Colour Design

<p>Contributor contact details</p> <p>Woodhead Publishing Series in Textiles</p> <p>Part I: Colour and colour perception</p> <p>Chapter 1: What is colour?</p> <p>Abstract:</p> <p>1.1 Introduction</p> <p>1.2 Visible light</p> <p>1.3 Organising colours</p> <p>1.4 Conclusions</p> <p>Chapter 2: Variability in normal and defective colour vision: consequences for occupational environments</p> <p>Abstract:</p> <p>2.1 Introduction</p> <p>2.2 Vision information channels</p> <p>2.3 The concept of the luminous efficiency function</p> <p>2.4 Photoreceptor contrasts and the CIE (x,y) chromaticity chart</p> <p>2.5 Individual differences in colour vision</p> <p>2.6 Methods of assessing colour vision loss</p> <p>2.7 Anomaloscope variability in the parameters of the yellow match</p> <p>2.8 Colour assessment and diagnostics (CAD) test</p> <p>2.9 Colour in occupational environments</p> <p>2.10 Colour in healthcare</p> <p>2.11 Conclusions</p> <p>2.12 Sources of further information and advice</p> <p>2.13 Acknowledgements</p> <p>Chapter 3: Colour illusions and the human visual system</p> <p>Abstract:</p> <p>3.1 Introduction</p> <p>3.2 Illusions in the context of the human visual system</p> <p>3.3 From isolated colour to colour in context: some experiments</p> <p>3.4 Examples of the different groups of colour illusions</p> <p>3.5 Conclusions</p> <p>Chapter 4: Colour psychology: the emotional effects of colour perception</p> <p>Abstract:</p> <p>4.1 Introduction</p> <p>4.2 Colour preference: the longitudinal perspective 1970–2009</p> <p>4.3 Colour and psycho-physiological arousal</p> <p>4.4 Colour and subjective time estimation</p> <p>4.5 Colour and the subjective feeling of warmth</p> <p>4.6 Conclusions and further reading</p> <p>Chapter 5: Understanding colour perception and preference</p> <p>Abstract:</p> <p>5.1 Introduction</p> <p>5.2 The origins and uses of colour vision</p> <p>5.3 Colour preference in humans</p> <p>5.4 Colour preference in animals</p> <p>5.5 Physiological effects of background and illumination colours: ‘warm’ vs ‘cool’ colours</p> <p>5.6 Conclusions</p> <p>Chapter 6: Predicting responses to colour</p> <p>Abstract:</p> <p>6.1 Introduction</p> <p>6.2 A different approach</p> <p>6.3 The Wright Theory</p> <p>6.4 The process of colour specifying</p> <p>6.5 Conclusions</p> <p>Part II: Measuring and describing colour</p> <p>Chapter 7: International standards for colour</p> <p>Abstract:</p> <p>7.1 Introduction</p> <p>7.2 CIE standard colorimetric observers</p> <p>7.3 CIE illuminants and sources</p> <p>7.4 Standards for measuring reflecting and transmitting materials</p> <p>7.5 Expressing colour in terms of chromaticity coordinates</p> <p>7.6 Other descriptors of chromaticity</p> <p>7.7 Colour difference evaluation</p> <p>7.8 Colour appearance</p> <p>7.9 Calibration, traceability and measurement uncertainty</p> <p>7.10 Future trends</p> <p>7.11 Conclusions</p> <p>7.12 Sources of further information and advice</p> <p>Chapter 8: Colour description and communication</p> <p>Abstract:</p> <p>8.1 Introduction</p> <p>8.2 Colour order systems</p> <p>8.3 Named colour systems</p> <p>8.4 Colour naming</p> <p>8.5 Instrumental measurement of colour</p> <p>8.6 Digital imaging systems</p> <p>8.7 Colour constancy</p> <p>8.8 Metamerism</p> <p>8.9 Colour standards</p> <p>8.10 Colour difference</p> <p>8.11 Computation of colour co-ordinates</p> <p>8.12 Derivation of the CIE 1931 standard observer</p> <p>8.13 Future trends</p> <p>8.14 Sources of further information and advice</p> <p>Chapter 9: Colour naming for colour communication</p> <p>Abstract:</p> <p>9.1 Introduction</p> <p>9.2 Mapping the terrain</p> <p>9.3 Previous colour naming studies</p> <p>9.4 Conducting a colour naming experiment over the internet</p> <p>9.5 An online colour naming model</p> <p>9.6 Colour naming selection guidelines</p> <p>9.7 Conclusions and future directions</p> <p>9.9 Acknowledgements</p> <p>Chapter 10: Colour specification and visual approval methods for textiles</p> <p>Abstract:</p> <p>10.1 Introduction</p> <p>10.2 Global colour supply chain</p> <p>10.3 Colour communication</p> <p>10.4 Colour specification</p> <p>10.5 Colour vision</p> <p>10.6 Tools for colour assessment</p> <p>10.7 Conclusions</p> <p>10.8 Acknowledgement</p> <p>10.9 Sources of further information</p> <p>Chapter 11: Colour management and approval methods in lithographic printing</p> <p>Abstract:</p> <p>11.1 Introduction</p> <p>11.2 Case study: typical procedures of a commercial print company</p> <p>11.3 International printing standards</p> <p>11.4 Colour management in practice</p> <p>11.5 Conclusions</p> <p>11.6 Sources of further information</p> <p>Part III: Colour, design and coloration</p> <p>Chapter 