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
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.
