Pantone your Street - International Klein Blue and Examples

 Yves Klein: International Klein Blue

IKB, known as International Klein Blue was patented by Yves Klein, a French Conceptual artist, in 1957. He registered the formula for the blue he used for his famous blue monochrome paintings. The formula included a certain amount of ‘Rhodopas MA’ which was made from ethyl alcohol and ethyl acetate. By suspending pure ultramarine pigment the synthetic resin, Rhodopas, he was able to create a paint that did not lose luminosity, which was a problem when using traditional linseed oil suspensions. Varying the concentration of the pigment and the type of solvent used in the paint means it can be used with a brush, roller or a spray gun making it highly versatile. Klein believed the colour had a quality similar to pure space and associated it with immaterial values beyond what can be seen or touched. The pigment has a rich, velvety texture which creates the appearance of depth, whilst also appearing to float above the surface it is used on. He described his blue monochrome paintings as having different atmospheres despite using the same blue treated in the same way. In graphic design IKB has become increasingly popular, with it mainly being used in a monochrome palette or with another colour such as red or florescent green. Other RGB colours are difficult to recreate in print, however IKB does transfer without the need of florescent inks. To create the colour all other colours can be shut off to leave a vivid blue which retains its intensity when printed.

International Kline blue in graphic design

 

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Sagmeister and Walsh’s rebrand of the Jewish museum used blue because of its significance in Jewish culture and as a reference to Tekhelet, which is a dye mentioned in the Hebrew bible. The use of IKB and neon reds and oranges provide a modern and up to date branding.

The use of IKB by Katharina Drasdo with the typography ‘experimental what?’ suggests a reference to the experimental techniques such as risograph printing which encouraged the surge in popularity of the use of IKB in graphic design. This work seems to question whether the colour is experimental anymore.

The use of IKB is the most appropriate colour to use in this context. This represents the essence of Klein’s work making it the obvious choice for an exhibition notice.

Studio Dunbar created a new identity for OVG real estate in which they aimed to create the idea of strength and rigour in the logo, which would then be projected onto different shapes to create a ‘living’ identity. IKB creates a luminosity that makes the colour ‘float’ on a surface which further evokes the feeling of an organic changing form. Blue is also associated with reliance which reflects the company’s desire to be seen as reliable and bright blue creates a sense of energy which enhances the ‘living’ identity concept. 

This poster series by My Name Is Wendy uses IKB to great effect and further emphasises the glowing qualities of the colour through the use of increasing dots which creates a heightened sense of depth and radiance.

Summer Studio’s proposal for the identity of the Royal College of Art show 2016 was based upon the concept of individual achievement and collective spectacle which was visualised through the use of a ‘dancing’ typeface, which would evoke a sense of movement, with each letter having their own dance routine. It would be used in animations on the web and in printed material. IKB is effective across both web and print based material and can retain its vibrancy when converted from RGB, making it ideal for a multiplatform identity. The colour also evokes a sense of energy which ties in with the concept of movement within the design. The use of IKB on a white background makes it stand out further and reinforcing the idea of a spectacle.