Search results

This paper aims to compare visual (Munsell) and instrumental (CIELAB) attributes of SCOTDIC colour standards.

SCOTDIC cotton and polyester standards of defined hue, value and chroma were subjected to spectrophotometric assessment for finding the corresponding instrumental parameters. The visual and instrumental parameters were compared.

The correlation between SCOTDIC value and CIELAB lightness is quite high. Correlation coefficient between SCOTDIC hue and CIELAB hue angle and the correlation between SCOTDIC chroma and CIELAB chroma were only moderate because the CIELAB chroma varied widely at higher chroma. When the standards of SCOTDIC hues having erratic hue angles at two extremes are excluded, the Correlation coefficients between SCOTDIC hue and CIELAB hue angle become high.

The psychophysical data (visual) are difficult to match with physical data (instrumental).

The object of the present research is to study and compare visual (Munsell) and instrumental (CIELAB) colorimetric parameters. Munsell scale is physically exemplified by SCOTDIC fabric samples available in two sets, namely, cotton and polyester sets.

Rational use of the information available to companies is one of the strategic concerns for both family businesses and non-family businesses. The aim is to make the best use of the information resulting from data analysis in order to gain strategic advantage and to be more competitive as a company in all its functional areas. Experience indicates that emotions play an important role, especially in family businesses. Many maturation models exist to analyze decision-making processes (DMPs), but none from the perspective of family business cognition. The authors start from their own “Circumplex Hierarchical Representation of Organisation Maturity Assessment” (CHROMA) model (Parra, Tort-Martorell, Ruiz-Viñals, & Alvarez-Gomez, 2017), which was created to support decision processes in family businesses. This model was proven successful in the analysis of DMPs in large family businesses. The model was simplified as CHROMA-SHADE (Parra, Tort-Martorell, Ruiz-Viñals, & Alvarez-Gomez, 2019), more adequate for the analysis of small and medium-sized family businesses. Despite being a good DMP analysis instrument, intangible aspects such as family values and emotions have not yet been included. Both entrepreneurial emotions and entrepreneurial cognition must be taken into account when analyzing the DMP of the family business. In this chapter, the authors wish to explore attributes that can be introduced into a new dimension in the CHROMA model in order to make it more specific in the analysis of DMPs of family businesses regardless of size. The resulting FAMILY-CHROMA model represents a specific maturation model to evaluate DMPs based on the use of business information of family businesses.

This study aims to examine the colour changes affecting inkjet prints after the recycling of papers.

For recycling, papers prepared with the INGEDE 11p standard are recycled four times. Pulping, storage, flotation, beating and bleaching processes are applied for each recycling, respectively. Inkjet prints are made on the obtained test papers, and colour measurements are made using an X-Rite eXact spectrophotometer according to the ISO 13655:2017 standard. These processes are applied again to the papers which are recycled four times, and the results are analyzed. In addition, the values of ΔE₀₀ ′, ΔL′, ΔH ′ and ΔC′ are calculated according to ISO 11664-6:2014 standard by making some calculations according to obtained the L′a′b′ values.

It is determined that the ΔE₀₀ value increases after each recycling in cyan magenta and yellow colour, whereas it decreases in black. The highest ΔE₀₀ value is calculated after the fourth recycling stage is yellow with a value of 8.33. The lowest ΔE₀₀ value detected is black with a value of 0.76 after the fourth recycling stage. This paper observes that the colour with the most variation in hue angle among recycling repetitions is black and the colour with the highest hue angle value is yellow. It is seen that repeating recycling causes increase in the chromatic values of the prints.

After the fourth recycling stage, colour changes have reached an important point and can cause important printing problems. In this case, the customer’s approval must be obtained to continue printing. This case is valid for ΔE₀₀ values. Colour differences for print contrast, trapping and print chroma values are either not very important or are positive for quality.

The purpose of this study is to reduce the gloss of the surface of silk fabrics, by treating the fabrics with tea and matting agent, to imitate the aging and retro effects of silk artefacts.

Silk fabrics were treated with different processing techniques. The aged appearance and surface gloss of the silk fabrics were characterised by sensory analysis, measurement of reflectivity, scanning electron microscopy, measurement of brightness and chroma to identify the influential factors.

The application of matting agent on silk fabrics could reduce the lustre of silk fabrics. Treated with matting agent and tea pigments, silk fabrics could be “aged” to achieve retro effects within a relatively short period of time. A number of other factors and mechanisms that affect the reflectivity of the silk fabrics were also identified.

