. However, more of us are taking this analytical approach in our home life too and using the kind of measuring devices that would once have been relegated to the doctor’s surgery. Street artists,The Wooster Collective have seen this obsession with self-improvement as inspiration for a piece called‘Take the Stairs’ which takes the stickman style figures we know from road signs and uses them to highlight what will happen to your waistline if you don’t take the stairs.

on.00.90 00NN 83/000

In a world of ambiguity and grey areas, there is something enticing about the reliability and definitive nature of mathematics and science. There is something immediate and decisive about an equation, a pictogram, a date or even a number standing alone. Where languages change, numbers stay the same, unifying us with the same piece of information no matter where we are in the world. The Margin of Proof palette is constructed of masculine neutrals with an architectural appearance. These sophisticated tones of putty, plaster and brick should provide the largest proportion of the colour scheme and then be enriched with full bodied deeps like darkest emerald or oxblood.The brightest accents are a small but important touch as they add the graphical edge. Here bright teal, scarlet and ochre provide a surprising and mature alternative to more primary accents. This is a mature and measured palette which will complement natural materials like dark wood, marble and cork as well as concrete.

ON.00.10 00NN 05/000

on.00.81 30YY 68/024

On.00.60 50YR 38/017

g0.05.80 30Yy 69/048

P0.50.40 70gG 16/390

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d6.15.55 70yr 33/175

b0.25.25 09yr 05/305

Q0.20.30 30BG 10/111

c4.20.40 30yr 16/162

e6.63.47 00Yy 23/557

r0.10.60 50bg 32/114

Cn.02.57 60yr 33/047

fN.02.47 30yy 20/029

e8.15.65 10yy 41/175

F6.10.70 30yy 53/125

e8.05.70 90yR 55/051


33 Appreciation

Roots

Urban

Story telling

pride

Folk ‘Not all those who wander are lost’

Cultural identity

J.R.R. Tolkien


We all want to be part ofsomethingthat is bigger than ourselves Reconnecting with our roots reminds us where we have come from


37

Urban

Folk

Patternsinfolkartdifferwidely aroundtheworldbutalthoughthe narrative changes there is a common sense of warmth and community


38

TheUrbanFolkpaletteisalivewith friendly and robust shades which feel familiar but look very new

Urban

Folk


40

Urban

Folk In times of uncertainty we look for what we know and understand. The patterns and traditions of folk art differ widely around the world but although the narrative changes there is a common sense of warmth and community which is captured by their simple designs and rich colours. Once relegated to Grandma’s house, the traditional mentality of folkloric design is being made new again by a fresh generation who want to tell a story through the things that they create to form an emotional connection with their audience. As industry grew in developing markets, vast quantities of the population moved to the primary cities to find work and earn better wages, but many around the world have found the price of being cut off from their children and loved ones too great a price to pay. We now see, particularly in China, individuals moving away from these metropolises to smaller towns and cities in order to find balance and a better quality of life. However, this is not about returning to the old ways as the knowledge and technology of the city goes with them. The benefit of fusing old and new is something Chinese homeware brand Jia is exploring. Jia invites international designers from different cultural backgrounds to reinterpret Chinese customs such as tea culture into a new direction in modern design. In this way many brands are learning from yesterday to enrich today.

As individuals we want to be part of something that is bigger than ourselves. Reconnecting with our roots reminds us where we have come from. Storytelling has long been the chosen tool for passing down lessons from generation to generation but as the flexibility of the tablet has reduced the commonality of the printed word, so the book is becoming an inspiring symbol of communication. Literary texts, calligraphy, and the handwritten letter have a new elegance and value in this electronic age. The Urban Folk palette is alive with friendly and robust shades which feel familiar but look very new. Combine similar shades for a harmonious story like plum, damson and burgundy and then add a surprise contrast of ochre or light petrol blue to create something more personal.Though our natural landscapes are all very different we can all relate to these authentic tones of heavy silks and cosy yarns as they have appeared in folkloric design around the world since storytelling began.These colours are inspired by the homely shades of a cross-stitch pattern, the bright ornamentation of Russian dolls, the light and cheery decoration of Scandinavia and the sumptuous fabrics of India, South America and China. This is a trend which captures all the positivity of times gone by and wraps it up in a contemporary and very relevant way.

