Judith van Vliet: Hello everyone, and welcome back to the Color Authority podcast. Today I'm going to be talking to Andrea HarteA. She was born in Romania and currently lives and works in Italy, where in 2020 she established Raw Color Consulting Studios, where she collaborates with architectural fur, interior designers, and internal companies. She studied visual arts at Naba here in Milan and did a two year program in dynamic hypnosis and analogical psychology also here in Milan. She has researched topics like neuromarketing and neuroeconomics. Her research primarily draws inspiration from psychology and consciousness, her research primarily draws inspiration from psychology and consciousness, focusing on the mechanisms of unconscious and emotional perception. Her fascination with the human experience fuels her exploration of the inner universe as a means to comprehend our surroundings. She provides guidance on implementing a new methodology that helps understand professionals that are engaged with end clients and addressing that challenging question, what colors should we choose? So let's hear what she has to say about that and let her explain this wonderful new methodology. Good morning, Andrea. Welcome to the color authority. How are you today?
Andreea Hartea: Hi Judith . Fine. I'm excited for what we will talk about.
Judith van Vliet: Color is always an exciting topic. So as I was just telling you privately, it's one of my favorite conversations, so every time I do a podcast, I get energized. So that's a good thing, right?
Andreea Hartea: Yeah. You are lucky to meet so many interesting people, really? In a podcast. You know, the whole research that the person used to do for the whole life. So yeah, I think it's energizing, I guess.
Judith van Vliet: Very much so. We're going to talk about everything that obviously you do, and you have an amazingly interesting research that we're just going to share with the audience, at least a little bit of a sneak preview of what you're doing. But the same question is the same as to Andrea, what is color to you?
Andreea Hartea: What is color to me? Well, color to me is that common denominator we share with all people in the world, both sided and visually impaired, that is transcending age, gender, culture, social status. And literally, for me, it's abundance, it's love, it's wealth, it's like being rich. It's like having a budget. And if you spend it makes you happy. This is it. And when I see people who don't use colors into their lives, I feel like they are depriving themselves of a wealth somehow they have at their disposal, but they are afraid to spend it or to be judged, and they keep it really within themselves. Unexpressed. This has gone a lot. Color is abundance.
Judith van Vliet: I think you're the first one to say that color is abundance and that it's wealth, because I've heard many replies. It's the first time that color is wealth. Because you're absolutely right. No matter what your budget is, you can always have color.
Andreea Hartea: Always. Yes. It's reachable for everybody. And I look a lot in nature. And where is color is luxury. But luxury is like from the vital point of view, okay? It's alive, it's rich, it's full, it's abundant. Yeah, abundance.
Judith van Vliet: Abundance. I like that.
Judith van Vliet: So just before we met right now, today, obviously I think that was last week, we did an online research. So you tried me, obviously so I could also understand your tool. So you showed me that the tool that you have developed which we're going to talk about in a little while, but can you share with me and the audience why you're so interested in knowing more about our unconscious behavior? So unconscious behavior that we are not even aware of. So our feelings, our perceptions, where is this coming from?
Andreea Hartea: This question becomes very personal. It's a little bit like an obsession somehow. I'm interested because I'm curious about the why and how of things. I feel like I didn't receive enough to answer when I was a child. To my all question was about why this is like this and why that is in another way. And the answer that I always received was like you are too young to understand but I really was curious to know the why of things and then because I wanted to grasp the motivations behind people's actions. So what drives us to react in a certain way to what is triggering us to behave in a certain way? And when I was young I used to took things very personally and that's when I become passionate about the unconscious mind. Basically when I discovered that 95% of our behavior is automatic, okay, it's conditioned by our personal history. That what I see and what I think. It's a reflection of who I am that the lenses through which I interpret reality don't allow me to perceive things as they truly are but instead they are acquiring like a meaning that I unconsciously project. A whole new world open up to me and I begin to understand myself better. And gradually I understood also the other people. And university, in university we always heard this phrase. They always emphasized to me that art is a shared process. Half of the meaning is given by the artist, the creator of the artwork and the other half it's given by the observer. So this concept of not truly being able to understand others because simply from our perspective we cannot fully do so, truly fascinated me and prompt me to seek a way in which I can read others without projecting myself and see them for who they really are. So with color I could do that.
