colour communication in industry from design to product ... · pdf filecolour communication in...
TRANSCRIPT
Dr. Robert HirschlerSENAI/CETIQT Colour Institute
Colour communication in industryfrom design to product - with special
emphasis on textiles
Colour communication
From design…………….to product
Colour communication
From design…………….to product
Design Development Sampling
Production Commerce Consumer
Colour communication
From design…………….to product – and from consumer……. to designer
Design Development Sampling
Production Commerce: WS/retail Consumer
Colour communication
Levels of colour communication (the first six according tothe ISCC-NBS Universal Colour Language)
Verbal
Visual
Instrumental
Electronic/Virtual
Colour communicationLevel 1
Generic hue namesand neutrals
Our selected colourshall be called“Brown”
Colour communicationLevel 2
Intermediate huenames
Our selected colourshall be called“Yellowish Brown”
Colour communicationLevel 3
All hue names andneutrals withmodifiers
Our selected colourshall be called “LightYellowish Brown”
Colour communicationLevel 4
Munsell notation
Our selected colourshall be called“Munsell 10 YR 6/4”
Colour communicationLevel 5
Munsell notation withvisual interpolation
Our selected colour shall becalled“Munsell 9.5 YR 6.4/4.25”
Colour communicationLevel 6
Instrumental measurement
Our selected colour shall becharacterised by thespectral curve, or by thecolorimetric values:
x = 0.395y = 0.382 orY = 35.6
L* = 0.395a* = 0.382b* = 35.6
Colour communicationLevel 7
Electronic / virtual
Our selected colour shall becharacterised by the imageformed on a monitor, or bythe colorimetric values:
R = 188G = 154B = 107
Colour communication
Levels of colour communication (the first six according tothe ISCC-NBS Universal Colour Language)
Verbal
Visual
Instrumental
Electronic/Virtual
Colour communicationLevel 1
Centroid colours in the ISCC-NBS UCL charts which maybe called “Brown” (Generic hue name)
Yellowish brownsOlive browns
Browns
Colour communicationLevel 2
The Yellowish Brown page of the ISCC-NBS UCL: huenames
Colour communicationLevel 3
All hue names andneutrals withmodifiers
Our selected colourshall be called “LightYellowish Brown”
Colour communication
Verbal colour communication (Levels 1 to 3) isnot very efficient
Colour communicationLevel 4 – Visual colour communication
Colour sample collection(pattern card, shade card)with arbitrary code and alimited number of samples(a few dozen to a fewhundred)
Colour order systemWith notation based on someguiding principle, a larger numberof samples (several hundred to afew thousand)
Colour communicationLevel 4 – Colour sample collections
Shade card of a cotton yarn supplier.Arrangement according to “hue and nuance”
Colour communicationLevel 4 – Colour sample collections
Shade card of a cotton fabric supplierNo particular arrangement – Nearest Pantone code given
Colour communicationLevel 4 – Colour sample collections
Shade cards of a man-made fibres fabricsmanufacturer. Different ranges for each fibre type
Colour communicationLevel 4 – Colour sample collections
Viscose fabric shade cardArrangement according to “hue and nuance”
Colour communicationLevel 4 – Colour sample collections
Two shade card for the same substrate(PES fabric) for two different end-uses
Colour communicationLevel 4 – Colour order systems
At the perceptual (visual) level colours may becharacterised in terms of hue, value (lightness) and
chroma (saturation) [Munsell]…
HUE
VALUE
CHROMA
Colour communicationLevel 4 – Colour order systems
… or hue, whiteness and blackness [NCS]
HUE
WHITENESS
BLACKNESS
Colour communicationLevel 4 – Colour order systems
The MUNSELL system uses the concepts of Hue, Value(lightness) and Chroma
HUE
VALUE
CHROMA
Colour communicationLevel 4 – Colour order systems
The 5 principle andthe 5 intermediatehues are arranged ina (hue) circle. Ineditions of theMunsell Book ofColors with 40 huesthey are designatedas 5R, 7.5R, 10R,2.5R etc. There existeditions with up to100 hues.
Colour communicationLevel 4 – Colour order systems
Current editions of the MBCshow only constant hue charts,with constant Value inhorizontal lines with Chromaincreasing from left (neutrals)to right (most colourful), andconstant Chroma in verticalcolumns with Value increasingfrom bottom (darkest) to top(lightest). The differencebetween neighbouring coloursis about 10 CIELAB units.