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b6.15.65 10yr 41/223

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c0.40.40 10yR 17/465

z0.05.20 30rr 08/044

P0.20.40 90gg 19/151

r9.35.22 70bg 09/171


43 Blurred

Fragile

Diffused

Floral

ign Müller Van Tol, interior des

by Bas van Tol

Intangible

s make y a w l a s r e ‘Flow ppier, and a h , r e t t e b e l peop are more helpful; they sunshine, food and medicine for the soul’ Luther Burbank


c and curious with This look is romantic, poeti misty shades adding a subtle veil of surprise


47

trend This fascinating explores the idea of the more harnessing barely there, the fleeting and the ephemeral


48

underpin Floral motifs this trend, but not bright frothy blooms, rather delicate blurred designs which are open to interpretation


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When the first shards of light shine through the trees or the kiss of dusk embraces the garden a kind of magic falls over the space, diffusing its colours and creating a sense of mystery. This is a fascinating trend which explores the ideas of harnessing the barely there, the fleeting and the ephemeral. Finnish artist Sanna Kannisto has achieved this by capturing rainforest flora and fauna with a mobile studio constructed in the branches. The result, is images that truly capture their subject matter but with an otherworldly quality. Many other artists have employed the intangible quality of projected images of nature such as branches and trees to add a fragile quality to urban spaces. Adding a touch or magic in this way makes us think again about how we view our environment and adds light into the darkest corners of the city. Florals are the motif that underpins this trend, not bright frothy blooms, but rather delicate fragmented or blurred designs which are open to interpretation by the viewer. Hautology is the aesthetic of encompassing the barely there and is an idea that is inspiring the music world as well as art and design. William Basinski started to create‘The Disintegration Tapes’, a series of recordings almost a decade ago, that are only now striking a chord with their mysterious sounds.

Though this look is romantic, it is also poetic and curious with misty shades adding a subtle veil of surprise so that the overall effect is feminine but enigmatic. Mercury mirrors and distressed fabrics add a sense that objects are only on loan to us for a short time and will in the end return to nature. The Secret Garden palette is filled with soft, smoky tones. Imagine ripe plums, almost neutral tones of lilac and that perfect shade of delicate dove grey. An array of greens from dark spruce to charming pastel shades of mint, make it easy to create a sensitive tone-on-tone tranquil effect. Neutrals are important here but they are always tinted with the slightest touch of rose or lavender. Fragile and ethereal materials like voile, lace and frosted glass complete the look and add a layered quality.

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53 Sharing

Provocative

Energetic

Interactive Collaborative

‘Life is far too important a thing de Oscar Wil ’ t u o b a ly s u io er s lk a t o t ever


Create something

just for the

fun of it!


57

Cut loose and embrace

the impermanence of cheap and

throw-away materials to

create imperfect design

and dramatic

patterns


58

Raise an eyebrow

or two, encouraging a

smile

or stimulate a

conversation


60

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g4.40.70 70yY 59/485

There is a time for thinking and a time for taking action.Tired of standing still and waiting for projects to slowly take shape, many individuals and collectives want to make a change now! This trend has energy and exuberance; create something just for the fun of it, on your own or through exciting collaborations. Here designers are cutting loose and embracing the impermanence of cheap and throw-away materials to make imperfect design and dramatic patterns. This is not about building something that stands the test of time but raising an eyebrow or two, encouraging a smile or stimulating a conversation in the here and now. Once the domain of street artists, hack design and graffiti are now nudging their way into the mainstream. Not content with an object’s original form, hack design or hacktivism takes an existing piece and redesigns it to look more individual or to meet a totally different function. Urban artists such as Banksy have broken down barriers and silenced many critics that once