Judith van Vliet: And we will see how that is super interesting. Even though this was a very personal question, you are actually entering other people's minds as well. Every time you use your tool which we'll dive into in a second, you get to see a little bit of that true person and who they are. And I think that's a great way to talk about color. But also to know the people that you're surrounded with and know how to handle them, how are they feeling? It's very interesting. And I think it's in my personal opinion, I think this is very much the future of where color needs to go and hopefully also is going.
Andreea Hartea: I feel that too. Yeah, there are so many people that are really trying to understand what is the personal thing, personal meaning that we give to things with smell, with colors, with clothing, with everything. It's going well in the right direction.
Judith van Vliet: So you have researched, indeed, just like you said, the effect also of color. You have researched it, you read a lot of studies, of course, like most of us have. But how do you think color is influencing from the research that you've read, how does color influence this and what power does it have on our being and our emotions?
Andreea Hartea: Yeah, I read so many research and I'm so grateful to so many scientists, people, and I need to thank them, even if they don't know me. Like Lisa Barrett, that she's studying she's a neuroscience, that she's studying emotions. Samuel Jackie, that everybody knows. Antonio D'amaggio, mark Solms, stefano Benemilia, that it's Italian research, that he studied hypnosis and unconscious associations. Robert Alanza. Eric Campbell. Donald Hoffman. Who else? Vitctoria Galese, for sure. And lately I discover Carol Safina. He is studying the plants and the subjectivity of the plants. So I just discovered this concept that plants has also a kind of subjectivity that I wasn't really think about. So I study all this. I'm really influenced, I used to every day to deep into this kind of world and theories. And lately, last year, actually, I wanted to test my test too. So to make a test, basically, and to see how effective it is, I wanted to measure it. And I made a public study. And basically, once I understood the chromatic identity, the colors that are important to them, I tested how much I could influence their preference. Among three images that were identical in the shapes was the detail of a bedroom. And one of these three image was fully colored with their own color. And the other two were random from the other people's preference. So out of 31 participants, I got 31 predictable responses. And for me, this was like, wow, I never expected to be so conclusive. I was hoping for an 80% of predictability, but 100% it was truly impressive because color in fact, greatly influence our aesthetic judgment. If we believe that something is beautiful or not, we know that 84.7% of why we believe it, it's on to color. Only after will come in like the shape and the movement. So it's the first thing that touch our body to inform us whether something in front of us is safe or not. It tell us what to think and how to act in a very millimecond without us having to be conscious of it. In fact, fortunately, we are not conscious of it, okay? Because if we would be, our brain battery would last, like, only few minutes in the face of the million of pieces of information that we have to process in a very single moment. And colors are a very significant part of it. And the purpose of colors is indeed to evoke emotions in us, to tell us how we should behave. Should I approach that something or should I run away? Will it benefit me or will harm me? So it's like a preview of what could be. Okay? And for me, emotions are like the bell that guides my reaction somehow. And my reaction, it's built on analogies, on analogies with similar things that have happened in my past, and an external stimuli in the present now may ring that bell both in a positive and negative way from the past. So to conclude, to reassume everything is like the idea that want to be clear is that we don't have a reactive brain, but a predictive brain. And this really it's a new idea for the mass people, okay? For me, not for the scientists. And these words actually are coming from Lisa Barrett, that she's a neuroscientist who is totally, completely revolutionizing the classical view of emotions. So, yes. So because we are predictable, we are also readable if we know how to.
Judith van Vliet: And that's obviously something that we hate. We don't like to be predictable. We don't want others to know how we're feeling, who we are, depending who, of course. Let's say, in your own personal sphere, it's fine that people can read who you are, what you're feeling, but anybody that's outside, we'd rather not have them know what we're doing and what we're feeling and who we really are. So a very big part is basic instinct, right? It's survival. Like, that color. I need to be careful, for example, with types of foods. In the ancient times, certain foods, we just knew they were going to make us sick, obviously, and others were foods that probably were healthy for us. That's also how we indirectly, all of us are inclined towards certain colors and maybe not towards others. But then there's personal experience, as you said. I mean, you grew up in a different country than I am, with different parents, different everything. So there's also that perception, and that's the most difficult one to understand, I guess, in other people. That requires a lot of studying of one person.