Colour communicationLevel 4 – Colour order systems
Red and green constant hue pages with the notationH V/C (Hue Value/Chroma)
5R 6/125R 6/12 5G 7/85G 7/8
Colour communicationLevel 4 – Colour order systems
Yellow and purple constant hue pages in the MBC withlines of constant lightness and columns of constantchroma
Colour communicationLevel 4 – Colour order systems
The Munsell “color tree” showing the constant huecharts of the 20 principal and intermediate hues
Colour communicationLevel 4 – Colour order systems
The Munsell “color tree” showing the constant huecharts of purple – blue - green
Colour communicationLevel 4 – Colour order systems
The Munsell “color tree” showing the constant huecharts of green – yellow - red
Colour communicationLevel 4 – Colour order systems
The main screen of the Munsell conversion software,available from http://WallkillColor.com
Colour communicationLevel 4 – Colour order systems
The constant hue screen of the Munsell conversionsoftware, available from http://WallkillColor.com
Colour communicationLevel 4 – Colour order systems
The tolerance screen of the Munsell conversionsoftware, available from http://WallkillColor.com
Colour communicationLevel 4 – Colour order systems
Principal characteristics of the Munsell System
• Logical structure• Perceptually equal distances between the samples• Notation is not limited to existing samples
(possibility of interpolation and extrapolation)• The repeatability of sample colours and the
reproducibility from edition to edition iscontrolled to very strict tolerances
• Possibility to select harmonious colourcombinations following some simple rules
Colour communicationLevel 4 – Munsell-based colour collections
The two best-known textile colour collections based onthe Munsell system: PANTONE and SCOTDIC
Colour communicationLevel 4 – Munsell-based colour collections
The old textile collections had 1701 cotton or papersamples
Colour communicationLevel 4 – Munsell-based colour collections
The new TCX Cotton Pantone collection.1.925 colours in the FASHION + HOME System
TPX (paper)
Colour communicationLevel 4 – Munsell-based colour collections
The Pantone SWCDX Swatch Card: reference samplesfor visual/physical colour communication.
Within DE 0.5 of the master standard
Colour communicationLevel 4 – Munsell-based colour collections
The greatest advantage of the PANTONE system is itsubiquity – it is without doubt the best known set of
colour collection across a wide range of applications
Colour communicationLevel 4 – Munsell-based colour collections
The PANTONE colours are also available in electronicformat, you may insert them into most of the popular
design and even Office applications
Colour communicationLevel 4 – Munsell-based colour collections
PANTONE has recently launched an inexpensive devicecalled the colormunki for digital colour management, monitor
and printer calibration and profiling (Level 7)
Colour communicationLevel 4 – Munsell-based colour collections
The SCOTDIC system is a true textile reproduction ofthe Munsell, but using a hue circle divided into 54 parts,
and two numbers each for value and chroma
Colour communicationLevel 4 – Munsell-based colour collections
The greatest advantage of the SCOTDIC system is thetrue reproduction of the Munsell colours
Colour communicationLevel 4 – Munsell-based colour collections
The SCOTDIC collections are produced in more than2000 cotton and 2500 PES fabric colours as well as in
cotton yarn, CO/PES mixtures and wool
Colour communicationLevel 4 – Colour order systems
Other colour order systemsuse different concepts. TheOstwald and the NCSsystems are based on thepigment mixture ofpure colour + white (tint);pure colour + grey (tone)pure colour + black (shade)
Colour communicationLevel 4 – Colour order systems
Constant hue chart and hue circle from the 1917edition of Die Farbenfibel (Colour Primer)
Colour communicationLevel 4 – Colour order systems
The Color Harmony Manual – the most completerepresentation of the Ostwald colour order system
Colour communicationLevel 4 – Colour order systems
Constant hue pages from the Color Harmony Manual
Colour communicationLevel 4 – Colour order systems
Constant hue pages from the Color Harmony Manual
Colour communicationLevel 4 – Colour order systems
There are resemblances between the Natural ColourSystem (NCS) and the Ostwald, but there are also
significant conceptual differences
Colour communicationLevel 4 – Colour order systems
The NCS hue circleThe unitary huesare placed in keypositions, yellow -blue and red-greenare opposite, but(contrary to theMunsell system)they are notnecessarilycomplementary
Colour communicationLevel 4 – Colour order systems
In the NCS colours ofthe same hue arearranged in series ofconstant whiteness(tint) and constantblackness (shade).The vertical columnsshow similarity toconstant chroma(constant greycontent: tone), whilelightness increasesfrom bottom to top.
Colour communicationLevel 4 – Colour order systems
Constant hue charts (Y and R) in theNatural Colour System (NCS)
Colour communicationLevel 4 – Colour order systems
Constant hue charts (B and G) in theNatural Colour System (NCS)
Colour communicationLevel 4 – Colour order systems
NCS products: atlas and boxed set of samples
Colour communicationLevel 4 – Colour order systems
The electronic version of NCS works with most designsoftware packages (Palette) and also with CAD systems
(ArchiCAD)
Colour communicationLevel 4 – Colour order systems
Advantages of visual colour communication based oncolour collections or colour order systems (COS):
• easy and unambiguous to use;• possibility to communicate the notations
electronically (provided all parties have access to thesample collection);
• for the Munsell system possibility of visual orinstrumental interpolation (Level 5)
Colour communicationLevel 4 – Colour order systems
Disadvantages of visual colour communication basedon colour collections or colour order systems (COS):
• all the participants must have the same edition of thesample collection / COS;
• limited number of colours in the collection, relativelylarge differences (DE*~5-6) between desired andavailable colour;
• metamerism between produced samples and COS