Color development is an area that requires a great deal of time and money. If you rely on the old methods of multiple submits and rejections before you get the final approval, you are most likely squeezed for time to actually get production completed.
Archroma helps by providing starting formulations to match the selected color. The formulations are based on the latest globally available dyestuffs from Archroma. The proper dye selection in the beginning is critical to getting the quickest possible approvals.
The Archroma dyestuff recipes provided are starting formulations for the selected fiber. They will of course need to be adjusted for local conditions and your specific fibers.
The formulations area requires a user name and password. When you click the button below, if you are already logged in, you will be directed to the formulations tool. If not, you will be able to Login, or Register for a new account.
Once you have the recipe, if your operation is responsible for the color matching you will be on your way to a match and faster approvals.
If you are the retailer or sourcing company, make sure the mill has the correct information and the appropriate Archroma contact in case they need the correct dyestuff samples or production advice.
* Pantone and Archroma do not guarantee any fastness properties or performance characteristics and assume no liability for the performance of suggested formulations. We recommend that each customer test their dyestuff recipe for performance prior to approving colors for production
Color inconstancy is the change in color of a single sample under different lights. The magnitude of color inconstancy can be defined by ∆E CMC of the sample between two lights.
The ISO standard for shade (in)constancy is called CMCCON and it refers to the ∆E CMC for a sample between D65 and a second light source. Given the CIE L*a*b* values for a sample in D65 and in a second light source it is possible to calculate the CMCCON for a shade.
As shown below, product color can change significantly in going from store light to daylight. This change can be unexpected and could leave the consumer less than satisfied with their purchasing decision. Therefore, color inconstancy is a problem that needs a more complete analysis.
A color named Poppy viewed in three different lights (Ultralume, D65, CWF)
How is it different from metamerism?
Shade inconstancy is the change in color of a single sample. Metamerism, on the other hand, is the change in color difference between a pair of samples. Normally, illuminant metamerism is of greatest interest although factors such as observer and geometry can also play a role.
The magnitude of metamerism can be measured by the change in ∆E CMC for a sample pair between any two illuminants. So there are two ∆E CMC values involved. A metameric pair could have a ∆E CMC=0 in one light and a high ∆E CMC in the second light.
Creating shades with a low inconstancy in itself does not improve the chances of getting matches with a low metamerism. It is entirely possible to get high metamerism matches for color constant shades and it is also possible to get nonmetameric matches for color inconstant shades.
Metamerism can only be controlled by using the similar colorants in the color standard and the sample. Attempting to reduce the color inconstancy of a color standard does not in any way reduce the possibility of metamerism.
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