12: The history of colour theory in art, design and science</p> <p>Abstract:</p> <p>12.1 Introduction</p> <p>12.2 The Reformation (c. 1520–c. 1550)</p> <p>12.3 The Counter-Reformation (c. 1550-c. 1610)</p> <p>12.4 Early Baroque (c. 1610–c. 1645)</p> <p>12.5 Baroque Classicism (c. 1645–c. 1715)</p> <p>12.6 High Baroque (c. 1715–c. 1770)</p> <p>12.7 Neo-Classicism (c. 1770–c. 1815)</p> <p>12.8 Romanticism (c. 1815–c. 1845)</p> <p>12.9 Victorian Classicism (c. 1845–c. 1885)</p> <p>12.10 Early Modernism (c. 1885–c. 1915)</p> <p>12.11 Modern Classicism (c. 1915–c. 1955)</p> <p>12.12 Late Modernism (c. 1955–c. 1985)</p> <p>Chapter 13: Enhancing design using color</p> <p>Abstract:</p> <p>13.1 Introduction</p> <p>13.2 Importance of context</p> <p>13.3 Color influence</p> <p>13.4 Color and depth perception</p> <p>13.5 Applying color to a surface</p> <p>13.6 Future trends</p> <p>13.7 Sources of further information</p> <p>Chapter 14: Understanding and forecasting colour trends in design</p> <p>Abstract:</p> <p>14.1 Introduction</p> <p>14.2 Colour trends</p> <p>14.3 Colour trend research</p> <p>14.4 The colour research process</p> <p>14.5 Colour forecasting</p> <p>14.6 Conclusions</p> <p>Chapter 15: Colour symmetry: the systematic coloration of patterns and tilings</p> <p>Abstract:</p> <p>15.1 Introduction</p> <p>15.2 Patterns and tilings: a historical perspective</p> <p>15.3 Principles of pattern geometry</p> <p>15.4 Colour symmetry</p> <p>15.5 Counterchange colouring</p> <p>15.6 Colour symmetry of higher orders</p> <p>15.7 Conclusions</p> <p>Chapter 16: The history of dyes and pigments: from natural dyes to high performance pigments</p> <p>Abstract:</p> <p>16.1 Introduction</p> <p>16.2 Cave paintings</p> <p>16.3 Dyes from ancient Egypt</p> <p>16.4 Pigments of ancient Egypt</p> <p>16.5 Greco–Roman dyes and pigments</p> <p>16.6 Medieval dyes and pigments</p> <p>16.7 Pigments of the industrial revolution</p> <p>16.8 Synthetic dyes</p> <p>16.9 Organic pigments</p> <p>16.10 Conclusions</p> <p>Chapter 17: Dye types and application methods</p> <p>Abstract:</p> <p>17.1 Introduction</p> <p>17.2 Dye selection</p> <p>17.3 Preparation of materials for dyeing</p> <p>17.4 Dyeing of cellulosic fibres</p> <p>17.5 Dyeing of protein fibres</p> <p>17.6 Dyeing of polyamide fibres</p> <p>17.7 Dyeing of polyester fibres</p> <p>17.8 Dyeing of acrylic fibres</p> <p>17.9 Fluorescent brightening agents</p> <p>17.10 Dyeing of fibre blends</p> <p>17.11 Dyeing machinery</p> <p>17.12 Conclusions</p> <p>Chapter 18: Colour printing techniques</p> <p>Abstract:</p> <p>18.1 Hardcopy colour: analogue versus digital</p> <p>18.2 Colour theory in relation to printing</p> <p>18.3 An overview of halftoning and digital print technologies</p> <p>18.4 An overview and development of inks</p> <p>18.5 Inkjet papers and inks</p> <p>18.6 Recent and future trends in colour, printing inks and hardware</p> <p>18.9 Glossary</p> <p>Part IV: Colour and design in particular applications</p> <p>Chapter 19: Colour trends and selection in fashion design</p> <p>Abstract:</p> <p>19.1 Introduction</p> <p>19.2 Colour associations</p> <p>19.3 Key issues of colour in fashion design</p> <p>19.4 Case studies</p> <p>19.5 Conclusions</p> <p>19.6 Sources of further information and advice</p> <p>Chapter 20: Colour in interior design</p> <p>Abstract:</p> <p>20.1 Introduction</p> <p>20.2 The role of an interior designer</p> <p>20.3 Colour psychology</p> <p>20.4 In the home: colour and its many moods</p> <p>20.5 Colour toolkit</p> <p>20.6 Factors that influence colour</p> <p>20.7 Colour in the public and commercial space</p> <p>20.8 Colour trends</p> <p>20.9 How cultural influences affect colour</p> <p>20.10 Conclusions</p> <p>20.11 Sources of further information and advice</p> <p>Chapter 21: Colour in food</p> <p>Abstract:</p> <p>21.1 Introduction</p> <p>21.2 Colour, evolution and health</p> <p>21.3 Appearance</p> <p>21.4 Total appearance and expectations</p> <p>21.5 Assessment and measurement</p> <p>21.6 Halo effects, commercial exploitation and ethics</p> <p>21.7 Conclusions</p> <p>Chapter 22: Choosing effective colours for websites</p> <p>Abstract:</p> <p>22.1 Introduction</p> <p>22.2 Choosing effective colours for websites</p> <p>22.3 HTML colours</p> <p>22.4 Colour harmony</p> <p>22.5 Users with special needs (disabled and colour-deficient users)</p> <p>22.6 Web content accessibility guidelines</p> <p>22.7 Conclusions</p> <p>22.8 Sources of further information</p> <p>Chapter 23: Evolution and colour change in works of art</p> <p>Abstract:</p> <p>23.1 Introduction</p> <p>23.2 Art and Collectables</p> <p>23.3 Domestic display: commonsense preservation</p> <p>23.4 Sources of further information and advice</p> <p>Index</p>