thought this genre of expression was crass and simplistic. Hotel Au Vieux Panier in Marseille, France annually redesigns five rooms by using artists and designers to create a unique flavour to each space. Recently graffiti artist Tilt created ‘panic room’ for the hotel, a half graffiti half blank space.The contrast of chaotic and serene, vivid and bland creates a striking effect and shows that even unrestrained art like this is being absorbed into society. Which sparks the question, what will the new provocative and powerful form of art be? This palette says ‘get up and go for it!’ This is a high octane, energetic medley of colours where anything goes. Clash and contrast or combine and blend to create a riot of colour, or something a little more paired back. Fizzy lemon and intense teal rub shoulders with bright emerald green, lime, violet and fiery orange. Blues in this palette come in all shapes and sizes too, from navy to ultramarine, sky and pale cyan; there is something for everyone.

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63 colours This section of ColourFutures presents all colours chosen for 2014 as colour families: Reds, Oranges, Yellows, Greens, Blues and Violets followed by Warm and Cool Neutrals. At the bottom of each page you can see the transition of each hue over the years.


reds

oranges

65

With lots of variety this palette is more about pinks and pinkish reds than anything hard or fiery. Crisp urban pinks that are playful and fun sit against soft blush reds and flesh tones.The popularity of very dark red continues with burgundy so dark it is almost black.

The overall feeling of oranges this year is mellow and well seasoned. These are the colours of roasted pumpkin, ground cinnamon and turmeric and have a much greater yellow influence than recent years.The almost black browns of last year have changed into softer mid toned rose browns with a warm earthy quality.

Key Red: For the last couple of years we have seen reds becoming warmer and more robust. This continues for 2014 with a deep maroon inspired by folk fabrics and ornamentation from around the world and a more architectural, measured approach to design.

Key Orange: Fiery and intense this is the kind of colour that wants to stand up and be noticed. Occurring in nature through sunsets, the petals of theTiger Lily and the flesh of the Persimmon fruit, this shade still feels authentic and organic and not synthetic as many bold colours do.

KEY COLOUR 2014

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KEY COLOUR 2014

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Red’s transition: The neutralised and greyed-off pinks which dominated last year’s palette have moved aside to make way for a cleaner and more dynamic palette. The pretty and feminine shades of 2012 have bought a smart suit and gained a swagger in their step. These are reds with attitude. 2009

2010

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2012

2013

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Orange’s transition: This colour has slightly evolved from last year’s papaya taking on a little more red for an even fierier effect. Becoming progressively more powerful since 2011 this colour family now packs a real punch. 2009

2010

2011

2012

2013


Yellows

greens

67

The most important growth area for 2014: greens come in all shapes and sizes.The character of these colours fall into four groups but most have a blue undertone: clean dynamic urban greens like lime, jade and emerald, neutralised greens influenced by grey and brown, whites with a hint of green and a very natural leafy shade.

Last year’s larger palette of more greyed-off shades has reduced down to a small but important selection of yellows.Taking four distinct characters this hue area is made up of: the soft, almost green yellow of new leaves and shoots, eye catching primary yellow, spicy ochre and barely there whites with a tint of yellow.

Key Green: This influential colour has a magical quality which captures the tranquillity and grandeur of vast lakes and undiscovered forests. Lying in between green and blue it possesses the power of both; balanced, tranquil and calming but in its depth you will also find drama and unexpected warmth.

Key Yellow: Recognisable in countless traditional folkloric fabrics and patterns this yellow is as old as saffron itself but feels incredibly new when combined with other colours. Use it to add a quirky twist and make the mundane, extraordinary.

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KEY COLOUR 2014

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KEY COLOUR 2014

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Yellow’s transition: The subtle hint of olive that influenced last year’s key yellow has melted away and in its place the warmer tones of nectar, mustard and amber return. Do not discount green toned yellows as they are still important but no longer hold centre stage. 2009

2010

2011

2012

2013

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j0.05.75 10gy 58/105

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Green’s transition: Last year’s greens moved from a notable yellow character to shades which in the main trod a line between green and blue.This trend continues with our teal Colour of the Year, but last year’s soft spruce is now darker, richer and more evocative. 2009

2010

2011

2012

2013


blues

violets

69

2013 was all about blue and this continues to be an important, varied and inspiring colour area. As we see greens becoming increasingly blue, so blues with a green edge also come back into vogue with the re-emergence of teal, aqua and turquoise against more degraded green greys and cooler tones of sky blue and indigo.

