Journal articles: 'Paint color'

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Chandra, Fitri, Onggal Sihite, and Mesra Mesra. "Eksperimen Bahan Makanan Sebagai Alternatif Cat Warna Air." Journal of Education, Humaniora and Social Sciences (JEHSS) 3, no. 3 (March 3, 2021): 904–12. http://dx.doi.org/10.34007/jehss.v3i3.431.

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This research aims to describe the process of creating water color paints and the resulting colors made of foodst materials. The making of this water color paint through several stages, such stages are, observation, exploration, experimental, and quality testing. This experiment focused on foodstings as dye paint making materials. The exploration stage is about the materials used as additives, pigments, solvents, and binders in paints. Experimental stages in the form of making groceries into dye paints. The quality test stage is the process of comparing the quality of the experiment's color paint and the factory-made color paint. The concept of making color paint explores ingredients from food namely, kanji flour, baking soda, vinegar, food coloring, and water. And aids like, bowls and spoons, plastic containers, and toothpicks. The paint is realized into the form of a painting using aquarel painting technique.

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Gravit, Marina, Artem Krivtcov, Iurii Mingalimov, and Ivanna Popovych. "Сolour Design of Intumescences Сoatings for Building Constructions." Materials Science Forum 871 (September 2016): 146–53. http://dx.doi.org/10.4028/www.scientific.net/msf.871.146.

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For the rational decision of colors on the different building objects it is recommended to use optimal colors to create the best climate at industrial enterprises. For this purpose the appropriate building codes are developed. Building constructions in the industrial enterprises, which are applied fire-retardant paint, also painted in the appropriate color with tinting paste, or applying the finishing coat with that color. It is shown, that the introduction of tinting paste in the fire-retardant paint as overcoating of the fire-retardant paint leads to chaotic effect on height of foam of the intumescing coatings. The conclusions about invalidity of coloring with the fire-retardant paints in saturated tones used tinting paste without preliminary testing on the fire retardant efficiency are made. Similar conclusions are applied to the paint systems for an intumescing fire protective coatings using surface finishing.

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Sarjono, Gunawan Sri, Titik Ismiyati, and Endang Wahyuningtyas. "The effect of paint types toward iris color changes of ocular prosthetics." Majalah Kedokteran Gigi Indonesia 6, no. 1 (July 15, 2020): 60. http://dx.doi.org/10.22146/majkedgiind.38706.

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Ocular prosthetics are mainly created to meet the aspect of esthetic consideration. The paint application in ocular prosthetics construction is remaining an option for Prosthodontist. This study aims to examine the effect of types of paint toward iris color change of the ocular prosthetics. Three black types of paint: oil paint (Maries Oil Color, China), automotive paint (Avian, Indonesia), and acrylic paint (Sakura, Japan) were used to paint paper disc to produce 27 iris ocular prosthetics. Chromameter was used to examine the first and the final color after acrylic processing using themicrowave. The measurement results in the process using Commission Internationale de l’Eclairage. One-way ANOVA test showed significant differences between the three types of paints on ocular prosthetics (p<0.05). The LSD test revealed that oil paint groups had more significant results than the automotive paint group and acrylic paint group, while the automotive paint group did not have significant differences with the acrylic paint group (p>0.05). Thus, it is conclusive that oil paint influences the iris color change of the ocular prosthetics.

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Sukram, Sukram, and Sutikno Sutikno. "Pengaruh Suhu Dan Waktu Tinggal Terhadap Kecenderungan Menguning Pada Proses Produksi Alumunium Fasad." JATI UNIK : Jurnal Ilmiah Teknik dan Manajemen Industri 2, no. 1 (April 29, 2019): 64. http://dx.doi.org/10.30737/jatiunik.v2i2.330.

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Painting using paint powder is one of the techniques of protection against corrosion are evolving rapidly. Powder paints have aesthetic value approaching liquid paint as well as durability and relative utilization is better than liquid paint. The process of maturation of the paint powder that is only done with the process of warming at a certain temperature and a certain span of time. Standard maturation process known as maturation curve (curing folder). The difference in temperature and time against standard value ranges of risk occurrence of color change especially in white color (light). Therefore, do the research to find out the influence of temperature and time of warming up against the tendency of yellowing in white powder paint. Colour measurement is performed using a colorimeter in units of CIE Lab. Value b in CIE lab color trend show the yellowish or bluish. Temperature and time of warming up is the variable factor research determined 5.Keyword : paint powder, maturation, temperature, color. Pengecatan menggunakan cat bubuk merupakan salah satu teknik perlindungan terhadap korosi yang berkembang secara pesat. Cat bubuk memiliki nilai estetika mendekati cat cair serta daya tahan dan utilisasi yang relative lebih baik dibanding cat cair. Proses pematangan cat bubuk yang hanya dilakukan dengan proses pemanasan pada suhu tertentu dan rentang waktu tertentu. Standard proses pematangan dikenal dengan kurva pematangan (curing map). Perbedaan suhu dan waktu terhadap rentang nilai standard menimbulkan resiko terjadinya perubahan warna khususnya pada warna putih (terang). Oleh sebab itu dilakukan penelitian untuk mengetahui pengaruh suhu dan waktu pemanasan terhadap kecenderungan menguning pada cat bubuk warna putih. Pengukuran warna dilakukan dengan menggunakan colorimeter dalam satuan CIE Lab. Nilai b pada CIE lab menunjukan kecenderungan warna kekuningan atau kebiruan. Suhu dan waktu pemanasan merupakan variabel penelitian yang faktornya ditentukan 5⁰C dan 5 menit diluar kurva pematangan. Kata kunci: cat bubuk, pematangan, suhu, warna.

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ANDO, Kenji, and Masayuki OSUMI. "Measurement for Color of Coating Paint." Journal of the Japan Society of Colour Material 76, no. 4 (2003): 160–63. http://dx.doi.org/10.4011/shikizai1937.76.160.

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McCreight, Kevin. "Latex paint gets its color back." Metal Finishing 104, no. 1 (January 2006): 38–41. http://dx.doi.org/10.1016/s0026-0576(06)80029-2.

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Vasquez, Barbra, James H. Lashomb, and George Hamilton. "Alightment of Edovum puttleri Grissell (Hymenoptera: Eulophidae) in Response to Colors Mimicking Three Hosts of the Colorado Potato Beetle (Coleoptera: Chrysomelidae)." Journal of Entomological Science 32, no. 4 (October 1, 1997): 386–97. http://dx.doi.org/10.18474/0749-8004-32.4.386.

