Colour pastes from the construction kit / Jörg Horakh in EUROPEAN COATINGS JOURNAL (ECJ), N° 9 (09/2020)  

[article]  inEUROPEAN COATINGS JOURNAL (ECJ) > N° 9 (09/2020) . - p. 32-38 Titre : Colour pastes from the construction kit : A modular concept covers the whole colour space. Physical parameters are adjustable and the system is expandable Type de document : texte imprimé Auteurs : Jörg Horakh, Auteur Année de publication : 2020 Article en page(s) : p. 32-38 Note générale : Bibliogr. Langues : Anglais (eng) Catégories : Additifs Agents dispersants (chimie) Colorimétrie Mélange de couleurs Mélanges (chimie) Opacifiants Pigments Teinture Teinture -- Appareils et matériels Index. décimale : 667.9 Revêtements et enduits Résumé : As customer requirements become more and more individual, it is essential that products are developed specifically for each customer and produced in ever smaller batch sizes. Modular production allows pigment concentrates to be adapted to regulatory and technical requirements. Note de contenu : - Requirements for pigment preparations - Selective dispersing additives - Tinting and mixing process - Light and weather fastness - Hiding power in the yellow-orange-red-region - Organic or inorganic - The best of both worlds - Coverage of the colour space - Requirements tinting systems economy of tinting systems - Colouristic performance - Flexibility through modular paste production - Fig. 1 : Homogenised using a spatula : 1,5 min and 3 min shaker - Fig. 2 : Green shade after weathering. Combination of pigments P.Y.3/P.B.28 - Fig. 3 : Chroma C* versus hue h° of different pigment pastes in full shade (2K-acrylic, 5% pigment, 500 µm wet layer thickness) - Table 1 : Hiding power of various pigments : dE* on b/w-contrast charts (2K-acrylic, 5% pigment conc. 500 %m NSO (6) - Table 2 : Hiding power (acc. DIN 55 987) of various pigment preparations for 5% and 15% addition on paint (dE* on b/w-contrast charts ; 2K-acrylic, 250 %m wet layer thickness) - Table 3 : Comparison of a tinting system with three alternatives and their effects on the number of feasible of colour shades, UV-stability and cost En ligne : https://drive.google.com/file/d/1Z1q-j7okZBGTA1piwaiW3Fkbyi6h1Jxv/view?usp=drive [...] Format de la ressource électronique : Pdf Permalink : https://e-campus.itech.fr/pmb/opac_css/index.php?lvl=notice_display&id=34592 [article]

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Colour physics / Tipanna Melkeri in PAINTINDIA, Vol. LXX, N° 10 (10/2020)  

[article]  inPAINTINDIA > Vol. LXX, N° 10 (10/2020) . - p. 80-92 Titre : Colour physics Type de document : texte imprimé Auteurs : Tipanna Melkeri, Auteur Année de publication : 2020 Article en page(s) : p. 80-92 Note générale : Bibliogr. Langues : Anglais (eng) Catégories : Colorimétrie Couleur Essais (technologie) Matières plastiques -- Coloration Mélange de couleurs Physique Revêtements -- Coloration:Peinture -- Coloration Index. décimale : 667.9 Revêtements et enduits Résumé : The colour wheel or colour circle is the basic tool for combining colours and has 12 colours based on the RYB model. Three primary colours namely Red, yellow and blue (RYB). Secondary colours are obtained by mixing primary colours, Orange, green and violet. Six more colours are obtained by mixing primary and secondary colours. Hue distinguishes one colour from another and is described using common colour names such as green, blue, red, yellow. Value refers to the lightness or darkness of a colour. It defines a colour in terms of how close it is to white or black. Chroma is the attribute that expresses the purity of a colour. When any hue is missed with black you get shade. A tint is any hue which is missed with white. When hue is mixed with both white and black, one get tone. It is degree to which the colour resembles to its hue. Colours which reflects light with mixtures of similar wavelength, the colour obtained is bright. Additive colour, or "additive mixing", is a property of a colour model that predicts the appearance of colours made by coincident component lights. The combination of two of the common three additive primary colours in equal proportions produces an additive secondary colour- cyan, magenta or yellow. Additive colour theory often used in theatrical lighting for plays, concerts, circus shows, and night clubs. Subtracting colouring uses dyes, inks, pigments, or filters to absorb some wavelengths of light and not others. The colour that a surface displays comes from the parts of the visible spectrum that are not absorbed and therefore remain visible. Measurement of colour is known as colorimetry. Variety of instruments are used to find colour properties. To measure colour value the source of light and viewing angle is very important. Tristimulus system, a system for visually match ing a colour under standardized conditions against the three primary colours-red, green and blue. X, Y, and Z are called tristimulus values. These values specify not only colour but also visually perceived reflectance. Commission Internationale d'Éclairage (CIE) in 1931, the chromaticity diagram is obtained by plotting these tristimulus values. For the rapid visual determination of the colour of objects, a colour atlas such as the Munsell book of colour is often used. The CIELAB colour space (also known as CIE L*a*b*. The Hunter Lab color space, defined in 1948 by Richard S Hunter, is another colour space sometimes referred to as "Lab". For the object with opacity greater than 75%, The Kubelka — Munk equation defines the relationship between spectral reflectance (%R), absorption (K) and scattering (S). Shades are compared using above techniques in paints, plastics chips, textile fabric. If one or more types of a person's colour-sensing cones are missing or less responsive than normal to incoming light, that person can distinguish fewer colours and is said to be colour deficient Note de contenu : - Colour theory - Law of colour mixing - Secondary colours - Additive colouring - Subtractive colouring - Colour measurement - Light source : View field (viewing angle) - Tristimulus measurements chromaticity diagram - Characteristics of chromaticity diagram - Munsell system : CIELAB system - Hunter lab system - Transferring spectrophotometer data into tristimulus value - Colour difference : Kubelka- Munk theory - Data correction - Comparison of shades - Testing in plastics - Testing in paint - Colour deficiency : Tetrachromacy - Synesthesia - Afterimages - Colour constancy - Colour naming - Associations En ligne : https://drive.google.com/file/d/1C_xtP8QdPaxazVh6vmp4de7MVH4Yoa3Z/view?usp=drive [...] Format de la ressource électronique : Pdf Permalink : https://e-campus.itech.fr/pmb/opac_css/index.php?lvl=notice_display&id=34670 [article]