Andreea Hartea: In the end, yeah, the limit is the same. It's like I can't read you because I'm influenced by my own personal story.
Judith van Vliet: You're always influenced by your own experience. So when we talk about how color is used today, whether it's used or not, I think there are some improvements to be made in this field, and I know you agree with that. So what do you believe is the big issue out there currently, today, with designers and architects when they are designing a space for their clients. What is the biggest issue?
Andreea Hartea: The biggest issue to design a colored space for their clients? I would say basically due to the lack of institutional and academic education, like updating informations and theories. Professionals often fear color and the personal taste of the client and somehow they're viewing it as a decorative and superficial element, whim or even childish. So they prefer to don't use it. What has happened to color interior design in the last century has never happened before. On one hand, we have the ability to produce color that don't exist and we are also the only animal species capable of adding color where there is none. Okay? We have this capacity and on the other hand, color has disappears from our homes. And before the 19 hundreds, it wasn't like that. First century wealthy individuals aristocrats enriched the interiors with colors and reproduction of nature using precious pigment and the masses tried to copy as the best they could. But the home was never conceived as white because literally a white home is incomplete. It's like a construction site in progress. And what is it? It's like we have emancipated ourselves in the meantime alienating ourselves from our true nature. No, it's a paradox somehow. Are we truly happy living in these white boxes? Because I'm coming from the art world and yeah, I really saw that there is a place where white boxes should and they have a reason to exist. There are the art galleries, okay. Which is why the concept of the Y cube was born. But only because we spend a few minutes there. We are passing through and we don't live inside it. And art gallery, it's literally designed to host objects and not people. So as I say this and I'm thinking to white spaces, I'm shaking just thinking to all those white hospitals, for example, what do you think?
Judith van Vliet: Well, I think if you're not feeling very well and you feel a little bit sick, the last thing you want to look at is white. White then obviously has purpose. It's sterile. So if something's dirty, you'll see it. Okay, you can't see bacterias, but okay, that's a different story. But that's the concept of white. It's pure, it's sterile, it's clean. So there is the practical part of why white is used in hospitals. But I think for the patients it's not a great experience.
Andreea Hartea: No, it's not. There are so many studies in Germany, they are conducted beautiful studies on white hospitals and why the hospital should be the less white place in the world because people go in the hospital to recover. So we are really vulnerable in those places. So really, as you say, is the last thing that you want to see. It's a white environment and I don't know if you know that the worst torture in the world somehow one of the worst, yeah. Using colors or the absence of colors it's the white room. It's an Iranian torture that it's a completely white room. And you are lived there for 24 hours, 48 hours, and you just get insane. In fact, in Germany, I don't remember the hospital name, vupertal, the director of this hospital invited the school research of color of that area because she noticed that people, after an intense surgery, an important surgery in intense care, basically everybody passed through a delirium episode. And this was for the white walls. Okay. And they made a study before and after. They just painted the walls of the hospitals, and they saw so many improvement that are just incredible. Like a medium of 55% less of medication. They subminister it. Yeah, a lot of, like, I don't know how much percent, like 64%. The feeling that improved about privacy, like the person felt more protected just because the walls weren't white. So just color it. So there are so many advantage to live in a colored world. Let's say basically the world, it's colored. If it's colored, there is a reason why. So why I always try to make people to understand it's like white. It's the last option. Actually, it's not an option. And if you know your colors, it's just like a pity. It's like, use it. You will not regret it. Actually, you will love it. This is it.
