2. S.N.C.F. French Railways Network
Half-way through the normal lifespan of a train, after 15 years of the legendary T.G.V. South-East orange colour which had not aged well, the question was asked as to how to capitalise on the technological success of the high-speed train, its successes, records and prestigious image while at the same time thinking about a new coat for the train? . A3DC put forward the idea of a red colour to give a new lease of life to the livery in a competition of designers and colourists. In the end the S.N.C.F. opted for the blue of the recently-launched T.G.V. Atlantique to standardise the fleet and take advantage of this latest success. However, the red that was suggested by A3DC for the T.G.V. Sud-Est, when it underwent its first maintenance, was in line with the executive organisation of the main lines of the S.N.C.F on the colour circle: yellow in the north, orange in the east, red in the south, blue in the west… Paris, which was an accurate reflection of rail transport in France, was considered to be the centre of the colour circle.
3. Hino Motors, Japan
Hino Motors, which is commonly known as Hino in Japon, manufactures lorries, tourist coaches and buses, cars and HGV, and has been the leading manufacturer of diesel lorries in Japan for 40 years. After having started to produce Renault vehicles under licence in 1953, it is today a subsidiary of the Toyota Group. It asked A3DC to create the interior ambiances for a line of prestigious coaches for well-to-do Japanese tourists. Using colour-design means deciding on the coloured ambiances of the travellers’ areas, the colours and decoration of the bodywork, designing all the textile coverings, and in particular drawing the sketches of the seat fabrics which were coordinated with the graphic designs and colours of the livery of a range of coaches that conveyed a highly-prestigious brand image.
4. Honda Motors, Japan
External consultants always have greater freedom than in-house designers. And in particular a gift to brush aside constraints. More headroom, more openings, more direct contact with external influences and more culture mixes. Japanese manufacturers, in order to respond to western expectations, have thus got into the habit of regularly consulting European designers, who are thus external to their in-house design departments, on the colour scheme of their ranges of products. For the colour ranges of its car bodyworks and urban scooters, Honda naturally turned to A3DC to obtain a better understanding of the European market and thereby meet the needs and expectations of its potential buyers as best as possible. In this particular case here, it was targeting a new urban female clientele and fashionable students…
5. Sky Agriculture
Not really a means of locomotion as such but wheeled vehicles nevertheless! When Sulky-Burel, with which A3DC had successfully worked some 25 years ago on the colour scheme of its agricultural sowers and fertiliser spreaders, asked it to carry out a colour study to express the modernity and technology of a new range of equipment, the end result was an innovative and bold bright Chartreuse green. Only softened by a charcoal grey which was designed as the colour of expertise, Sky caused a sensation at the Agricultural Machinery Show in the spring of 2013. Its statement and visibility impressed a lacklustre market. Sky is a true experience of colour for the benefit of a company which has chosen to build in France and whose boldness has provided it with official recognition and an effective encounter with its market. The colour challenge has been so successful that the challenge now lies with the industrial production: producing enough machines to meet the demand…
6. Nissan-Renault Modus
En collaboration avec l’éditeur textile Robert le Héros, retenu par le Design Renault pour son célèbre univers contemporain, à la fois si particulier et si joliment poétique, l’A3DC conçoit les thématiques des déclinaisons graphiques en rapport avec les cibles auxquelles des séries très limitées vont être proposées... Les messages tant coloriels que graphiques sont appliqués à l’univers d’une petite voiture familiale et urbaine, la Modus. Alliant une dimension design et créative, marquée d’une volonté d’innovation, sortant des chemins battus de la conception automobile, les projets des deux équipes, unies un temps dans la même entreprise, abordent des territoires innovants dans le domaine automobile et un discours neuf de la couleur, du style, des marquages et du décor.
7. Aérospatiale Airbus
From 1982 to 1984, the Aérospatiale asked A3DC to work on the colour-design of the cockpit and flight decks of the Airbus A320. There was very little time as the first prototype of the deck had to be presented at the Paris Air Show the following year in 1983. The palette chosen was a harmonious blend of warm beige colours which did not interfere with the readings of all the flight instruments. The lightness scale of the colour scheme was scientifically analysed and validated to comply with aircraft flying standards. The interior elements of the flight cabin, which are mainly comprised of the control panel, ceiling panel, side consoles, the alignment of the window frames, the back panels, the central console, the flight controls and sticks, the seats… are in neutral, soothing, sober shades which ensure that pilots’ concentration is not impaired during their flights.
8. R.A.T.P. Paris Tube, Line 6
The logical association of the light green colour code for line 6 (Charles-De-Gaulle-Étoile/Nation) on the underground maps is used once again for the colours and creation of ambiances of the interior decoration of the tube trains. The panels of the carriages are laminated with a water green lazured wood decoration, and the floor has bluish grey speckles in soft rubber particles under the feet. The coloured ambiance is further highlighted by the seat fabric which shades off from yellow into green with lines of purple square points. A coordinated, innovative purple grey was chosen for the ceiling. There is a variety of shades of green throughout the line as it reflects the identity chosen by the RATP itself… A leaf green colour which works particularly well with a railway line that is by and large in the air offering an incomparable view of the canopy of the plane trees along the major Parisian avenues, the green of the large glass roofs of the 1990 tube stations, the green of the Seine which the line spans in such a poetic manner, between Austerlitz et Bercy...