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A formulator's guide to working with colourants / Kelly A. Dobos in GLOBAL PERSONAL CARE, Vol. 25, N° 1 (01/2024)  

[article]  inGLOBAL PERSONAL CARE > Vol. 25, N° 1 (01/2024) . - p. 23-25 Titre : A formulator's guide to working with colourants Type de document : texte imprimé Auteurs : Kelly A. Dobos, Auteur Année de publication : 2024 Article en page(s) : p. 23-25 Langues : Anglais (eng) Catégories : Additifs Colorants Cosmétiques Couleur Mélange de couleurs Pigments Pigments nacrés Index. décimale : 668.5 Parfums et cosmétiques Résumé : There is considerable art, as well as science, in developing products that meet consumer demand for attractive and functional cosmetics. Here, Kelly Dobos of the University of Cincinnati, USA sets out the principles of working with three classes of colourants - dyes, pigments and pearlescent effect pigments - that can be applied broadly to many types of cosmetic products. Colour provides crucial information about the world around us. Colour also plays a significant role in cosmetics and personal care products that extends beyond the obvious example of makeup. Colour can be important in differentiating products from one another on shelf, signaling efficacy, or reinforcing hero ingredients and fragrance. A change in colour can also signal the degradation of raw materials, which can negatively impact product performance and consumer acceptability. There is considerable art, as well as science, in developing products that meet consumer demand for attractive and functional cosmetics. While there are additional specialty colourants (that include aluminum powder and luminescent zinc sulfide with their own unique regulatory and end-use limitations), the focus of this article is the use of the three broad categories colourants: dyes, pigments and pearlescent effect pigments. The basic principles of working with these classes of colourants can be applied broadly to many types of cosmetic products. Note de contenu : - Regulatory considerations - Colour definitions : Colour - Colourant - Colour additive - dye - Pigment - Pearlescent pigments - Colour theory and principles of colour mixing - Working with dyes - Classical pigments - Pearlescent effect pigments - Figure : Additive and subtractive colour mixing En ligne : https://drive.google.com/file/d/13XztCgUDd7cbp1tBLaEvyeikWdAwH3Cn/view?usp=drive [...] Format de la ressource électronique : Pdf Permalink : https://e-campus.itech.fr/pmb/opac_css/index.php?lvl=notice_display&id=40627 [article]

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Optimal yarn colour combination for full-colour fabric design and mixed-colour chromaticity coordinates based on CIE chromaticity diagram analysis / Qizheng Li in COLORATION TECHNOLOGY, Vol. 130, N° 6 (12/2014)  