Cool and sophisticated this palette of darkest berry and shadow like lavenders is almost a collection of tinted neutrals drifting away from last year’s pretty plum and amethyst tones. One clear violet remains with a pink character, resembling the petals of a Heliotrope flower. Key Violet: Lavender grey is a soft and very flattering shade becoming popular in interiors and cosmetics for its subtly different nuance on grey. The colour of the dried flowers themselves, this shade has a demure and understated quality.

Key Blue: A close cousin to the Colour of the Year this shade also falls into the teal family. Cool and mysterious it is only used by nature to decorate its most elaborate creations; a peacock feather, the wing of a butterfly or a topaz jewel.

KEY COLOUR 2014

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KEY COLOUR 2014

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Blue’s transition: Since 2010 the blue colour palette has been getting cooler until last year when we saw a purple influence in our indigo Colour of the Year. The depth and strength of colour remains bold and robust but a green influence gives this palette a more oceanic feel. 2009

2010

2011

2012

2013

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Violet’s transition: Since 2009 violets have been getting darker and more robust in nature until last year’s shade, which was such a dark berry, it was almost black. The general feeling of the palette for 2014 is much softer and easier to use with violet becoming more of an influence than a colour in its own right. 2009

2010

2011

2012

2013


Warm neutrals This is a palette of chic and modern material tones that works effortlessly with colour or to stunning effect on their own. Sandstone, camel and caramel add richness; mushroom and taupe make the perfect canvas, and whisperingly light shades of hessian and pearls add delicate warmth. Key Warm neutral: Some of the most interesting colours sit in the space between two hues and this year’s warm neutral palette focuses on a shade which treads lightly between warm and cool. A pale taupe with the slight hint of rose and pewter, it is an essential in creating an easy to live with modern colour scheme.

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cool neutrals

71

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This year’s palette covers the full achromatic spectrum from the black of Indian ink, through charcoal and concrete to feathery down like greys which are barely there.There are also shades with a hint of warmth found in driftwood, pebbles and the majesty of a rocky mountain landscape. Key Cool neutral: When grey first became a trend colour it was hard, masculine and tricky to live with. Informed by several years of wearing and decorating with warm shades of grey we now move back to a cooler shade that possesses ease and sophistication and works perfectly with greens and blues.

Fn.02.47 30yy 20/029

KEY COLOUR 2014

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2011

2012

2013

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Warm neutral’s transition: Over the last three years key shades in this colour area have had a grey edge with a small dash of a different hue giving them character. With a similar feel to last year’s shade this colour has a tiny pinch of red lending it warmth and accessibility. 2010

ON.00.10 00NN 05/000

KEY COLOUR 2014

fn.02.85 50yr 83/003

2009

On.00.60 50YR 38/017

Cool neutral’s transition: Looking back over the last five years there is a pattern emerging where our key cool neutral is almost white one year and then a more characterful grey the next. This year’s most important grey is very similar to that of 2012, but where that shade had a slight green undertone, the influence for 2014 is blue, resulting in an architectural concrete grey. 2009