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The effect of leaf color on alighting behavior of Edovum puttleri Grissell was examined in a laboratory sticky-board test. Paint models mimicking the leaf top colors of eggplant, potato, and tomato and a model mimicking average underside leaf color were tested in paired comparisons. The underside leaf color mimic was the most preferred; no significant differences in landing rates occurred among any of the three leaf top color mimics. The underside leaf color mimic also was tested against two gray shades sharing the same intensity of reflectance; no significant differences were detected. The parasitoid, therefore, preferentially alighted based on the intensity and not the hue of the models. For all assays, a significant departure from randomness was found because a higher percentage of females alighted on the paint models than that which was in the colony. This suggests that parasitoids were alighting in a search for host eggs.

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Tamrin, Khairul Fikri, Kaveh Moghadasi, Marzie Hatef Jalil, Nadeem Ahmed Sheikh, and Shahrol Mohamaddan. "Laser Discoloration in Acrylic Painting of Visual Art: Experiment and Modeling." Materials 14, no. 8 (April 16, 2021): 2009. http://dx.doi.org/10.3390/ma14082009.

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This study discloses a method for painting artwork using a CO2 laser. The continuous-wave laser beam, at a predetermined heat flux and a predetermined number of laser beam passes, mixes and displaces the plurality of colored polymer-based compositions, respectively, by way of melting and vaporizing them. Experiments showed a great accuracy of colors and designed patterns between the computer aided design (CAD) drawing and what was achieved after laser discoloration. It was found that lower values of power and speed provide sufficient energy and time to make a melt pool of colors and cause their vaporization from the surface. A detailed numerical simulation was performed to obtain a detailed understanding of the physics of laser interaction with paint using ABAQUS software. The comparative analysis indicated that the top layer of paint (including yellow and green colors) melted upon increasing cutting speed and employing one laser pass. For blue and red paints, two passes of lasers are required; in the case of red color, lower laser speed is also necessary to intensify the heat. This method can be applied for making art designs on each surface color because it is based on melting and vaporization using a laser.

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Liu, Panmiao, Zhuoying Xie, Fuyin Zheng, Yuanjin Zhao, and Zhongze Gu. "Surfactant-free HEMA crystal colloidal paint for structural color contact lens." Journal of Materials Chemistry B 4, no. 31 (2016): 5222–27. http://dx.doi.org/10.1039/c6tb01089j.

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A new type of structural color paint was fabricated by dispersing poly(methyl methacrylate-hydroxyethyl methacrylate) (PMH) nanoparticles in 2-hydroxyethyl methacrylate (HEMA) solvent without additional surfactants. The paints then were directly cast to form structural color contact lenses by UV polymerization in moulds.

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Gómez-García, Pablo A., Erik T. Garbacik, Jason J. Otterstrom, Maria F. Garcia-Parajo, and Melike Lakadamyali. "Excitation-multiplexed multicolor superresolution imaging with fm-STORM and fm-DNA-PAINT." Proceedings of the National Academy of Sciences 115, no. 51 (December 3, 2018): 12991–96. http://dx.doi.org/10.1073/pnas.1804725115.

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Recent advancements in single-molecule-based superresolution microscopy have made it possible to visualize biological structures with unprecedented spatial resolution. Determining the spatial coorganization of these structures within cells under physiological and pathological conditions is an important biological goal. This goal has been stymied by the current limitations of carrying out superresolution microscopy in multiple colors. Here, we develop an approach for simultaneous multicolor superresolution imaging which relies solely on fluorophore excitation, rather than fluorescence emission properties. By modulating the intensity of the excitation lasers at different frequencies, we show that the color channel can be determined based on the fluorophore’s response to the modulated excitation. We use this frequency multiplexing to reduce the image acquisition time of multicolor superresolution DNA-PAINT while maintaining all its advantages: minimal color cross-talk, minimal photobleaching, maximal signal throughput, ability to maintain the fluorophore density per imaged color, and ability to use the full camera field of view. We refer to this imaging modality as “frequency multiplexed DNA-PAINT,” or fm-DNA-PAINT for short. We also show that frequency multiplexing is fully compatible with STORM superresolution imaging, which we term fm-STORM. Unlike fm-DNA-PAINT, fm-STORM is prone to color cross-talk. To overcome this caveat, we further develop a machine-learning algorithm to correct for color cross-talk with more than 95% accuracy, without the need for prior information about the imaged structure.

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Wu, Jian Chun. "The Influence of Rutile Nano-TiO₂ on Paint Ultraviolet Resistance." Advanced Materials Research 622-623 (December 2012): 791–95. http://dx.doi.org/10.4028/www.scientific.net/amr.622-623.791.

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Rutile nano-TiO2 was modified with surfactant to improve its dispersion in organic solvents. The modified nano- TiO2 was used in furniture paint, anticorrosive paint and automotive paint. The ultraviolet resistance of the paint was knowed by detecting the color difference and gloss loss rate of the paint. The results show that: the nano-TiO2 which is modified with B/C surfactant has excellent dispersion in paint. And it shows excellent ultravioleting performance in paint applications. The paint color and gloss can be maintained for a longer time.

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Berrie, Barbara H. "Mining for Color: New Blues, Yellows, and Translucent Paint." Early Science and Medicine 20, no. 4-6 (December 7, 2015): 308–34. http://dx.doi.org/10.1163/15733823-02046p02.

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In the sixteenth century, the Erzgebirge mountains were mined for mineral ores of cobalt and antimony that were used to make the blue pigment smalt, a potash glass, and yellow pigments based on lead-antimony oxides, respectively. By the beginning of the seventeenth century, these pigments had found a permanent place on the easel painter’s palette, smalt used in place of ultramarine and the antimonial compounds enlivening the yellows of the spectrum. Mining efforts also located sources for naphtha, and improvements in distillation would have allowed it (and other solvents) to be fractioned and purified for use as a solvent and diluent for oil paint. The mention of naphtha in treatises and color-sellers’ inventories attests to its use in color making. Thinning paint allowed artists to use glazes of paint to lively, luminous, coloristic effect and made blending easier. These three discoveries contributed to the saturated colors characteristic of seventeenth-century painting and offered artists latitude in the ways they pursued their goal of imitative painting.

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Yan, Xiaoxing, and Yijuan Chang. "Investigation of the Properties of Color-Changing Powder Water-Based Coating." Coatings 10, no. 9 (August 24, 2020): 815. http://dx.doi.org/10.3390/coatings10090815.

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The suitable coating process and discoloration effect of the waterborne paint added with color-changing powder on the surface of Chinese fir were investigated using an orthogonal method from three factors of the number of primers, topcoats, and the way of adding color-changing powder. It was found that the number of primers showed the greatest significance on the color difference of paint film, and the method of adding the color-changing powder had the most influence on the gloss of the paint film. Meanwhile, the impact resistance, paint film adhesion, liquid film resistance level, the gloss of coatings, and the composition of waterborne coatings were not affected by the three factors. The results indicated that two primers, two topcoats with color-changing powder, were the most suitable coating technologies for the reversible color waterborne coating to obtain a stable and sustainable discoloration effect. These results will provide a reference for the construction and application of a color-changing coating.

