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FRIDAY, FEBRUARY 12, 2010

Color Matching in Textiles

Color Science

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Colour is one of the most fundamental aspects of textile

design which contributes greatly to the overall visual

effect of a finished fabric. Colour matching is a vital

process in ensuring continuity of colour from the master

standard to all subsequent production batches.

A variety of conditions affect how a color

looks1.Light- source difference

2.Observer Difference

3.Size Difference

4.Background Difference

5.Directional difference

How to Ensure Effective Color in Today's Manufacturing Processes?

The three components of colour matching

There are three components involved in colour viewing,which are LIGHT,

VISION and OBJECT. If any omponent changes, the

actual perception of colour will also change.

It is important to keep the conditions (as mentioned

above) constant when viewing colors.

Colour matching requires the use of a standard light box

which has several illuminants:-

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Acid Dyes

Beam Dyeing machines

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Bleaching Agents

Bleaching of Silk

Bleaching of Wool

Bleaching Reductive

Bleaching Textiles

Bleaching with Hypochlorites

Bleaching with peroxyCompounds

Bleaching with Sodium Chlorite

Cationic Dyes

Color Communications

Colorfastness TestingStandard Procedures

Computer Color Matching

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Some of the standard light sources

Artificial Daylight D65, Why Daylight?

A - tungstun

CWF - Cool White Fluorescent

TL84,

UV,

U30

Learn about Various Light Sources

Importance of color Management

Color Rendering of Light Sources

Everybody's perception of colour is slightly different.

Light boxes are therefore employed so that whenever

samples are viewed the conditions are exactly the same.

Color Viewing booth / light box for color

matching.

It's difficult to see the true color under different light

sources in which measurement Color deviation intends

to occur when performing the color evaluation without a standard light

sources. To simulate different light sources to obtain an objective color, color

difference and color evaluation, we can put the test specimen into the color

viewing booth / color light box, so that it's easily to see the true color daytime,

night, indoor and outdoor, and ensure the color consistency.

The Problem of MetamerismMetamerism in textile shade matching is defined as a

phenomenon in which two colored objects appear same

in one light source but differ when the light source is

changed. This could be due to difference in pigments or

materials.

The spectral reflectance characteristics of the colors of

two objects are different , but the resulting tristimulus

values are same in under one light source but different in

another.

Color Measurement Methods for Textile Fabrics

Color Tolerances for Consistent Pass/Fail Decisions

Colour Space

Systems

Direct Dyes

Direct Dyes

Disperse Dyes

Dyeing Machines

Dyeing Problems

Dyeing with Direct Dyes

Ecofriendly textiles and ecolabels

Environment Management Intextile Industry

ERP in Dyeing

Garment Dyeing

Gray Scale specifications

Grey scale assessing for colorchange

Hank dyeing in CabinetMachines

Hank dyeing in HTHP dyeingmachines

Hank dyeing in Spray DyeingMachines

Hank Dyeing machines

Hank Dyeing on Roller DyeingMachine

Jigger Dyeing machines

Light Sources

Measurement of color andcolor difference

Metal Complex dyes

Method for the instrumentalassessment of whiteness

Mordant Dyes

Naphthol Dyeing

Natural dyes

Optical Brightening agents

Organic Textiles

Pad Dyeing machines

Paddle Dyeing Machines

Pigment Dyeing

Quality Management System inTextile Manufacturing

Quality standards in textile andgarments

Reactive Dyes

Reactive HE dyes

Reeling Of Yarn Hanks

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What is a color model?

Every colour has a colour space which can be pinpointed by coordinates given

by a computer. Colour can also be checked by eye and given a colour space,

but again this is open to subjectivity.

The three fundamental aspects of colour

are lightness, chroma and hue.

Lightness( bright colors,dark colors,light

colors, the lightness of color changes

vertically) is shown on the "L" axis. It indicates the

depth of a colour, ranging from white to black with grey in

between. One way of picturing depth of colour would be

to imagine a black and white photograph where every

colour is shown as a different depth of black, white or

grey. The lightness of the fabric sample would be

represented by a number on the "L" axis.

Chroma or saturation ( Vivid colors, dull colors, chroma changes

outward from the center) is shown as the distance

away from the "L" axis.

If the colour is described as being at the very outside

edge of chroma it will appear to the observer to be very

clean and bright. As it moves towards the grey central

"L" axis it will become greyer, flatter and more dirty.

Hue (Redder, greener, yellower, bluer etc.

hues form the color wheel) is the variation in

colour. For example, a blue may be very red - moving

towards purple lilac - and would appear in the blue colour

space at the red side. Different shades of blue would all

appear in the blue colour space but in different areas.

Lightness, chroma and hue are checked on all yarns and piece dyed fabrics to

ensure colour continuity standards are maintained to the highest levels. They

can be represented as a three dimensional figure.

More Information on Color Theory

A Note on Color Inconstancy

Read Book on Color Space conversions

Soluble Vat Dyes

Sulfur Dyes

Tests of Polluted water

Textile Bleaching

Textile Bleaching Agents

Textile Dye Classes

Textile Dyeing Laboratory

Textile Finishing

Textile Pretreatment

Textile Testings A slide show

The Basics of Yarn Making

Vinysulfone Dyes

Water Quality Parameters

Water Softening

Water Softening

Winch Dyeing Machines

Yarn Mercerizing

Zero Discharge in TextileDyeing

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Posted by hanu at 4:02 AM

CIE color model

Complementary colors

Electromagnetic energy

Desaturation

Gamut

Grayscale

HSV color model

Hue

Light primary colors

Print primary colors

Saturation

Secondary colors

Background knowledge of different light sources

CIE Fluorescent Illuminants

Artificial Daylight D65 which corresponds to a mid-day sun in Western Europe

/ Northern Europe is a commonly-used standard illuminant defined by the CIE.

It is part of the D series of illuminants that try to portray standard illumination

conditions at open-air in different parts of the world. Artificial Daylight D65 light

sources do not exist actually, only simulators. The quality of a simulator can be

assessed with the CIE Metamerism Index. —CIE S005/E-1998.

TL84 - CIE Fluorescent Illuminants, Light Source (F11), TL84 light sources

represent a tri-band fluorescent lamp. —CIE 1931.

CWF - CIE Fluorescent Illuminants, Light Source (F2), CIE F series light

sources represent various types of fluorescent lighting. CWF(Cool White

Fluorescent) light sources found in office environments.

Incandescent A - CIE Incandescent A is intended to represent typical,

domestic, tungsten-filament lighting. Its relative spectral power distribution is

that of a Planckian radiator at a temperature of approximately 2856 K. CIE

standard Incandescent A should be used in all applications of colorimetry

involving the use of incandescent lighting, unless there are specific reasons for

using a different illuminant. It is found in our home.

UV - UV Ultra Violet Black light to reveal the presence of fluorescent dyes and

bleaches.

U30/U35 - Neutral-white fluorescents have a CCT (Correlated color

temperature) of 3000K or 3500K.

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This blog is about the textile dyeing ,but colors affect the human life in many

ways ,other than textiles. Given below are few of them.

Color Therapy:-The Magic of Colors

Fashionable colors:-The color Therapy

Colorpuncture:- Acu Light therapy

Hair coloring

Skin toning and Tatooing :- Chemistry of tattoo inks

Colorwheel of Fruits and vegetables

Bleaches

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