Judith van Vliet: I have somebody who I am supposedly going to decorate his house, and I'm going to have him listen to this part because obviously the idea is to do white. And I was like, okay, we'll talk about this later. That's not going to happen. White is indeed something that makes you also feel fragile. But talking about white so let's talk about your methodology. So the white or the blank canvas, that's something that a lot of designers, they get excited by all the freedom in the world. For some people, they're like, and now what? What am I supposed to do? Because that means there's absolutely it creates anxiety. They don't know where to start. And this is often due to a lack of knowledge. Like you said, there's not academic knowledge of color within many professionals, creative professionals out there. So you developed a tool to help designers and architects to create at least a starting point. You're going to give them a kit of these are the colors for you or for a client or for the project that are actually going to work. So can you explain what is your methodology and how you help them finding those right colors?
Andreea Hartea: Okay. I understand when you say about the fear of the white canvas, because I was there too, back when I was living of for art. And personally, I feel free when I understand the boundaries within which I can move. Basically, total freedom seems for me to dispersive. And I understand the anxiety that everybody feel at the beginning of the project. But this anxiety comes from not knowing ourselves oneselves and the others, in this case, the client. And yeah, in the beginning, this is what we try to do. It's like to connect with the client and quite often, actually, the client doesn't even know what they want and themselves as well to communicate to someone else, right? And the same happens to colors, actually, even worse, because colors is an abstract concept. We don't used to think about colors, right? And if I ask to a person to name 20 specific shades of color they like, this could be really overwhelmed for them. But after the test, when I show them their 20 colors, let's say it becomes easier for them to recognize and confirm them. And what usually happens, they say, oh yes, these are my colors, here they are. Or look at this, this is me. I see myself in these colors. And basically what the test does is to measure the valence that a color can have for a person. Basically, it's the positive or negative, whether you like it or not. And as I mentioned earlier, the concept of aesthetic pleasure, it's constructed based on the experience with liv and the random colors we were surrounded by in that specific moment. So the Rack color test is like a strainer that from initial set of colors, 230 in the case for interior design, only allows through those that are important for the person. So it's done in three stages. There is the mood induction, where I ask to associate emotion with generally lived experience, positive emotions. If we want to understand the colors that people like, or negative emotions that people want to discover, those colors that they want to avoid, or to become aware of those colors that can create an unpleasant feeling, then I show some in this case of the interior design test to 25 image that are abstract. So the logical part interferes as little as possible and the person has to make choices very quickly. Okay, in the third phase, we determinate which shades have captured their attention always through a series of choices and counter choices. And what I do is stimulating the automatic response, the one that knows and then mediate it with the logical part to reconciliate the two subsides. And in the end, the color that remains are the one that the person registered in the most happiest moment of their life. And those colors are the colors of their happy memories. I used to say like that, and when I say this, I mean that those colors were physically present in one of those moments. So the person can help but like them. Basically. In practice, what I do is guiding the person, the professionals, clients I'm collaborating with, through a process that helps me read the color preference without interfering with the result. So once I do the test, I have the result. I pass the color identity from the test to the professional so he or she can incorporate those colors into the project. So the professionals basically knows which buttons to push and what the clients likes from the beginning. Because in interior design, color is important straight right from the start for creating mood boards, renders, choosing materials, surfaces, paint, walls, furniture, basically everything. And the better you know the colors, the simpler, the more creative the process of selecting all these details may become.
Judith van Vliet: So I did the test, which I thought was pretty amazing, which is all based, indeed, like I said, on instinctive, intuitive feelings and reactions. So the first that comes up is speaking your truth. Right. So it's my truth, judith's truth. So as I imagined, my selection greatly exists out of colors that are warm. So yellow, orange, color family, no, true darks, which I guess it fits, indeed. Yet colors that allow for a lot of light. But the absence of certain blues and greens really surprised me because I know that and those were obviously the colors for my interior design. Right. So not necessarily your favorite color. So people always ask, what's your favorite color? It's the question that just drives me absolutely mad, I think, with every color person that not necessarily are your colors because intuitively, you choose differently.
Andreea Hartea: Yeah. This is a long story. We are conditioned by the exterior, so we are influenced. And I really love to challenge people when they take the test by provoking them and say them like, let's see if I can figure out what's the color you like without you telling me anything. And every time, it's like a little magic.
Judith van Vliet: Yes.