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Reis, Ricardo César dos, Reinaldo Brito e. Dias, and Jose Carlos Mesquita Carvalho. "Evaluation of iris color stability in ocular prosthesis." Brazilian Dental Journal 19, no. 4 (2008): 370–74. http://dx.doi.org/10.1590/s0103-64402008000400015.

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Accurate iris reproduction in the fabrication of ocular prosthesis in order to match the remaining eye is a key factor to mask the loss and achieve an esthetic outcome for anophthalmic patients. This study evaluated the stability of acrylic paints used for replicating iris color in ocular prostheses by the analysis of two factors: the temperature of the acrylic resin polymerization cycle during prosthesis fabrication and the incidence of sun light, which is the main photodegrading agent undermining the longevity of ocular prostheses. An accelerated aging assay was used for both analyses. Specimens simulating the prosthetic iris in the colors blue, yellow, black, brown and green were fabricated, and were submitted to a colorimetric reading before and after undergoing the thermal conditions of acrylic resin polymerization. Next, the specimens were submitted to an artificial accelerated aging assay with ultraviolet radiation A and weekly colorimetric readings during a 3-week period. The color change (??*) values for the four specimens painted with the same color paint were averaged and the resulting values were considered for statistical analysis. Levine's test and Student's t-test were used to analyze the influence of the temperature of the polymerization cycle during prosthesis fabrication on the color stability of each acrylic resin paint. Friedman's test for three dependent samples was used for analysis of color photodegradation as function of time. Significance level was set at 0.05 for all analyses. It was observed that, after the action of the temperature of the polymerization cycle, alteration above clinically acceptable level of ??*> 3.3 was observed only for the yellow color. After the accelerated aging assay, there were statistically significant differences (p<0.05) as a function of time in the green, brown, black and blue colors. Changes were clinically acceptable for the brown and black colors; slightly above the clinically acceptable limit for the green color; and significantly high and impracticable from a clinical standpoint for the blue color. There was no statistically significant differences (p>0.05) for the yellow color, which presented color change only a little above the clinically acceptable limit. In conclusion: 1. Only the yellow color presented alterations above the clinically acceptable levels after the polymerization cycle; 2. After accelerated aging, there was no changes in the yellow color above the clinically acceptable levels; 3. For the green color, degradation was significant and slightly above the clinically acceptable levels; 4. The black, brown and blue colors presented significant alterations as function of time; the alterations of the brown and black colors were within acceptable clinical levels, while the blue color presented a more accentuated degradation over time.

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Lavine, Barry K., Collin G. White, Matthew D. Allen, and Andrew Weakley. "Pattern Recognition-Assisted Infrared Library Searching of the Paint Data Query Database to Enhance Lead Information from Automotive Paint Trace Evidence." Applied Spectroscopy 71, no. 3 (October 6, 2016): 480–95. http://dx.doi.org/10.1177/0003702816666287.

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Multilayered automotive paint fragments, which are one of the most complex materials encountered in the forensic science laboratory, provide crucial links in criminal investigations and prosecutions. To determine the origin of these paint fragments, forensic automotive paint examiners have turned to the paint data query (PDQ) database, which allows the forensic examiner to compare the layer sequence and color, texture, and composition of the sample to paint systems of the original equipment manufacturer (OEM). However, modern automotive paints have a thin color coat and this layer on a microscopic fragment is often too thin to obtain accurate chemical and topcoat color information. A search engine has been developed for the infrared (IR) spectral libraries of the PDQ database in an effort to improve discrimination capability and permit quantification of discrimination power for OEM automotive paint comparisons. The similarity of IR spectra of the corresponding layers of various records for original finishes in the PDQ database often results in poor discrimination using commercial library search algorithms. A pattern recognition approach employing pre-filters and a cross-correlation library search algorithm that performs both a forward and backward search has been used to significantly improve the discrimination of IR spectra in the PDQ database and thus improve the accuracy of the search. This improvement permits inter-comparison of OEM automotive paint layer systems using the IR spectra alone. Such information can serve to quantify the discrimination power of the original automotive paint encountered in casework and further efforts to succinctly communicate trace evidence to the courts.

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Pan, Xunyu, and Johnathan Tripp. "Paint Code Identification Using Mobile Color Detector." Electronic Imaging 2019, no. 8 (January 13, 2019): 418–1. http://dx.doi.org/10.2352/issn.2470-1173.2019.8.imawm-418.

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Chen, Yijun, Jyotirmoy Mandal, Wenxi Li, Ajani Smith-Washington, Cheng-Chia Tsai, Wenlong Huang, Sajan Shrestha, et al. "Colored and paintable bilayer coatings with high solar-infrared reflectance for efficient cooling." Science Advances 6, no. 17 (April 2020): eaaz5413. http://dx.doi.org/10.1126/sciadv.aaz5413.

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Solar reflective and thermally emissive surfaces offer a sustainable way to cool objects under sunlight. However, white or silvery reflectance of these surfaces does not satisfy the need for color. Here, we present a paintable bilayer coating that simultaneously achieves color and radiative cooling. The bilayer comprises a thin, visible-absorptive layer atop a nonabsorptive, solar-scattering underlayer. The top layer absorbs appropriate visible wavelengths to show specific colors, while the underlayer maximizes the reflection of near-to-short wavelength infrared (NSWIR) light to reduce solar heating. Consequently, the bilayer attains higher NSWIR reflectance (by 0.1 to 0.51) compared with commercial paint monolayers of the same color and stays cooler by as much as 3.0° to 15.6°C under strong sunlight. High NSWIR reflectance of 0.89 is realized in the blue bilayer. The performances show that the bilayer paint design can achieve both color and efficient radiative cooling in a simple, inexpensive, and scalable manner.

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Akbar, Dekrit H., Purnami Purnami, and Sugeng Prayitno Budio. "Influence of Surface Roughness and Paint Coating on Corrosion Rate." International Journal of Mechanical Engineering Technologies and Applications 1, no. 1 (January 27, 2020): 15. http://dx.doi.org/10.21776/mechta.2020.001.01.3.

