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Amtico's in-house designers have poured all their knowledge and skills into creating 25 tones which will change the way you see, experience and use colour. Our in-house Design team in Coventry UK, gives us an insight into how the collection came to be.
DC394 Mason featuring Modernist Lintel, Stucco Pebble, Encaustic Kyanite and Stucco Putty in a Edge laying pattern.
We live our lives armed with cameras and notebooks, to capture inspiration wherever we go. At industry shows, along with a wealth of inspiration from trend books, interior magazines and design blogs; a strand of an idea can begin anywhere, and eventually grow into an Amtico original floor.
We’ve been seeing a strong desire for colour in commercial spaces, with customers using our existing palette of saturated brights, “Spectrum” in inventive and creative ways. With Colour Edit we wanted to create a more useable, sophisticated palette which considers not just colour but the effect it has on a space and in a scheme.
Broken Bond and Bespoke Laying Pattern using Amtico Signature.
Read more - Project: Heriott Watt University.
For Colour Edit, we also developed four original print designs, each of them with carefully crafted features and characteristics to reflect the beauty of the colourways. For example, the refined concrete design of Modernist was created by combining multiple layers of hand-crafted artwork, resulting in gradations of tone and diffused angles. This gives it a unique aesthetic, elevating it far beyond more traditional grey concrete effects.
Artwork samples used in the development of Modernist.
The use of concrete in commercial design is one of the themes we picked up with Modernist. Also, the enduring trend for calming, peaceful spaces promoting wellbeing is interpreted through our natural stone-like design, Encaustic, and the soft brushed plaster texture of Stucco.
This collection has been influenced by a range of colour theory approaches. A visit to Hella Jongerious’ “Breathing Colour” exhibition at London’s Design Museum was a key moment in our research process. Her view of the complexity of colour and how it is created, the effect of light at different times of day and how colour has been standardised and categorised for commercial use, was fascinating to our own understanding and development of colour.
The most important driver in all our research though was our own customers – understanding how they currently use colour and how they would like to use it. We researched their projects from across the globe to identify some of the variables associated with their use of colour, such as the effect of natural or electric light in a space, preferred proportions, colour in materials and textures and how colours are combined in a scheme. We were also interested in the regional and cultural differences in how colour is used and why.
DC385 Gottard featuring Stucco Flax, Stucco Indigo and Tempus Soothe in a Wave Parquet laying pattern. Project: Contemporary Bar.
The design philosophy for Colour Edit is based on colour being seen and interpreted in relation to what’s around it, so over half of the palette is made up of neutral hues containing only measured hints of colour. This means that each of the 25 colours can be interpreted or re-interpreted, depending on the scale, proportion and combinations they are used in.
We considered the presentation of the palette, researching wheels, grids and other ways of presenting colours in an aesthetically pleasing way. The final grid works on the basis of tints and tones, offering complementary colours in a spectrum of shades ranging from light to dark and cool to warm.
All of the prints for Colour Edit were created in-house, so we started with handcrafted artworks, photography and material samples which we filtered and refined through many iterations into inspiration of the four final designs.
Colour grids and wheel used in development.
We have a large studio area where we display our research over every available wall for ongoing inspiration. Group discussion and collaboration is an incredibly important part of our process, so we review each design development phase as a team. Internal “Colour Workshops” were organised to collate research from various shows and exhibitions, where we organised images into palettes and trends or tested colour combinations through digital visualisations and printed samples.
We produced thousands of iterations of colour references, based on a range of sources from natural materials to more standardised Pantone and RAL colours.
Colour matching development print samples.
Our skilled Laying Patterns team also carried out extensive explorations, hand cutting trial products from our factory and experimenting with colour combinations and proportions to develop our new Signature Laying Patterns. Combining laying pattern reseach and colour selection as one collaborative process was crucial to our approach, as this allowed us to focus on the design solutions Colour Edit can provide – by considering the overall colour balance as well as the products’ individual design aesthetics.
Internal colour workshop.
Hand-cut laying pattern trials.
Designed and made in Coventry, and at points directly influenced by the city itself, Colour Edit is inspired by customers across the globe. Much more than LVT flooring, it’s an inspirational toolkit, offering customers a selection of pre-defined flooring designs through the Desginers’ Choice selection, as well as encouraging play and experimentation. It’s our most creative and flexible palette yet, and enables our customers to achieve every creative ambition.
See colour differently. The interplay between the multitude of colourways and textures makes Colour Edit a palette designed to combine.
Colour Edit