Andreea Hartea: To address your concern, I have several directions. Yeah. One could be that among the 230 colors from which the selection was made, there may not have been any greens that held particular significance for you. They are not in that selection. And the ones that are in that selection, they are not important for you. So I mentioned it that this selection of colors come from a study I conducted on colors that have been trending interior design over the past 70 years. So colors are millions. Okay? And when someone is telling me like, yeah, but I don't find that color, that precise color that I have in my mind is because you are right, probably there is not in this selection of colors. That's why then I created one test, another test with brighter colors that I used to call for media, because they are brighter, stronger. And I took inspiration from the screens. And there is another one with more fluorescent colors for fashion and alternative. Your attachments, let's say, to those two color families, may be more conceptual than emotional. Okay. It's more logical than emotional. And perhaps, maybe because you know that they suite you well and tend to choose them for that reason. But in your case, hands down, an environment predominantly in warm colors make you feel much more at home than one predominantly cool with greens and blues, like my apartment. So what I really do now that you know these specific nuance is to try them, okay. To put it in practice and see the effect that it has on you. You can start with small things like the color of a pillow, the phone case, and you will see that every time that you will see that object, it's like, oh, that's nice. Oh, it's nice. It's wonderful. And basically in this way, you will love everything that incorporates those colors. Yeah, it's like a little trick somehow. So it's funny.
Judith van Vliet: So you did the test, and obviously you're listening to my replies. You're seeing what I'm selecting, so you obviously got to know me a little bit more. So in the end, I think my preferred colors were a light yellow, a sagey green, and this golden yellow, like, it's almost an orange, but there was also like a very light lilac. So you're fully allowed to tell the audience what that says about me. Obviously you saw me before the interview, before I did the test. We talked a little bit. Were you surprised by the colors or not? Because I was a little bit surprised, at least for the light violet. I was like, interesting. But also, was it coherent to the test and to me? And what did it say about me?
Andreea Hartea: This is a question that usually people ask me, like, once they see the color palette. It's like, okay, now you have to interpret. Give me a meaning. What does it mean? Basically, in your case, Judith, you are a serial killer. You love the sun. I don't know. This is what I really love, because when I teach this tool or when I used to do it by myself, it's like there is no judgment in the good and in the bad way, in the worst way, because this is what it's important for you. Okay. What do you think based on your past experience? It's beautiful for you. And as I said, the color that you were surrounded was totally random. Okay. And the situation that happened and for you was like a very intense, beautiful, emotional situation was random. So it's like a combination of random emotions, positive emotions with random colors. And this is what you recorded. Basically, it's like a photography, more or less, of what you memorized. And for analogy, like, by analogy, your brain, when see those colors is like the same that living again, those moments. And essentially this test delves into the implicit associations we make between colors and emotions and basically makes us aware of which nuance embody those moments. When a color is present in a palette, it can bother us. Okay, but if we wouldn't have expected, as you basically it means that we brought a new level of awareness at the surface, even though if it's not among of your favorite colors, as you saw, as you said, you have yellow and some greens, but you choose it basically and you confirmed several times, okay, at least three. There are really important stages. So if it's that persistent in the test and continue to show up, basically it means that it's familiar to you. And if you choose it, it's because it conveys something pleasant to you. Maybe it's not a wow color. Okay. But definitely has a positive association. And I understand that being aware that it's not among your favorite colors and that it stands alone in that purple family, let's say it may not be suitable for larger surfaces for you, okay. But it can catch your attention if it's the color of an accessory, for example, and combined with other colors, it allows me to create variety in the design that will align with your color preference.
Judith van Vliet: Yeah, certainly. And then we also did as you said, we also did another test. So you have the one for interior design, and then you have a test which is more personal color, perhaps product color, for example, which has more bright colors. How does my brain or my past experience do that selection? I mean, first it goes for in my case, warmer, soft. It did again as well for the brighter ones, but there were more colors present there. Like, how does that work? How do I, for once select a certain type of colors? And then the second time, I have a lot more brights. And finally, I had some blues.