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<p>The technology of paint and its application develop fast, driven by the increasing cost of energy, raw material and labors. In this study, paint was used as a corrosion inhibitor on the surface of API 5L while saltwater is used as the corrosive media. The coating was varied for three different cases, i.e. primary coating only, primary and color coating as well as primary, color and glossy coating. Meanwhile, surface roughness was varied for 0.6, 0.7 and 0.8 μm. It is concluded that surface roughness and coating influence the corrosion rate. Smoother the surface and more coating layers lower the corrosion rate. Based on the study on API 5L steel, the lowest corrosion rate was obtained at 0.6 μm with 3 paint coatings (primary, color paint and clear/gloss)</p>

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Al-saleem, Riyadh M., Baraa M. Al-Hilali, and Izz K. Abboud. "Mathematical Representation of Color Spaces and Its Role in Communication Systems." Journal of Applied Mathematics 2020 (May 18, 2020): 1–7. http://dx.doi.org/10.1155/2020/4640175.

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In this research, the color system was analyzed according to the International Lighting Commission (CIE) standard by studying the theoretical aspect of the general color system according to the latest communication theories of the visual image supported by mathematical equations and illustrations supporting the relevant hypotheses and then a comparison of evolution. There is an enormous use in color spaces and systems according to their own use, where the use of colors has become in various areas including television systems; computer systems; industry and product colors; printing of all kinds of black and white and color; paint colors for buildings, houses, and cities; and many other color-related uses. The development of color spaces and systems from 1931 to the present day has expanded a lot, and this led to the emergence of new areas of color systems characterized by accuracy and beauty and became the color of the subcolors according to the desire of the customer and the quality of use. The development of color systems has an impact on visual communication such as television broadcasting systems, medical image processing, and video signal processing, as well as in the field of computer such as graphic equipment and printing.

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Loganina, Valentina I., and Yerkebulan B. Mazhitov. "Estimation of Rheological Properties of Ash Silicate Paints." Materials Science Forum 992 (May 2020): 569–73. http://dx.doi.org/10.4028/www.scientific.net/msf.992.569.

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Information provided on the color of paint coatings on the mortar substrate, depending on the type of pigment in accordance with the RAL color file. It is shown that presence of glycerin in the composition of the sol of silicate paint promotes an increase in the cohesive strength of coatings, an improvement in the filling of paint, and an improvement in the quality of the appearance of coatings. Information is given on the rheological properties of a silicate paint sol with the addition of glycerin depending on the pigment content. It has been established, that the introduction of glycerin into the paint formulation leads to an increase in the values of the critical volume concentration of the pigment (filler). A model for changing the viscosity of paint from a pigment volume concentration (filler) is proposed.

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SATOU, Yoshihiro. "PAINT Process to Meet Various Customized Color Requests." Journal of the Japan Society of Colour Material 83, no. 8 (2010): 333–36. http://dx.doi.org/10.4011/shikizai.83.333.

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Dredge, Paula, Richard Wuhrer, and Matthew R. Phillips. "Monet's Painting under the Microscope." Microscopy and Microanalysis 9, no. 2 (March 14, 2003): 139–43. http://dx.doi.org/10.1017/s1431927603030198.

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An oil painting by Claude Monet, Port-Goulphar, Belle-Ile 1887 (collection of the Art Gallery of New South Wales), was examined to determine both the identity of the pigments used by the artist in this painting and his technique of mixing colors and laying paint on the canvas. The extremely complex construction of the painting was revealed by optical microscopy, scanning electron microscopy (SEM), energy dispersive X-ray analysis (EDS), and X-ray mapping (XRM) analysis of cross sections of paint flakes excised from damaged regions of Port-Goulphar, Belle-Ile. Nine different pigments were found on the painting. Many of the identified colors were modern pigments that became available only late in the 19th century as a result of scientific advances in pigment chemistry. Although similar colors were available in a natural mineral form, they lacked the vivid color of their manufactured counterparts. The use of these new synthetic metallic oxide colors by Monet accounts for the brilliance of his paintings. In addition, a separation between successive paint layers was observed in some areas of paint chip cross sections, indicating that oil-based paint was applied to paint that had dried, and consequently, Port-Goulphar, Belle-Ile was painted over a long period of time. This observation is contrary to the general perception of Monet's technique of painting freely and quickly.

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Yan, Xiaoxing, and Lin Wang. "Preparation of Shellac Resin Microcapsules Coated with Urea Formaldehyde Resin and Properties of Waterborne Paint Films for Tilia amurensis Rupr." Membranes 10, no. 10 (October 12, 2020): 278. http://dx.doi.org/10.3390/membranes10100278.

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A two-step in situ polymerization method was utilized to fabricate urea formaldehyde (UF) resin-coated shellac resin microcapsules. The morphology and composition of microcapsules with different core-wall ratios were analyzed by scanning electron microscope (SEM) and infrared (IR) spectrum. The effects of different concentrations of microcapsules on gloss, color difference, hardness, adhesion, and impact resistance of waterborne paint films were studied. At the same time, the self-healing effect of the prepared microcapsules applied to waterborne paint film was discussed. The results revealed that the shellac resin microcapsules coated with UF resin were successfully prepared. At the 0.67:1 and 0.75:1 core-wall ratios, the color differences of the paint film with 0–20.0% (weight percent) microcapsules were small and the color was uniform. Under the condition of 60° incident angle and the same microcapsule concentration, a good gloss was obtained. When the concentration was 20.0%, the hardness of paint film reached the maximum value. The adhesion of paint film was better, which was not affected by microcapsule concentration. When the concentration was 5.0% and 10.0%, the microstructure of paint film was good. The paint film with a 10.0% concentration of the shellac resin microcapsules coated with UF resin had better self-healing performance and the comprehensive performance was better. This paper provides the basis for the industrial application of self-healing waterborne wood paint films.

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Sinhababu, Mohua, Anurag Roy, Narendra Kumar, Monojit Dutta, Senthilarasu Sundaram, Smagul Karazhanov, and Gopalkrishnan Udayabhanu. "Surface Treatment of Industrial-Grade Magnetite Particles for Enhanced Thermal Stability and Mitigating Paint Contaminants." Nanomaterials 11, no. 9 (September 4, 2021): 2299. http://dx.doi.org/10.3390/nano11092299.

