Colour Design

Janet Best is internationally recognised as an expert in global textile colour management. Her work with inspirational designers and leading edge colour technology providers in fashion retail has developed the foundation for a vast international network of colour specialists including artists, designers, architects, colour chemists, scientists, psychologists and educators. Janet’s knowledge and passion for colour allows her to work seamlessly with a wide range of industries and professionals creating many successful entrepreneurial collaborations. Janet’s work is a clear demonstration that ‘colour has no boundaries’ and ‘every business is in the colour business’.

• Contributor contact detailsWoodhead Publishing Series in TextilesPart I: Colour and colour perceptionChapter 1: What is colour?Abstract:1.1 Introduction1.2 Visible light1.3 Organising colours1.4 ConclusionsChapter 2: Variability in normal and defective colour vision: consequences for occupational environmentsAbstract:2.1 Introduction2.2 Vision information channels2.3 The concept of the luminous efficiency function2.4 Photoreceptor contrasts and the CIE (x,y) chromaticity chart2.5 Individual differences in colour vision2.6 Methods of assessing colour vision loss2.7 Anomaloscope variability in the parameters of the yellow match2.8 Colour assessment and diagnostics (CAD) test2.9 Colour in occupational environments2.10 Colour in healthcare2.11 Conclusions2.12 Sources of further information and advice2.13 AcknowledgementsChapter 3: Colour illusions and the human visual systemAbstract:3.1 Introduction3.2 Illusions in the context of the human visual system3.3 From isolated colour to colour in context: some experiments3.4 Examples of the different groups of colour illusions3.5 ConclusionsChapter 4: Colour psychology: the emotional effects of colour perceptionAbstract:4.1 Introduction4.2 Colour preference: the longitudinal perspective 1970–20094.3 Colour and psycho-physiological arousal4.4 Colour and subjective time estimation4.5 Colour and the subjective feeling of warmth4.6 Conclusions and further readingChapter 5: Understanding colour perception and preferenceAbstract:5.1 Introduction5.2 The origins and uses of colour vision5.3 Colour preference in humans5.4 Colour preference in animals5.5 Physiological effects of background and illumination colours: ‘warm’ vs ‘cool’ colours5.6 ConclusionsChapter 6: Predicting responses to colourAbstract:6.1 Introduction6.2 A different approach6.3 The Wright Theory6.4 The process of colour specifying6.5 ConclusionsPart II: Measuring and describing colourChapter 7: International standards for colourAbstract:7.1 Introduction7.2 CIE standard colorimetric observers7.3 CIE illuminants and sources7.4 Standards for measuring reflecting and transmitting materials7.5 Expressing colour in terms of chromaticity coordinates7.6 Other descriptors of chromaticity7.7 Colour difference evaluation7.8 Colour appearance7.9 Calibration, traceability and measurement uncertainty7.10 Future trends7.11 Conclusions7.12 Sources of further information and adviceChapter 8: Colour description and communicationAbstract:8.1 Introduction8.2 Colour order systems8.3 Named colour systems8.4 Colour naming8.5 Instrumental measurement of colour8.6 Digital imaging systems8.7 Colour constancy8.8 Metamerism8.9 Colour standards8.10 Colour difference8.11 Computation of colour co-ordinates8.12 Derivation of the CIE 1931 standard observer8.13 Future trends8.14 Sources of further information and adviceChapter 9: Colour naming for colour communicationAbstract:9.1 Introduction9.2 Mapping the terrain9.3 Previous colour naming studies9.4 Conducting a colour naming experiment over the internet9.5 An online colour naming model9.6 Colour naming selection guidelines9.7 Conclusions and future directions9.9 AcknowledgementsChapter 10: Colour specification and visual approval methods for textilesAbstract:10.1 Introduction10.2 Global colour supply chain10.3 Colour communication10.4 Colour specification10.5 Colour vision10.6 Tools for colour assessment10.7 Conclusions10.8 Acknowledgement10.9 Sources of further informationChapter 11: Colour management and approval methods in lithographic printingAbstract:11.1 Introduction11.2 Case study: typical procedures of a commercial print company11.3 International printing standards11.4 Colour management in