[article]  inCOLORATION TECHNOLOGY > Vol. 130, N° 6 (12/2014) . - p. 437-444 Titre : Optimal yarn colour combination for full-colour fabric design and mixed-colour chromaticity coordinates based on CIE chromaticity diagram analysis Type de document : texte imprimé Auteurs : Qizheng Li, Auteur ; Feiyan Zhang, Auteur ; Xiaoke Jin, Auteur ; Chengyan Zhu, Auteur Année de publication : 2014 Article en page(s) : p. 437-444 Note générale : Bibliogr. Langues : Anglais (eng) Catégories : Armures (tissage) L'armure, dans la terminologie du tissage de textile, est le mode d'entrecroisement des fils de chaîne et des fils de trame. Il existe trois armures principales : toile, sergé et satin. À partir de ces trois armures sont fabriqués de nombreux tissus avec aussi des combinaisons des armures principales. Colorimétrie Echantillonnage Etudes comparatives Mélange de couleurs Spectrophotométrie Teinture -- Fibres textiles synthétiques vision des couleurs Index. décimale : 667.3 Teinture et impression des tissus Résumé : It is challenging for textile designers to achieve full-colour effects in woven fabric using a limited set of coloured yarns. The common problems encountered during full-colour fabric design include an insufficient number of colours and a failure to match the fabric colour with the desired colour. Using the theories of primary colours and optical colour mixing, we examine the mixed-colour distribution of primary colour yarns on the basis of the CIE 1976 chromaticity diagram (CIE u?v?). In our experiment, dope-dyed polyester filament yarns were selected as raw materials. Eight kinds of gradually varied weave structures and four types of primary colour combination were adopted in order to make different types of full-colour fabric colour chart. Spectrophotometer and DigiEye colour measurement systems were selected to measure the reflectance and colour value of the fabric samples. By comparing the colour distribution of mixed fabrics in the CIE u?v? diagram, the relationship between the primary colour combinations and the colour distribution of mixed fabrics is discussed. Of RGB, CMY, NCS, and RGBCMY combinations, only RGBCMY resulted in a relatively complete and large colour gamut. Moreover, the colour positions of mixed fabrics in the CIE u?v? diagram were almost all distributed on or near the connecting line of the primary colour coordinates. The specific colour position of mixed fabrics in the CIE u?v? diagram were mainly determined by the proportion of primary colours on the fabric surface. In this way, a new method for computing colour position in the CIE u?v? diagram is introduced. Note de contenu : - EXPERIMENTAL : Experimental design - Selection of primary colour yarns - Production of fabric samples - Calculation of chromaticity coordinates - RESULTS AND DISCUSSION : Colour gamut of different primary colour combinations - Relationship between fabric colour position and mixing proportion of primary colour yarns DOI : 10.1111/cote.12117 En ligne : https://onlinelibrary.wiley.com/doi/epdf/10.1111/cote.12117 Format de la ressource électronique : Pdf Permalink : https://e-campus.itech.fr/pmb/opac_css/index.php?lvl=notice_display&id=22506 [article]

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Researching and mixing heritage colours in POLYMERS PAINT COLOUR JOURNAL - PPCJ, Vol. 209, N° 4648 (02/2019)  

[article]  inPOLYMERS PAINT COLOUR JOURNAL - PPCJ > Vol. 209, N° 4648 (02/2019) . - p. 42-46 Titre : Researching and mixing heritage colours Type de document : texte imprimé Année de publication : 2019 Article en page(s) : p. 42-46 Langues : Anglais (eng) Catégories : Couleurs -- Histoire Matériaux -- Coloration Mélange de couleurs Patrimoine technique Pigments Revêtements:Peinture Index. décimale : 667.2 Colorants et pigments Résumé : With the rise in popularity of heritage colour ranges amongst paint manufacturers and consumers, the author gives a fascinating insight into how he researches and mixes truly authentic heritage colour paints from the past. Note de contenu : - Historic pigments - Traditional colours - FIGURES : Classic recipe cards from Walpamur, 1926 and Duresco ca 1910 - A glimpse into one of the company's recipe books - The title page of a book published in 1723. The art of painting in Oyl and Dulux colour chart from 1955 - Some resources used by Patrick Baty during his research into heritage colours En ligne : https://drive.google.com/file/d/1lszFTA1lIpl1N-c004P_iD4pYwpmOTh3/view?usp=drive [...] Format de la ressource électronique : Pdf Permalink : https://e-campus.itech.fr/pmb/opac_css/index.php?lvl=notice_display&id=31735 [article]

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Simply stir in : scatter-free red / Javier Morcillo Ruiz in EUROPEAN COATINGS JOURNAL (ECJ), N° 3 (03/2019)  

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Spectrophotometric colour matching algorithm for top-dyed melange yarn, based on an artificial neural network / Jiajia Shen in COLORATION TECHNOLOGY, Vol. 133, N° 4 (08/2017)  

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A stearns-Noechel colour prediction model reconstructed from gridded colour solid of nine primary colours and its application / Xianqiang Sun in COLORATION TECHNOLOGY, Vol. 140, N° 4 (08/2024)  

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