Iosis, whose name is an alchemic term referring to the final stage of the transformation of base metal into gold, embodies all the elements of the future design of European Fords.

Not all of the references will be taken up by every product, but there are a number of core genes that will feature strongly in coming years.

It could represent a phenomenon similar to that of the Ka model, which introduced the "New Edge Design", used on the whole rande of Ford's european models.

“What we're doing is visualising the dynamic qualities of the Ford brand. We are defining this as Ford kinetic design and when you look at iosis you can see that it visualises energy in motion", says Martin Smith, Ford of Europe's Executive Design Director.

The Iosis concept was developed with a mix of digital technologies and traditional manufacturing and craftmanship: from the hand-made renderings, the base of the physical model wad defined with cardboard templates cut with scissors...

iosis started life as a series of free hand renderings by Ford of Europe exterior designer Andrea di Buduo, following briefings from Martin Smith. Working together with Domenico Tonello and Stefan Lamm, the team quickly refined the design to express Ford of Europe's new design DNA.

Simultaneously, a design team under Nikolaus Vidakovic comprised of Ernst Reim and Tony Peat were developing a similar theme for the interior. Meanwhile the Colour and Trim team led by Ruth Pauli, and including Silke Welskopp and Laura Blossfeld, produced a colour and materials concept.

Once the themes had been set, the design was honed using computer aided imaging to then present a proposal to senior Ford of Europe management.

The final computer imaging of iosis was the tool used to move into the next stage of 3D model development. Once the Photoshop image has been finessed and a finished design agreed, it was subjected to software called Alias that roughly maps the surface so that a basic clay model can be machined.

Over the following six weeks, modellers carefully and painstakingly carved the clay into the final shape.

"This process," says Smith "is probably the most important during the gestation of a car's design."

Highly skilled Ford modellers are able to create this complex form. Computer-driven modelling is important but machines don't have the human touch, the experience and skill to appreciate the subtle nuances in design.
The optimum and most efficient work stream is a combination of computer modelling and human skills.

After the clay is finished it is digitised using an automated process that measures the car's entire surface with pinpoint accuracy. That scanned data is then transmitted to the coachbuilder, in this case Modarte in Turin, who uses it to mill the master model. The process isn't finished and a further two or three weeks is devoted to honing each section by hand to perfection. After that moulds are produced from the master model and the body panels for the final bodyshell are created.

Details like the front and rear lamp assemblies, grille, exhausts and wheels – which are animated so the designers can see what they look like in 3D – are produced in Alias before mock ups are made to ensure they all neatly fit together. The technology of using 3D images full size on a video 'Powerwall' is often used to check the final design.