Andreea Hartea: Blues and greens and yeah, the darker ones. As I said in the beginning, if I would combine both testes, all will be like 500 colors. Probably you will have the same result from the beginning. But I love to create like, two separate testes because in interior design, we don't use color. So if I put those colors that are super bright, really, people will freak out. It's like, oh, my God, yes, I might colors, but I would not never put it in my apartment. But with the colors that we already are familiar, to see them in interiors because we saw it to our family places on the, I don't know, magazines, shows and everything. For us, it's a little bit more doable. Okay? So I like to do these little steps. And choosing a color that makes us feel good is indeed quite challenging because as I said before, we are influenced by countless external factors. This is culture, this is current trends, professional telling us what it's right and what it's wrong. And all these play a role. And in short, listening to that little voice that confirms a color is one you'd like to surround yourself with. It's not that simple. Okay? And I saw this on myself, and I see this daily with my clients. But we have to ask somehow, like a very important question somehow, are we authentic in our choices? Okay? For example, when we buy clothing, as I say before, do we do it because we know that that color is sweeter. Or it is because certain colors are more professional at work. Okay? So we have this kind of fear of what people could think. And I choose this color because I really like it, or am I thinking about what the other people may think? Okay? And the logical and emotional aspect are two sided of the same coin. And if they are not in harmony, they can contradict each other. But this is a completely whole story. Like the person that love white environments, this is also saying a lot about her emotional containment. So she preferred to see everything candid because she's dealing with so many emotions inside, so to see them also outside would be too much for her. So it's like a psychological work that she should approach somehow or to make more introspection. But yes, we need colors. And basically what happens with people that take the test with me, they become more color aware, I would say. Like, they have a kind of confirmation, okay? And it's like a guarantee that what they felt was right. But in reality, I explain why they feel what they feel about those colors, and some feel relieved that they didn't have to think about the question. And I don't know, to think about this abstract concept for themselves too much. And then it's as if they become aware of the things in their home that are of those colors. Of those colors. So they really are, okay. Oh, look, my sofa is of that color. And they love it so much. It's like, okay, let's start to become aware why we do why we choose things and why we like things. And as I said, colors really have a huge impact on this aesthetic decision. And another thing that somehow they understand this kind of trick behind why something they see appeals them. So when they see something in a new shop, a new staff in a shop, they say, oh my God, it's beautiful. And then they realize, oh, sure, it's because it's that color that caught my attention, and it's speaking to me. Okay? It's speaking to me. And it allows me to see that specific thing around hundreds of information and things that we are surrounded by. But we are like our attention is catched by that. And so we can do the opposite, basically when we need to buy something, okay? And I really love to do this. We can navigate within our color palette because through color, we can create an emotional connection, and those somehow add value to the new object that we introduce into our homes.
Judith van Vliet: So you're creating awareness. You're not only helping people to pick the colors that they really are going to be happy with, because obviously, if you surround yourself with the colors of your happy moments, you get to relive those moments. And that means generally you're happier in the space that you have decorated and colored within those colors. But it's also about awareness. That very often happens when I do trend presentations. But also, in past podcast, I was told by multiple color therapists and color, let's say experts in color, that my color is yellow, again, confirmed completely by the test, of course, that we did together. So it makes me aware when I go shopping. So now I'm aware that I'm choosing colors in that family. So starting even from beige to perhaps the darker yellows. So that is indeed a conscious work that you're helping people with. And what I personally love so much about this explanation of yours is exactly that you relive happy moments. So you pick colors because you were happy in those moments. And I think that's what color should be about. It's about triggering, again, your happy experience and your happy moments. And I think that is it's a great thing about what you're doing with this project and with this methodology. You're bringing people closer to themselves. In the end, you're bringing them to where they need to be. So, yeah, very, very interesting. And congrats on that.
Andreea Hartea: Thank you. Thank you, dude. Sweet. Thank you. Thank you.
Judith van Vliet: What are the next steps? Because you talked to me about digitalizing this, because now it's something that you do with your clients. What are the next steps for this methodology? Like, what is next for this to bring it to a bigger audience?
