We wanted a design that responded to the concern of painting watercolors naturally with the possibility of having the colors selected in a circle (and not placed in a linear manner, as in all boxes) and respect for the search for their own taxonomies.

 

To these challenges two more are added: on the one hand, that the circular arrangement of the colors allowed that the mixtures (or sums) of color help the understanding of their characteristics in a circular relationship. And, on the other, that the resulting mixtures turned out to be collated with what was being seen from the natural. Thus, the chosen design responds to all these parameters, in addition to allowing a relationship with what you are perceiving, unlike the standard metal boxes, which carry the predetermined watercolor pads, an orthogonal mixing space and a small rechargeable brush The circular ceramic piece and the visor (in the form of a hole) of our artifact affected a different relationship in the practice of natural painting, and also a direct verification of obtaining the desired color. Finally, the closure of the box is inspired by traditional Japanese bento (or taperes), which are usually held with a handkerchief or rubber. In this way, the brushes (regardless of their shape or size) can be configured inside a rubber to, thus, be carried without problems of space or quantity.

The name of the box is a tribute to the Theory of Colors that Goethe published in 1810. In it, the writer exposes his particular classifications of color according to temperaments and personalities, and makes a unique exercise that was much more related to the arts than to physics, diverging from the Newtonian ordination of the time. A treatise of a sensitivity and a particular taxonomy on color and human perception.

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