There is no definite index to evaluate the antique effect of fabrics.

The method developed through this study provided a simple and practical solution to achieving aging and retro effects on silk fabrics.

The method for reducing the lustre of silk fabrics by treating them with matting agent is novel and the finding of the relationships among reflectivity and brightness and chroma is original.

To assess the distortion in colour matching occurring in the process from design of a fabric to printed output, a combined objective and subjective measurement methodology was used. The results obtained from the spectrophotometer demonstrated that the hue and chroma of the printed copies differed from the originals. It was found that the perception of colour by fashion/textile designers mainly depends upon overall colour differences (▵E) rather than any individual factors such as lightness, chroma and hue.

The purpose of this paper is to evaluate and discuss colour properties, stability and lightfastness after accelerated exposure in xenon‐arc light apparatus, of 3D ink jet prints produced by using 3D colour printing process.

3D colour prints were produced using ZCorporation 3D printing method. The samples were divided into groups according to the finishing process applied (untreated, finished with different infiltrants). Colorimetric properties were measured using spectrophotometer. Samples were placed into xenon‐arc based weathering apparatus (Xenotest), using the preset glass filtered sunlight, standard indoor conditions. Colour stability was evaluated as change in colour after repeating the spectrophotometer measurements and comparing spectral and specific colorimetric values of initial and exposed samples.

Based on methodology used, the analysis has shown the changes in colour appearance of differently finished 3D prints, which were mostly attributed to chroma and lightness variations. The colour stability of samples studied noticeably varied and is dependent on colour, percentage of ink coverage and finishing method. Issues of colour and stability of 3D ink jet prints could become important as 3D printing emerges into new application areas, in which the object properties will need to be maintained for a certain amount of time.

The research is comparative and is limited to the specific materials and procedures used.

The paper describes aspects of colour 3D printing for which the published research and literature data are still, for the most part, lacking. Colour measurements methodology and evaluation of stability described could be of value for further research and for users of the technology.

Experience in the use of BS 2660 ‘Colours for building and decorative paints’ as a master range for co‐ordinating the colours of building materials, including those with patterned or textured surfaces, showed that its colours were too few and that its framework failed to ensure consistent relationships. A new range based on the attributes hue, greyness and weight, instead of the hue, value and chroma of the Munsell system, is published in DD17:1972 ‘Basic range for the co‐ordination of colours for building purposes’.

This study aims to provide control of liquids, especially against water-based ink on the paper and paperboard surface with natural substances, in also practical and greenway.

The paper surface was treated with natural rosin and its derivatives to obtain a hydrophobic effect and to improve printing properties. The oleoresin samples collected from Pinus nigra Arnold and Pinus pinaster Aiton trees in the controlled area and turpentine content removed was by hydrodistillation. The gum rosin (GR), fortified 10% with maleic anhydride (MGR) and esterified with 10% pentaerythritol (PMGR) samples solved in a simply alcohol and sprayed the base paper surface directly with a spray gun. Base paper samples were paperboard, bleached paper and test liner paper. Then, flexo printing was applied and printability properties were measured.

The treatment weights of these paper samples were 1.8 ± 0.5, 1.3 ± 0.5 and 0.7 ± 0.2 g/m², respectively, compared to the base paper. Greater Cobb60 results were obtained from modified rosin samples than unmodified gum rosin-sized paperboards and the PMGR surface treatment reduces Cobb60 values by 20% and MGR treatment reduces 15% comparing to the base sheet. Then, the printing procedure was applied to the surface of the treated materials using a flexo printing system. As a result of the treatment better print density, chroma and print lightness value consumed a less hydrophobic agent and controlling water-based flexo ink on the base paper surface.

The unique aspect of this work was improving the hydrophobicity of the paper surfaces was achieved by spraying with natural rosin and derivatives.

Colour preferences have both scientific significance and relevance to manufacturers. Despite claims that these preferences are unsystematic and that saturation and brightness exert more influence on judgements than hue, a substantial body of research suggests that the rank order of preference for hues ‐ blue, red, green, violet, orange, yellow ‐ emerges with some degree of consistency and, in particular, blue is regularly preferred to other hues. Five explanations of this trend are considered: preferences are simply conventional; blue is more neutral and less susceptible to extremes of judgement than other hues; preference for blue is a by‐product of more general principles; blue has largely positive associations; blue has an evolutionary significance. It is proposed that further investigation of the connotations of hues will provide insight into the pattern of colour preferences.