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Pigments can retain their color for many centuries and can withstand the effects of light and weather. The paint industry suffers from issues like aggressive moisture, corrosion, and further environmental contamination of the pigment materials. Low-cost, long-lasting, and large-scale pigments are highly desirable to protect against the challenges of contamination that exist in the paint industry. This exploratory study reinforces the color and thermal stability of industrial-grade (IG) magnetite (Fe3O4). IG Fe3O4 pigments were further considered for surface treatment with sodium hexametaphosphate (SHMP). This metaphosphate hexamer sequestrant provides good dispersion ability and a high surface energy giving thermal and dust protection to the pigment. Various physicochemical characterizations were employed to understand the effectiveness of this treatment across various temperatures (180–300 °C). The X-ray diffraction, Raman, and X-ray photoelectron spectroscopy techniques signify that the SHMP-treated Fe3O4 acquired magnetite phase stability up to 300 °C. In addition, the delta-E color difference method was also adopted to measure the effective pigment properties, where the delta-E value significantly decreased from 8.77 to 0.84 once treated with SHMP at 300 °C. The distinct color retention at 300 °C and the improved dispersion properties of surface-treated Fe3O4 positions this pigment as a robust candidate for high-temperature paint and coating applications. This study further encompasses an effort to design low-cost, large-scale, and thermally stable pigments that can protect against UV-rays, dust, corrosion, and other color contaminants that are endured by building paints.

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Rossi, Stefano, Hampus Lindmark, and Michele Fedel. "Colored Paints Containing NIR-Reflective Pigments Exposed to Accelerated Ultraviolet Radiation Aging with Possible Application as Roof Coatings." Coatings 10, no. 11 (November 23, 2020): 1135. http://dx.doi.org/10.3390/coatings10111135.

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This study aims to evaluate the difference in thermal behavior among paints with the presence of traditional and NIR pigments by means of a simple and cheap laboratory-scale test. Considering these goals, the thermal and esthetical properties of two different cool coatings were assessed, highlighting their positive and limited aspects. Two different complex near-infrared inorganic reflective (NIR) pigments with yellow and black respectably colors were mixed in an acrylic waterborne copolymer binder. The paint formulations were applied on steel panels. The thermal performance of the coatings was investigated in the NIR-region of the light spectrum by exposing the samples to an IR-lamp. The outer and inner surface temperatures of the painted panels were recorded using thermocouples and an IR camera. The samples were aged by artificial UV-B light exposure. Color and specular gloss changes at different exposure times were evaluated. The behavior of the cool coatings was compared with that of conventional coatings with similar color characteristics. The black cool coating achieved a maximum temperature decrease, compared to the conventional black one, of approximately 12 °C. The stability for the cool coatings was very similar to that of the conventional coating, indicating that black pigment could be a potential candidate for cool-coating applications. The yellow cool coatings did not show a significant decrease in temperature compared to the conventional paint. The gloss and color changes resulted as influenced by the types and amount of pigments.

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Eskak, Edi, Irfaina Rohana Salma, and Hadi Sumarto. "Peningkatan kecerahan dan daya rekat warna pada produk gerabah batik." PRODUCTUM Jurnal Desain Produk (Pengetahuan dan Perancangan Produk) 3, no. 1 (October 16, 2017): 1. http://dx.doi.org/10.24821/productum.v3i1.1733.

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Application of batik techniques for decoration making on pottery products results in unique decorative motifs. Decorative motifs are formed by the process of color blocking using a substance called ‘malam’ (batik wax) on the surface of pottery, but the resulted colors are less bright. The adhesiveness of colors on the surface of pottery are also less strong. The purpose of this study is to optimize materials and batik pottery production process to improve the brightness and adhesion of the colors. Methods used are: (1) selection of pottery, (2) designing of motifs, (3) penyantingan/batik making, (4) staining (5) pelorodan / wax cleaning, (6) finishing, and (7) testing of fastness. The results show that the use of colorants rapid and naphthol produces brighter colors. The increasing color brightness is achieved with the initial step of selecting light colored pottery and completed with a final coating of transparent paint. Tests were performed on color resistancy to rubbing and midday direct light, with score ranging 1 - 5. The testing color resistancy to dry and wet rubbing results in a score of 3-4 (good enough). Color resistancy to direct midday light gets 4 (good). Brightness and fastness (strong adhesion) to transparently painted colors obtain a score of 5 (very good).Keywords: Increase of brightness, color adhesion, batik pottery

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Carmichael, Stephen W. "Maya Blue Paint." Microscopy Today 4, no. 10 (December 1996): 3–5. http://dx.doi.org/10.1017/s1551929500063240.

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It has been noted by many people who have had the privilege of exploring Mayan ruins that there is a stunning blue color that has been preserved amazing well for centuries. Considering the tropical jungle is quite a hostile environment, the tenacity of this “paint” is remarkable. It had been suggested that this “paint” was made by mixing indigo dye with clay, but this did not explain its special characteristics. Recent work by Miguel José-Yacamán at the National University of Mexico and colleagues has revealed what is special about this material, which is called Maya blue paint. They collected specimens in Mexico at archeologic sites known as Jaina Island and Palenque.

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Koenderink, Jan, Andrea van Doorn, and Karl Gegenfurtner. "Colors and Things." i-Perception 11, no. 6 (November 2020): 204166952095843. http://dx.doi.org/10.1177/2041669520958431.

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How many colors are there? Quoted numbers range from ten million to a dozen. Are colors object properties? Opinions range all the way from of course they are to no, colors are just mental paint. These questions are ill-posed. We submit that the way to tackle such questions is to adopt a biological approach, based on the evolutionary past of hominins. Hunter-gatherers in tundra or savannah environments have various, mutually distinct uses for color. Color differences aid in segmenting the visual field, whereas color qualia aid in recognizing objects. Classical psychophysics targets the former, but mostly ignores the latter, whereas experimental phenomenology, for instance in color naming, is relevant for recognition. Ecological factors, not anatomical/physiological ones, limit the validity of qualia as distinguishing signs. Spectral databases for varieties of daylight and object reflectance factors allow one to model this. The two questions are really one. A valid question that may replace both is how many distinguishing signs does color vision offer in the hominin Umwelt? The answer turns out to be about a thousand. The reason is that colors are formally not object properties but pragmatically are useful distinguishing signs.

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Abd El-Wahab, H., A. M. Hassan, A. M. Naser, O. A. Fouad, A. M. El-Din, and O. A. G. Wahba. "Preparation and evaluation of nanosized mixed calcium iron oxide (CaFe2O4) as high heat resistant pigment in paints." Pigment & Resin Technology 44, no. 3 (May 5, 2015): 172–78. http://dx.doi.org/10.1108/prt-12-2013-0114.

