色に関するブログ

Brands invest a great deal of time and resources when selecting a new color to represent their products. If the color doesn't match expectations after printing, runs are wasted, and everyone is left wondering where the color went wrong. Here's a typical scenario. A brand selects a season color for product packaging and communicates that color to the designer. The designer integrates the color into the design and hands it off to the premedia team to convert it into print-ready files. The files a...

The environmental footprint of fashion is out of control. According to the National Resources Defense Council (NRDC), “Textile mills generate one-fifth of the world's industrial water pollution and use 20,000 chemicals, many of them carcinogenic, to make clothes.” Fabric being dyed in factory. Image from NRDC.org.  A Problem That Impacts Everyone Did you know it takes about 200 tons of water (enough to fill several swimming pools) to produce one ton of cott...

測色は、色の重要な作業において、色の品質を指定・定量化・伝達・定形化・検証するために必要です。色の感じ方は人それぞれ異なるため、測色は目視評価より正確な結果を得られます。  色測定とは？ 色測定は、サンプルによって放射・透過・反射される光の量をとらえ、スペクトルデータとして定量化することで、光源の変化分も捉えることが出来ます。測色計（分光測色計）で行う色測定は、目視評価より正確です。なぜなら、人間の色認識は差を表すのは得意ですが、定量的に示すことは不得意です。色に関わる重要な作業には、色を識別・定量化・伝達・区別するための分光測色計の導入を強く推奨します。 色波長の測定方法 色を測定するには、分光測色計と呼ばれる測色装置でサンプルに光を当て、人間の目に見える波長範囲である380nmから780nmの範囲で透過または反射した光の量をとらえます。分光測色計は波長範囲にわたるスペクトル波長測定に基づき、計算を行い、スペクトルデータを定量化します。  測色計とは？ 測色計には、色彩計と分光測色計の２種類あります。 色彩計は人間の目と同じように色を認識し、赤・緑・青を感じる3...

COVID-19 has forced many companies to rethink the way they communicate, approve, and produce color.  For some, that means trying to conduct “business as usual” from a remote location. For others, it means finding ways to manage color without travel. Either way, we know our customers are doing everything they can to sustain business while keeping their employees healthy and safe. We want to help. Over the past few months we’ve been adding new resources to our virtual resou...

Recently we had the opportunity to sit down with Laura Guido-Clark, a consumer products designer of color, material, and texture. She has been dubbed an “Experience Consultant,” which reflects her interest and study of human reactions to the look and feel of new products.   Photo by Laura Flippen. We asked Guido-Clark to speak with us because we also appreciate the importance of color in our lives.   Q. What inspired you to pursue a career in color? A. When I wa...

G7® is a proof-to-print process control method that allows you to reliably and efficiently match the visual appearance of the output from multiple printing devices. It works by defining the gray balance and NPDC curves in conjunction with the traditional method of measuring tonal value increase (TVI/dot gain) for each color. G7 can be applied to any type of printing, regardless of the type of ink or printing method, including all types of digital, offset, flexo, gravure printing.   It&r...

Virtual reality has re-imagined the art of apparel and footwear design. 3D design programs like MODO, KeyShot, CLO, Browzwear, Optitex, and Lectra augment the creativity of color and material designers to virtually construct patterns and render realistic 3D garments.  This is exciting technology for brands that want to reduce waste for a greener footprint and accelerate design to keep up with fast fashion. However, designers are notoriously tactile. They need to touch, feel, and gain a...

With so many requests for innovative bases, transparency, and special effects, formulating color for paint, coating, and plastic applications can be a challenge. To keep up, formulation software needs to be innovative, too. We recently launched version 10 of our Color iMatch formulation software, and it is our smartest version yet. It allows you to select cost-reducing parameters, such as lowest cost or fewest colorants, and will determine the best formula for your application. It work...

Like geographic coordinates – longitude, latitude, and altitude – L*a*b* color values give us a way to locate and communicate colors. What’s the history of L*a*b*? In the 1940’s, Richard Hunter introduced a tri-stimulus model, Lab, which is scaled to achieve near uniform spacing of perceived color differences. While Hunter’s Lab was adopted as the de facto model for plotting absolute color coordinates and differences between colors, it was never formally accepted as...

Recently we blogged about how appearance affects color. In this article we look at some of the characteristics that impact an object’s appearance, such as texture, gloss, transparency, and special effects, and explain why it’s crucial to describe appearance in the early stages of the design workflow.  While 3D programs have attempted to address appearance aspects for years, there has been a missing link in virtual product design: the ability to integrate characteristically &ldqu...