2010

2011

2012

2013


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cf14-MOP-8

cf14-SG-13 cf14-V-1

p12-19 ø cf14-MOP-19

cf14-INTRO-2

cf14-DIN-2 cf14-UF-5

cf14-UF-15

cf14-SR-10

cf14-DIN-12 cf14-SR-21

cf14-SR-11

cf14-INTRO-3

cf14-COY-1

p22-29 ø

margin of proof cf14-SR-1

cf14-DIN-21

cf14-SG-3 cf14-Y-2 cf14-SG-14

cf14-UF-6

cf14-MOP-9

cf14-DIN-3

cf14-SG-4

cf14-MOP-20 cf14-UF-16

cf14-SR-12

cf14-V-2

cf14-DIN-13 cf14-SG-15

cf14-UF-7

cf14-V-3 cf14-DIN-22

p62-71 ø

cf14-DIN-4 cf14-SR-13 cf14-UF-17 cf14-UF-8

cf14-MOP-10

cf14-SR-2

cf14-SG-16 cf14-SG-5

cf14-MOP-21

cf14-WN-1 cf14-DIN-14

p32-39 ø cf14-DIN-5

cf14-COY-2

cf14-MOP-1

cf14-Y-3

cf14-SG-17

cf14-MOP-11

cf14-DIN-15

cf14-SR-3

cf14-R-1

cf14-SR-14 cf14-UF-9

cf14-MOP-2

cf14-UF-18

cf14-G-1

cf14-SG-6

cf14-MOP-12 cf14-COY-3

cf14-TITLE-2

cf14-SG-18

cf14-WN-2

cf14-DIN-6

cf14-SR-4 cf14-SR-15

cf14-MOP-3

cf14-R-2 cf14-UF-10

cf14-WN-3

cf14-MOP-13 cf14-DIN-16

cf14-SG-19 cf14-COY-4

cf14-R-3

cf14-UF-1 cf14-UF-19

cf14-SR-5

cf14-DIN-7

cf14-SG-7

cf14-G-2

cf14-CN-1

cf14-G-3

cf14-CN-2

cf14-B-1

cf14-CN-3

cf14-DIN-17

cf14-SG-20 cf14-SR-16

cf14-MOP-4 cf14-UF-11

cf14-MOP-14

cf14-SG-8

cf14-COY-5

cf14-SR-6

cf14-SR-17

cf14-MOP-5

cf14-MOP-15

cf14-UF-2

cf14-UF-12

cf14-UF-20

cf14-SG-9

cf14-SG-21

cf14-DIN-8

cf14-DIN-18

cf14-O-1

For the online version of the book, please go to www.colourfutures.com


TM

mation regarding this artwork, please contact the ementation Team at: Limited Branding Agency l Close 0QN om 814 9922 814 9024 ridge.com

TAILS DULUX

E:

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For more information regarding this artwork, please contact the Creative Implementation Team at: Design Bridge Limited International Branding Agency 18 Clerkenwell Close London EC1R 0QN United Kingdom T +44 (0)20 7814 9922 F +44 (0)20 7814 9024 www.designbridge.com

DLUX

R:

ALBA OFFPACK LOGO

N

10.03.11 AS

:

DB

NAGER:

PROJECT DETAILS DULUX

CLIENT NAME:

DIGITAL LITHO

ESS:

DLUX

JOB NUMBER:

VARIOUS

:

DESCRIPTION

BRUGUER OFFPACK LOGO

DATE:

11.03.11 AS

ORIGINATOR:

DB

PROJECT MANAGER:

VERSION NUMBER:

1

PRINT PROCESS:

DIGITAL LITHO

SUBSTRATE:

VARIOUS

FONTS USED:

WORK

FILE USAGE

ARTWORK VERSION NUMBER:

AGE

1

FINAL ARTWORK

K

CUTTER GUIDE:

MOCK UP 200mm - DO NOT SCALE THIS MEDIA BOX

Y

COLOUR USAGE

C

M

Y

K

CUTTER GUIDE:

ED

d by:

COPY CHECKED Copy checked by:

SIGN-OFF Designer:

Creative / Design Director:

sign Director:

Client Services / Implementation Project Manager:

es / Implementation Project Manager: Implementation:

ion: Client: Sign off via email: Important Notice Fonts will not be supplied with this artwork. The client or the client’s third party supplier is responsible for ensuring that it has obtained all fonts and necessary licences. All special colours specified are from the Pantone matching system unless otherwise stated. The colours on this printout are not accurate and are intended to be used as a guide only, do not use for matching purposes unless otherwise stated. This artwork file is repro ready, but does not contain important information such as trap/grip/choke etc, these need to be applied by a reprographics specialist. Whilst every effort is made to ensure the accuracy of the text in this artwork, Design Bridge cannot accept responsibility for any errors or omissions. © Design Bridge 2009. All intellectual property reserved. Pending payment of full contract price. See terms and conditions.