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Purpose – The purpose of this paper was to prepare and evaluate a nanosized mixed calcium iron oxide as a high heat-resistant pigment. Heat-resistant pigments can be defined as chemical substances that impart color to a substrate or binder and retain their color and finish at elevated temperatures. Mixed metal oxides have been widely used as pigments in coating formulations. Design/methodology/approach – This work presents synthesis of nanosized calcium iron oxide as an inorganic pigment by using simple synthesis technique, namely, solid-state calcination method, to study its heat and corrosion resistance. The prepared pigment was characterized by using X-ray diffraction, infrared spectroscopy, scanning electron microscopy and inductive coupling plasma. It was incorporated into paint formulations, and the heat, corrosion and mechanical resistance of dry paint film was evaluated. Findings – In this work, the prepared calcium iron oxide pigment showed excellent heat and corrosion resistance. Research limitations/implications – Heat-resistant coatings are required for industrial applications, mainly for reactors, exhaust pipes, space craft, stacks and similar equipments that are permanently and occasionally exposed to elevated temperatures. It was previously quite difficult to formulate heat-resistant organic coatings because of binder deficiencies; new vehicles for such applications are now available. Thus, the development of silicon resins has markedly advanced the utility of heat-resistant paints. High-temperature pigments are inorganic chemical compounds that impart and retain their color and finish to a substrate or binder at elevated temperatures. Practical implications – The nanosized mixed calcium iron oxide could be used as a pigment in paint formulations. It was found that it significantly enhances the heat, corrosion and mechanical resistance. It can also find numerous applications in other paint formulations for surface coating. Originality/value – The paper shows how the pigment consisting nanosized mixed calcium iron oxide could be used in heat-resistant paint formulations for coating metal surfaces.

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Hidayat, Dian Friana, Ossa Sutaarga, and Akhmad Fakhrurozi. "ANALISA PENGENDALIAN PERSEDIAAN GUDANG BARANG JADI DENGAN ANALISA ABC PADA PERUSAHAAN CAT PT. PR." Journal Industrial Manufacturing 4, no. 1 (January 28, 2019): 63. http://dx.doi.org/10.31000/jim.v4i1.1247.

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This research was conducted at a company that produces paints such as wall paint, tile paint, floor paint, steel construction paint and many other types of paint. In addition to these types of paint, color and size are additional factors that cause high product variants. Inventory management with ABC analysis is very necessary to control a number of inventories by taking into account the value of the investment. Based on company conditions and literature, the purpose of this study is to be able to classify inventory in the company and be able to determine inventory control based on ABC classification. The research method is divided into four stages, namely data formulation, data collection, data processing, and analysis and conclusions. Data processed is in 2016, available product variants are 941 items with a total product value of Rp 15,477,094,182.00. The results of ABC analysis are 124 product items or 13.18% A class, 211 product items or 22.42% B class, and 606 product items or 64.40% C class of the total number of products available.Key words : Paint, Inventory Control, ABC Classification

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Ślot, Krzysztof, Krzysztof Strzecha, and Grzegorz Nowak. "Image Analysis-Based Estimation of Metallic and Pearl Add-Ons Concentrations in Automotive Paints." Image Processing & Communications 19, no. 2-3 (September 1, 2014): 119–26. http://dx.doi.org/10.1515/ipc-2015-0016.

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Abstract The paper reports results of preliminary research on automotive paint dopant concentration assessment based on microscopic image segmentation. The considered task is illconditioned due to the richness and diversity in contents of images to be analyzed. The proposed procedure involves two main phases: image segmentation, where focal-plane paint addons are extracted from the background, and object analysis and classification. The results of experimental verification of the proposed method on a set of eighteen paint pigmented images (black and yellow) show that the estimation can be done with approximately 5% accuracy for paints doped with only single addon type. For add-on mixtures, the results were strongly dependent on pigment color and mutual add-on proportions.

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Hardy, Joseph L., Christina M. Frederick, Paul Kay, and John S. Werner. "Color Naming, Lens Aging, and Grue." Psychological Science 16, no. 4 (April 2005): 321–27. http://dx.doi.org/10.1111/j.0956-7976.2005.01534.x.

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Many languages without separate terms for green and blue are or were spoken in locations receiving above-average exposure to ultraviolet-B (UV-B) radiation. It has been proposed that this correlation is caused by premature lens aging. This conclusion was supported by an experiment in which younger observers used the term “blue” less often when they described simulated paint chips filtered through the equivalent of an older observer's lens—removing much short-wavelength light—than when they described the unfiltered versions of the same paint chips. Some stimuli that were called “blue” without simulated aging were called “green” when filtered. However, in the experiment reported here, we found that the proportion of “blue” color-name responses did not differ between younger subjects and older observers with known ocular media optical densities. Color naming for stimuli that were nominally green, blue-green, or blue was virtually identical for older and younger observers who viewed the same (unfiltered) stimuli. Our results are inconsistent with the lens-brunescence hypothesis.

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Ancheta, Melonie. "Revealing Blue on the Northern Northwest Coast." American Indian Culture and Research Journal 43, no. 1 (January 1, 2019): 1–30. http://dx.doi.org/10.17953/aicrj.43.1.ancheta.

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The distinctive black, red and blue or green designs created by the Haida and Tlingit of the Northwest Coast of North America are iconographic of these cultures and recognized around the world. While almost every other aspect of Haida and Tlingit life has been studied and remarked for the past two hundred years, references to the significance of color, and the materials used to make color, have been rare—and, in the case of the traditional blue paint, consistently incorrect. Mistakenly attributed to copper oxides early in the ethnographic study of the Northwest Coast, subsequent scholars have persisted, without scientific verification, in claiming the traditional blue comes from copper oxides. As important and informative as the traditions of carving and weaving, if we are to provide a more comprehensive picture of the past, the use of color needs to be integrated with what we already know about the Haida and Tlingit cultures of the NW Coast, including the materials, tools, and methods of making and applying paint. The study of color use, and pigment and paint technology can provide new insights into the complex critical thinking and technical skills of individual artists, as well as the Haida and Tlingit cultures from which they came. The roles these artifacts played within their cultures can be revealed more comprehensively when we understand the significance of specific materials. Investigating the reasons for using specific colors such as blue, and the materials that make those colors, gives us new descriptive and interpretive information about daily life, sociopolitical standards, cultural practices, worldviews, and the cosmologies of the Haida and Tlingit. Identifying specific pigments can provide valuable information relating to provenance and authorship of artifacts and helps us identify sibling artifacts. We are better able to conserve the artifacts we hold according to the materials with which they are made if we have a full understanding of all those materials.

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Haddad, Abed, Megan Randall, Lynda Zycherman, and Ana Martins. "Reviving Alexander Calder’s Man-Eater with Pennants: A Technical Examination of the Original Paint Palette." Heritage 4, no. 3 (August 19, 2021): 1920–37. http://dx.doi.org/10.3390/heritage4030109.