Andreea Hartea: Yeah. So I will come back a little bit to the compliments. I will take it all. And it's funny because it reminds me about what I used to answer when people ask me what I do for a living. So I used to reply, like, I make people happy. And it's like giving me a puzzle look. It's like, in which way? And it's funny, but it's funny. And it's true because, scientifically speaking, in addition to simplify the color selection in this just 30 minutes, 40 minutes of the consultation. And not just me, but also the people that learn this method that can help other people and can make people happy basically. Are those stimulus, those informations? Let's say that the brain of the client has stored as a safe and pleasant so. Yeah, it's basically understanding this chromatic stimuli with a unique and personal value. And for you, as you said before, this yellow, when I think to you and those yellows, for example, I will use those colors to create, like, I will for sure put it in every kind of combination that will do for you. And because you choose it as your favorite, I will certainly use them for larger surfaces because I know they are important for you, and that's why I will give them more space somehow. So as I invited you to try, because it's beautiful to see the satisfaction that you will give back, that you will receive, that you feel. And this is what I I receive. Like, daily feedback from the clients was like, I mean, I'm touching the walls. I'm really happy. I'm connected with the place. I feel home, finally. And yeah, this is just because everything and they have a lot of people I consider they are courageous and tint with their personal colors, like almost everything. And it's really powerful tool for me and the superpower they have, and they will have for a very long time because those colors will not change in a very few moments, months maybe in some years, because it's related to our memories. So when we create a new memory that it's stronger, that we can also rewrite a meaning, yes, we will change a little bit, we will see some difference. But this is yeah, it's about years. So at the moment, I'm teaching this method, and despite having, like, I don't know, more or less 300 professionals using this tool independently, I want to fully digitalize this method to create a platform that allows you to have your own personal color consulting using this method and this philosophy. Let's say a platform that lets you take the test, view the result, and receive an in depth analysis. I mentioned earlier, like your favorite color, the main family, chromatic family ranking that you have, the whole combination that you can do to understand if you love more basic on how many colors and the quality if you love more lighter or darker environments, cooler or warmer environments. So there are so many information that we can collect from your personal polite to create an environment that for you say something meaningful. And in this platform, absolutely. Most of all, I want to create a part dedicated to research and education regarding to the evolution of the color and evolution that we have undergone in the last 20 years. Okay. Because I really believe and I see that we need to update what we think about colors because there are theories that are so old and nowadays we really have so many new tools that we can read the minds, we can understand what is going inside the brain and why we react, how we react. And I'm building a team. And if I may, I'd like to make like an open call for all those who resonate with this project to help me to bring it to light in the best way possible. And for sure, the first market will be Italy, given the enormous numbers of architects we have. And until then, yes, I will continue with various consultations, teaching the metan and spreading the subjectivity of color. And most of all, I want to thank you again over and over for this wonderful opportunity and to let you know that your podcast features the most interesting figures in the field of color. When I discovered, I was just amazed. I was doing like a full immersion in every episode. And yes, congratulations for the dedication and what do you do? And I'm really happy to be here with you.
Judith van Vliet: You're part of the podcast because I think what you do is, as I said, it's next in color. It's super important, your research, and I'm.
Andreea Hartea: Sure that you're going to get a.
Judith van Vliet: Lot of replies to that open call, trust me.
Andreea Hartea: I'm curious. I'm really open and yeah, I really want to. And this is already what I saw, it's already a natural selection. People that come to me, they are really open minded and want this kind of personalization to the fullest. But yeah, I really want to work with like minded and to share this theory.
Judith van Vliet: Well, thank you for sharing this and as I said, this is not the end of it. So this is just the know with the podcast and everything you'll see. Thank you for your time and for sharing all of your amazing research and knowledge and I hope to see you back on TCA very soon.
Andreea Hartea: Yeah, I can't wait with new things, with new ideas and new projects because it's possible to do so many things with this and I can't wait to have the opportunity to explore more. Yeah, here we are.
Judith van Vliet: Color is never ending.
Andreea Hartea: Never ending story. Yes.
Judith van Vliet: I hope you enjoyed this last episode. If you are a fan of the Color Authority podcast, please let us know by reviewing a rating our show on whichever platform you're listening on. The next episode is coming out next month and in the meantime, I'm wishing you a wonderful, colorful day.