practice11.5 Conclusions11.6 Sources of further informationPart III: Colour, design and colorationChapter 12: The history of colour theory in art, design and scienceAbstract:12.1 Introduction12.2 The Reformation (c. 1520–c. 1550)12.3 The Counter-Reformation (c. 1550-c. 1610)12.4 Early Baroque (c. 1610–c. 1645)12.5 Baroque Classicism (c. 1645–c. 1715)12.6 High Baroque (c. 1715–c. 1770)12.7 Neo-Classicism (c. 1770–c. 1815)12.8 Romanticism (c. 1815–c. 1845)12.9 Victorian Classicism (c. 1845–c. 1885)12.10 Early Modernism (c. 1885–c. 1915)12.11 Modern Classicism (c. 1915–c. 1955)12.12 Late Modernism (c. 1955–c. 1985)Chapter 13: Enhancing design using colorAbstract:13.1 Introduction13.2 Importance of context13.3 Color influence13.4 Color and depth perception13.5 Applying color to a surface13.6 Future trends13.7 Sources of further informationChapter 14: Understanding and forecasting colour trends in designAbstract:14.1 Introduction14.2 Colour trends14.3 Colour trend research14.4 The colour research process14.5 Colour forecasting14.6 ConclusionsChapter 15: Colour symmetry: the systematic coloration of patterns and tilingsAbstract:15.1 Introduction15.2 Patterns and tilings: a historical perspective15.3 Principles of pattern geometry15.4 Colour symmetry15.5 Counterchange colouring15.6 Colour symmetry of higher orders15.7 ConclusionsChapter 16: The history of dyes and pigments: from natural dyes to high performance pigmentsAbstract:16.1 Introduction16.2 Cave paintings16.3 Dyes from ancient Egypt16.4 Pigments of ancient Egypt16.5 Greco–Roman dyes and pigments16.6 Medieval dyes and pigments16.7 Pigments of the industrial revolution16.8 Synthetic dyes16.9 Organic pigments16.10 ConclusionsChapter 17: Dye types and application methodsAbstract:17.1 Introduction17.2 Dye selection17.3 Preparation of materials for dyeing17.4 Dyeing of cellulosic fibres17.5 Dyeing of protein fibres17.6 Dyeing of polyamide fibres17.7 Dyeing of polyester fibres17.8 Dyeing of acrylic fibres17.9 Fluorescent brightening agents17.10 Dyeing of fibre blends17.11 Dyeing machinery17.12 ConclusionsChapter 18: Colour printing techniquesAbstract:18.1 Hardcopy colour: analogue versus digital18.2 Colour theory in relation to printing18.3 An overview of halftoning and digital print technologies18.4 An overview and development of inks18.5 Inkjet papers and inks18.6 Recent and future trends in colour, printing inks and hardware18.9 GlossaryPart IV: Colour and design in particular applicationsChapter 19: Colour trends and selection in fashion designAbstract:19.1 Introduction19.2 Colour associations19.3 Key issues of colour in fashion design19.4 Case studies19.5 Conclusions19.6 Sources of further information and adviceChapter 20: Colour in interior designAbstract:20.1 Introduction20.2 The role of an interior designer20.3 Colour psychology20.4 In the home: colour and its many moods20.5 Colour toolkit20.6 Factors that influence colour20.7 Colour in the public and commercial space20.8 Colour trends20.9 How cultural influences affect colour20.10 Conclusions20.11 Sources of further information and adviceChapter 21: Colour in foodAbstract:21.1 Introduction21.2 Colour, evolution and health21.3 Appearance21.4 Total appearance and expectations21.5 Assessment and measurement21.6 Halo effects, commercial exploitation and ethics21.7 ConclusionsChapter 22: Choosing effective colours for websitesAbstract:22.1 Introduction22.2 Choosing effective colours for websites22.3 HTML colours22.4 Colour harmony22.5 Users with special needs (disabled and colour-deficient users)22.6 Web content accessibility guidelines22.7 Conclusions22.8 Sources of further informationChapter 23: Evolution and colour change in works of artAbstract:23.1 Introduction23.2 Art and Collectables23.3 Domestic display: commonsense preservation23.4 Sources of further information and adviceIndex

"An articulate and monumental reference book... An invaluable resource for anyone serious about colour." --Selvedge Magazine"This book should have pride of place in any personal or business library where potential readers work in the colour field with an emphasis on textiles, fashion and soft furnishings." --Colour Group Australia"The chapters on colour standards and description provide an excellent introduction to the CIE colorimetry system. The book is a testament to the breadth of the field." --Coloration Technology