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Mat-Eater with Pennants, a rarely exhibited sculpture in Alexander Calder’s oeuvre, was commissioned by The Museum of Modern Art (MoMA) and installed in 1945. To exhibit the large standing mobile in Alexander Calder: Modern from the Start (2021), the derelict sculpture had to be remediated; this initiated a collaborative investigation with conservation scientists, conservators, curators, and the Calder Foundation into the original paint colors hidden beneath layers of repaint. XRF analysis was carried out to elucidate the paints’ composition, followed by sampling for analysis to assess the paint stratigraphy and binders. Scrapings were analyzed by µ-FTIR and Raman spectroscopies; cross sections were examined with optical microscopy and analyzed with SEM-EDS. Analysis differentiated between the original paints, which contain Prussian blue, parachlor red, chrome yellow, and the many layers of overpaint, which contain titanium white, molybdate orange, a variety of β-Naphthol reds, red lead, and ultramarine. A model for Man-Eater, Mobile with 14 Flags, is also part of the museum’s collection, and was first considered as a point of reference for the original colors. Similar analysis, however, indicates that the maquette was painted after the Man-Eater was first installed, therefore is not representative of the original colors. In addition to investigating an early primary palette for Calder’s outdoor sculptures, this study helped develop the plan for the restoration of the original color scheme of Man-Eater.

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Stewart, Joe D., and Karen R. Adams. "Evaluating Visual Criteria for Identifying Carbon- and Iron-Based Pottery Paints from the Four Corners Region Using SEM-EDS." American Antiquity 64, no. 4 (October 1999): 675–96. http://dx.doi.org/10.2307/2694212.

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AbstractPaint types on black-on-white pottery in the prehistoric American Southwest have had significance for both chronological and sociocultural interpretations. Visual attributes have formed the basis for distinguishing carbon- and mineral-based paints on ancient black-on-white pottery in the American Southwest for over 60 years. In this study, an SEM-EDS (scanning electron microscope-energy dispersive X-ray spectrometer) system was first used to make an independent objective determination of the mineral or non-mineral paint present on 15 Mesa Verde White Ware sherds. Then, a group of 19 people (including experienced archaeologists and newly trained individuals) examined and classified the paint on these sherds, achieving an overall accuracy of 84.2 percent. This group also ranked in priority order the visual attributes they felt were most useful in determining pottery paint type: nature of edges (fuzzy, sharp), absorption (soaks in, sits on top), luster (shiny, dull), color range (black-gray-blue; black-brown-reddish), flakiness (doesn't flake off, flakes off), thickness (thin, thick), and surface polish (polish striations visible through paint, striations not visible through paint). In each case, the attribute applicable to carbon-based paint is listed first. The most difficult sherds for the group to identify displayed attributes of both carbon and mineral paints. A category for "mixed" paint type, already in use by archaeologists, is a reasonable third category for labeling sherd paint, as long as it does not become a "catch-all" category. For problematic sherds, the SEM-EDS can be used to characterize paint type, then the visual attributes adjusted to improve investigator accuracy in paint type determination.

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Ishimura, Takahisa, and Takashi Yoshida. "Polymerization of Oriental Lacquer (Urushi) with Epoxidized Linseed Oil as a New Reactive Diluent." International Journal of Polymer Science 2015 (2015): 1–7. http://dx.doi.org/10.1155/2015/782843.

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A hybrid lacquer (HBL) paint prepared by combining a natural kurome lacquer (KL) paint and an amino silane reagent, for example,N-(2-aminoethyl)-3-aminopropyl triethoxysilane (AATES), produced a polymerized film faster than the KL paint alone. However, the viscosity of the HBL paint was too viscous for easy handling. Addition of 10 wt% of an epoxidized linseed oil, ELO-6, with 6.4 mol% epoxidation as a reactive diluent to the HBL paint decreased the viscosity by 1/2 from 25476 mPa·s to 12841 mPa·s and improved the ease of coatability. The polymerization mechanism was elucidated by NMR measurements of extracts from the resulting polymerization films, suggesting that amino groups in the HBL paint reacted with epoxy groups of ELO-6 in the lacquer matrix, and then the complex reacted with double bonds of the urushiol side-chain by autooxidation and cross-linking reactions to give a hard polymerized film with a high quality of color and gloss. These results indicate that the addition of ELO-6 improved the polymerizability of both KL and HBL paints without decreasing the quality of the resulting films.

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Nam, Gee-Yung, Ji-Hyun Kim, and Jae-Yong Lee. "Effects of Water-Repellent on the Color of Water Paint." Journal of the Korea Institute of Building Construction 15, no. 6 (December 20, 2015): 607–14. http://dx.doi.org/10.5345/jkibc.2015.15.6.607.

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Bochko, Vladimir, Norimichi Tsumura, and Yoichi Miyake. "Spectral Color Imaging System for Estimating Spectral Reflectance of Paint." Journal of Imaging Science and Technology 51, no. 1 (2007): 70. http://dx.doi.org/10.2352/j.imagingsci.technol.(2007)51:1(70).

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Chen, Zhongwei, Hao Huang, and Ningfang Liao. "The color metamerism evaluation of paint based on ocean spectrum." IOP Conference Series: Materials Science and Engineering 322 (March 2018): 022042. http://dx.doi.org/10.1088/1757-899x/322/2/022042.

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Krystek, Jolanta, and Sara Bysko. "The follow-up control of the body sequencing process at the paint shop." Mechanik 92, no. 7 (July 8, 2019): 462–64. http://dx.doi.org/10.17814/mechanik.2019.7.57.

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A modified method of follow-up production control that can be used in a multi-version car body sequencing process at the paint shop department is presented. The actual structure of the paint shop along with the buffer was subjected to tests (Car Sequencing Problem 4.0). The main goals of the research were to minimize the number of changeovers resulting from color changes and to synchronize these changeovers with forced, periodic cleaning of paint guns.

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von Castell, Christoph, Heiko Hecht, and Daniel Oberfeld. "Which Attribute of Ceiling Color Influences Perceived Room Height?" Human Factors: The Journal of the Human Factors and Ergonomics Society 60, no. 8 (August 1, 2018): 1228–40. http://dx.doi.org/10.1177/0018720818789524.

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Objective: We investigate effects of the hue, saturation, and luminance of ceiling color on the perceived height of interior spaces. Background: Previous studies have reported that the perceived height of an interior space is influenced by the luminance of the ceiling, but not by the luminance contrast between ceiling and walls: brighter ceilings appeared higher than darker ceilings, irrespective of wall and floor luminance. However, these studies used solely achromatic colors. We report an experiment in which we extend these findings to effects of chromatic ceiling colors. Methods: We presented stereoscopic room simulations on a head-mounted display (Oculus Rift DK2) and varied hue (red, green, blue), saturation (low, high), and luminance (bright, dark) of the ceiling independently of each other. Results: We found the previously reported ceiling luminance effect to apply also to chromatic colors: subjects judged brighter ceilings to be higher than darker ceilings. The remaining color dimensions merely had a very small (hue) or virtually no effect (saturation) on perceived height. Conclusion: In order to maximize the perceived height of an interior space, we suggest painting the ceiling in the brightest possible color. The hue and saturation of the paint are only of minor importance. Application: The present study improves the empirical basis for interior design guidelines regarding effects of surface color on the perceived layout of interior spaces.