Sign off via email:

ce be supplied with this artwork. The client or the client’s plier is responsible for ensuring that it has obtained all ssary licences. All special colours specified are from the hing system unless otherwise stated. The colours on this t accurate and are intended to be used as a guide only, or matching purposes unless otherwise stated. This epro ready, but does not contain important information /grip/choke etc, these need to be applied by a specialist. Whilst every effort is made to ensure the he text in this artwork, Design Bridge cannot accept or any errors or omissions. © Design Bridge 2009. All operty reserved. Pending payment of full contract price. conditions.

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For more information regarding this artwork, please contact the Creative Implementation Team at: Design Bridge Limited International Branding Agency 18 Clerkenwell Close London EC1R 0QN United Kingdom T +44 (0)20 7814 9922 F +44 (0)20 7814 9024 www.designbridge.com

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ing this artwork, please contact the am at:

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PROJECT DETAILS DULUX

CLIENT NAME:

DULUX

DLUX

CORAL OFFPACK LOGO

09.03.11

AS

JOB NUMBER:

DLUX

DESCRIPTION

DULUX OFFPACK GLOBAL LOGO

DATE:

09.03.11

ORIGINATOR:

AS

PROJECT MANAGER:

DB

PRINT PROCESS:

DIGITAL LITHO

SUBSTRATE:

DB

VARIOUS

FONTS USED:

DIGITAL LITHO

VARIOUS FILE USAGE

ARTWORK VERSION NUMBER:

1

FINAL ARTWORK

K

1

MOCK UP COLOUR USAGE

200mm - DO NOT SCALE THIS MEDIA BOX

UMBER:

CUTTER GUIDE:

C

M

Y

K

CUTTER GUIDE:

COPY CHECKED Copy checked by:

SIGN-OFF Designer:

Creative / Design Director:

Client Services / Implementation Project Manager:

Implementation:

ntation Project Manager: Client: Sign off via email: Important Notice Fonts will not be supplied with this artwork. The client or the client’s third party supplier is responsible for ensuring that it has obtained all fonts and necessary licences. All special colours specified are from the Pantone matching system unless otherwise stated. The colours on this printout are not accurate and are intended to be used as a guide only, do not use for matching purposes unless otherwise stated. This artwork file is repro ready, but does not contain important information such as trap/grip/choke etc, these need to be applied by a reprographics specialist. Whilst every effort is made to ensure the accuracy of the text in this artwork, Design Bridge cannot accept responsibility for any errors or omissions. © Design Bridge 2009. All intellectual property reserved. Pending payment of full contract price. See terms and conditions.

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h this artwork. The client or the client’s ble for ensuring that it has obtained all All special colours specified are from the ess otherwise stated. The colours on this are intended to be used as a guide only, urposes unless otherwise stated. This does not contain important information c, these need to be applied by a st every effort is made to ensure the artwork, Design Bridge cannot accept r omissions. © Design Bridge 2009. All Pending payment of full contract price.

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For more information regarding this artwork, please contact the Creative Implementation Team at: Design Bridge Limited International Branding Agency 18 Clerkenwell Close London EC1R 0QN United Kingdom T +44 (0)20 7814 9922 F +44 (0)20 7814 9024 www.designbridge.com

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For more information regarding this artwork, please contact the Creative Implementation Team at: Design Bridge Limited International Branding Agency 18 Clerkenwell Close London EC1R 0QN United Kingdom T +44 (0)20 7814 9922 F +44 (0)20 7814 9024 www.designbridge.com

PROJECT DETAILS CLIENT NAME:

DULUX

JOB NUMBER:

DLUX

DESCRIPTION

DULUX VALENTINE OFFPACK LOGO

DATE:

10.03.11

ORIGINATOR:

PROJECT DETAILS

AS

PROJECT MANAGER:

DULUX

CLIENT NAME:

DB

DLUX

JOB NUMBER:

PRINT PROCESS:

DIGITAL LITHO

SUBSTRATE:

VARIOUS

DESCRIPTION

FLEXA OFFPACK LOGO

DATE:

08.03.11 AS

ORIGINATOR:

FONTS USED:

PROJECT MANAGER:

FILE USAGE

ARTWORK VERSION NUMBER:

1

DB

PRINT PROCESS:

DIGITAL LITHO

SUBSTRATE:

VARIOUS

FONTS USED:

FINAL ARTWORK MOCK UP

FILE USAGE

ARTWORK VERSION NUMBER:

200mm - DO NOT SCALE THIS MEDIA BOX

COLOUR USAGE

M

Y

K

1

FINAL ARTWORK

CUTTER GUIDE:

MOCK UP 200mm - DO NOT SCALE THIS MEDIA BOX

C

COLOUR USAGE

C

M

Y

K

CUTTER GUIDE:

COPY CHECKED Copy checked by:

COPY CHECKED

SIGN-OFF

Copy checked by:

Designer:

Creative / Design Director:

SIGN-OFF Designer:

Client Services / Implementation Project Manager: Creative / Design Director:

Implementation: Client Services / Implementation Project Manager:

Client: Sign off via email: Important Notice Fonts will not be supplied with this artwork. The client or the client’s third party supplier is responsible for ensuring that it has obtained all fonts and necessary licences. All special colours specified are from the Pantone matching system unless otherwise stated. The colours on this printout are not accurate and are intended to be used as a guide only, do not use for matching purposes unless otherwise stated. This artwork file is repro ready, but does not contain important information such as trap/grip/choke etc, these need to be applied by a reprographics specialist. Whilst every effort is made to ensure the accuracy of the text in this artwork, Design Bridge cannot accept responsibility for any errors or omissions. © Design Bridge 2009. All intellectual property reserved. Pending payment of full contract price. See terms and conditions.

Implementation:

Client: Sign off via email: Important Notice Fonts will not be supplied with this artwork. The client or the client’s third party supplier is responsible for ensuring that it has obtained all fonts and necessary licences. All special colours specified are from the Pantone matching system unless otherwise stated. The colours on this printout are not accurate and are intended to be used as a guide only, do not use for matching purposes unless otherwise stated. This artwork file is repro ready, but does not contain important information such as trap/grip/choke etc, these need to be applied by a reprographics specialist. Whilst every effort is made to ensure the accuracy of the text in this artwork, Design Bridge cannot accept responsibility for any errors or omissions. © Design Bridge 2009. All intellectual property reserved. Pending payment of full contract price. See terms and conditions.

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ork, please contact the

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For more information regarding this artwork, please contact the Creative Implementation Team at: Design Bridge Limited International Branding Agency 18 Clerkenwell Close London EC1R 0QN United Kingdom T +44 (0)20 7814 9922 F +44 (0)20 7814 9024 www.designbridge.com

PROJECT DETAILS DULUX

CLIENT NAME:

DLUX

JOB NUMBER:

ACK LOGO

TM

DESCRIPTION

LEVIS OFFPACK LOGO

DATE:

08.03.11

For more information regarding this artwork, please contact the Creative Implementation Team at: Design Bridge Limited International Branding Agency 18 Clerkenwell Close London EC1R 0QN United Kingdom T +44 (0)20 7814 9922 F +44 (0)20 7814 9024 www.designbridge.com

AS

ORIGINATOR: PROJECT MANAGER:

HO

DB

PRINT PROCESS:

DIGITAL LITHO

SUBSTRATE:

VARIOUS

PROJECT DETAILS

FONTS USED:

FILE USAGE

1

ARTWORK VERSION NUMBER:

1

FINAL ARTWORK

CLIENT NAME:

DULUX

JOB NUMBER:

DLUX

DESCRIPTION

MARSHALL OFFPACK LOGO

DATE:

11.03.11

ORIGINATOR:

AS

PROJECT MANAGER:

DB

PRINT PROCESS:

DIGITAL LITHO

SUBSTRATE:

VARIOUS

FONTS USED:

CUTTER GUIDE:

FILE USAGE

COLOUR USAGE

C

M

ARTWORK VERSION NUMBER:

Y

K

CUTTER GUIDE:

1

FINAL ARTWORK MOCK UP 200mm - DO NOT SCALE THIS MEDIA BOX

200mm - DO NOT SCALE THIS MEDIA BOX

MOCK UP

COLOUR USAGE

C

M

Y

K

CUTTER GUIDE:

COPY CHECKED Copy checked by:

COPY CHECKED Copy checked by:

SIGN-OFF

SIGN-OFF

Designer:

Designer:

Creative / Design Director:

Creative / Design Director:

Client Services / Implementation Project Manager:

ect Manager:

Client Services / Implementation Project Manager: Implementation:

Implementation:

Client: Sign off via email:

Client:

n off via email:

Important Notice Fonts will not be supplied with this artwork. The client or the client’s third party supplier is responsible for ensuring that it has obtained all fonts and necessary licences. All special colours specified are from the Pantone matching system unless otherwise stated. The colours on this printout are not accurate and are intended to be used as a guide only, do not use for matching purposes unless otherwise stated. This artwork file is repro ready, but does not contain important information such as trap/grip/choke etc, these need to be applied by a reprographics specialist. Whilst every effort is made to ensure the accuracy of the text in this artwork, Design Bridge cannot accept responsibility for any errors or omissions. © Design Bridge 2009. All intellectual property reserved. Pending payment of full contract price. See terms and conditions.

Sign off via email:

k. The client or the client’s ng that it has obtained all ours specified are from the stated. The colours on this o be used as a guide only, ss otherwise stated. This ain important information d to be applied by a rt is made to ensure the gn Bridge cannot accept © Design Bridge 2009. All ment of full contract price.

Important Notice Fonts will not be supplied with this artwork. The client or the client’s third party supplier is responsible for ensuring that it has obtained all fonts and necessary licences. All special colours specified are from the Pantone matching system unless otherwise stated. The colours on this printout are not accurate and are intended to be used as a guide only, do not use for matching purposes unless otherwise stated. This artwork file is repro ready, but does not contain important information such as trap/grip/choke etc, these need to be applied by a reprographics specialist. Whilst every effort is made to ensure the accuracy of the text in this artwork, Design Bridge cannot accept responsibility for any errors or omissions. © Design Bridge 2009. All intellectual property reserved. Pending payment of full contract price. See terms and conditions.

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re information regarding this artwork, please contact the e Implementation Team at: Bridge Limited tional Branding Agency kenwell Close EC1R 0QN Kingdom 0)20 7814 9922 0)20 7814 9024 esignbridge.com

CT DETAILS DULUX

NAME:

DLUX

UMBER:

SADOLIN OFFPACK LOGO

IPTION

17.03.11 AS

NATOR:

CT MANAGER:

DB

PROCESS:

DIGITAL LITHO

RATE:

VARIOUS

USED:

SAGE

ORK VERSION NUMBER:

1

ARTWORK

K UP

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nt Notice ill not be supplied with this artwork. The client or the client’s rty supplier is responsible for ensuring that it has obtained all nd necessary licences. All special colours specified are from the e matching system unless otherwise stated. The colours on this t are not accurate and are intended to be used as a guide only, use for matching purposes unless otherwise stated. This file is repro ready, but does not contain important information s trap/grip/choke etc, these need to be applied by a aphics specialist. Whilst every effort is made to ensure the y of the text in this artwork, Design Bridge cannot accept ibility for any errors or omissions. © Design Bridge 2009. All ual property reserved. Pending payment of full contract price. ms and conditions.

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