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Leonhard, Karin. "Painted Gems. The Color Worlds of Portrait Miniature Painting in Sixteenth- and Seventeenth-Century Britain." Early Science and Medicine 20, no. 4-6 (December 7, 2015): 428–57. http://dx.doi.org/10.1163/15733823-02046p06.

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It has been argued persuasively that we should see the art of the portrait miniaturist as being closely related to the art of the goldsmith – with the painted ‘jewel’ of the portrait set into a richly ornamented piece of jewelry. Indeed, there is a close affinity between Nicholas Hilliard’s art of portrait miniature painting and goldsmithery. His Treatise’s famous section devoted to precious stones reflects this idea, as it is concerned with the relationship of those stones to the colors used in the miniatures, colors that can be seen as surrogates for the stones themselves. Color, light and shadow – these three aspects of how to render the natural world into paint are closely related: it is the complexity of the relationship that demanded a painting technique that took care not to create chiaroscuro-effects and specifically not let color be ‘corrupted’ by shadows or ‘mixed’ with other colors.

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Dao, Phi Hung, Anh Hiep Nguyen, Van Phuc Mac, Van Thanh Trinh, Thien Vuong Nguyen, and Thanh Minh Do. "AGING OF WATERBORNE PAINT BASED ON THE ACRYLIC RESIN EMULSION AND ORGANIC PIGMENT." Vietnam Journal of Science and Technology 56, no. 3B (September 13, 2018): 126. http://dx.doi.org/10.15625/2525-2518/56/3b/12733.

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Aging of waterborne paint on the base of acrylic resin emulsion with and without green Luconyl have been investigated by general appearance assessment, adhesion change, FT-IR and discoloration. The obtained results showed that the both of paint-formulas coatings had no cracks, blisters, flacks and there was no change of adhesion during the aging process. However, IR analysis indicated that there were some changes in chemical structures of coating with and without Green Luconyl during aging process. To specify, IR spectrums of initial and aged coating no containing Green Luconyl illustrated aging process led content of O-H and C=C increased significantly but baseline of spectra was fairly unchanged. For coating filled Green Luconyl, IR spectrums’ shape was fairly stable but baseline saw a clear reduce during accelerated weather exposure. Moreover, SEM images indicated that surfaces morphology of samples changed differently depending on in presence of organic pigment. Surface of aged coating without Luconyl saw rougher than surface of coating with Luconyl after aging process. Hence, the weather aging test had more significant influence on paint coating in absence of Luconyl than paint coating in presence of Luconyl. It was explained that the macroradical produced in aging process would attack into conjugated double bonds of Luconyl instead of double bonds of AC-261 leading to aged coating filled Luconyl become more opaque than initial while coating no filled Luconyl had significant changes in chemical structure during aging process. Although this was a hypothesis, it saw a suitable with the obtained results. The paint coating in presence of Luconyl illustrated significant color change, especially, showed the loss of green color while the other paint coating showed slight color change.

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Silva, Mayra Martins, Thais Alessandra Bastos Caminha Sanjad, Marcondes Lima da Costa, and Solange do Perpétuo Socorro Evangelista Costa. "Lime-based restoration paints: characterization and evaluation of formulations using a native species from the Amazon flora and PVA-based glue as additives." Ambiente Construído 17, no. 3 (July 2017): 7–23. http://dx.doi.org/10.1590/s1678-86212017000300159.

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Abstract Based on historic documents, two lime-based paint formulations were produced in laboratory in order to evaluate their basic characteristics as restoration materials for historic buildings with lime-based components. The paints were made basically with hydrated lime, clay, water and linseed (Linum usitatissimum L.) oil, and one formulation had PVA (polyvinyl acetate)-based glue as fixative, and the other one, Couma guianensis' latex. Each paint component was characterized by XRD and FTIR, and color and specular gloss measurements were performed on both paints. A preliminary assessment of the paints was conducted using the Pipe Method, the salt crystallization test, visual analysis for dustiness, and analysis of microbiological growth. The results showed that the laboratory-produced paints are theoretically and technologically compatible with lime-based coatings, however, their superficial performance can be improved to achieve greater durability. This study also brings to light local materials from the Amazon region that have great potential to be used and recognized as raw materials for paints and which could also be investigated for other uses.

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Shimizu, Clement, and Gary W. Meyer. "A Computer Aided Color Appearance Design System for Metallic Car Paint." Journal of Imaging Science and Technology 59, no. 3 (May 1, 2015): 304031–3040310. http://dx.doi.org/10.2352/j.imagingsci.technol.2015.59.3.030403.

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วังวิเศษ, อัจฉรียา, and จิตรา รู้กิจการพานิช. "การลดข้อบกพร่องในกระบวนการปรับแต่งสีของโรงงานผลิตสีผง (Defect Reduction for Adjustment Color Process of Powder Coating Paint)." วารสารวิศวกรรมศาสตร์ 3, no. 2 (April 27, 2011): 1–16. http://dx.doi.org/10.4186/ejth.2011.3.2.1.

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Reynolds, William Casey, Grady L. Miller, David P. Livingston, and Thomas W. Rufty. "Athletic Field Paint Color Impacts Transpiration and Canopy Temperature in Bermudagrass." Crop Science 56, no. 4 (July 2016): 2016–25. http://dx.doi.org/10.2135/cropsci2016.01.0028.

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FUJIWARA, Shinichi. "New Bright Material and New Paint Technology of Automobile Body Color." Journal of the Surface Finishing Society of Japan 67, no. 5 (2016): 242–48. http://dx.doi.org/10.4139/sfj.67.242.

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van Leerdam, G., M. Stjerndahl, and L. Karlson. "Understanding Color Stability by Visualization of Pigment Dispersions in Paint Films." Microscopy and Microanalysis 17, S2 (July 2011): 1560–61. http://dx.doi.org/10.1017/s1431927611008671.

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Wade, Orsolya K., Johannes B. Woehrstein, Philipp C. Nickels, Sebastian Strauss, Florian Stehr, Johannes Stein, Florian Schueder, et al. "124-Color Super-resolution Imaging by Engineering DNA-PAINT Blinking Kinetics." Nano Letters 19, no. 4 (March 13, 2019): 2641–46. http://dx.doi.org/10.1021/acs.nanolett.9b00508.

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Journal articles on the topic 'Paint color'

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