Colour and Textiles. Iii—colour Theory in Relation to the Size of Colour Units Used in Textiles

Warburton, P.; Lund, G. V.

doi:10.1080/19447015608665256

Cited by 13 publications

(6 citation statements)

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“…6 This lack of accuracy is a result of the mixing being partitive 7,8 in addition to subtractive. 2 Subtractive mixing typically governs dyeing laws, and here is due to the translucency of fibers. 7 Partitive color mixing takes place when colored units are placed side by side to produce a mosaic effect, as used by pointillists, for instance.…”

Section: Previous Artmentioning

confidence: 99%

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Color formulation by fiber blending using the Stearns–Noechel model

Philips-Invernizzi

Dupont

Jolly-Desodt

et al. 2002

Color Research & Application

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Section: Previous Artmentioning

confidence: 99%

“…1 In fact, blending is not often homogeneous, and blending the same fibers in different ways can lead to different colors. [2][3][4] …”

Section: Introductionmentioning

confidence: 99%

Color formulation by fiber blending using the Stearns–Noechel model

Philips-Invernizzi

Dupont

Jolly-Desodt

et al. 2002

Color Research & Application

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“…Optical mixing is enhanced through the interaction of small discrete units of colour (Day 1933: 265). This has previously been explored experimentally through blending in yarn (Chevruel 1839) and in woven fabric (Warburton and Lund 1956). The uniqueness of this research is it's use of knit as an exploratory research tool to investigate colour theory and visual perception.…”

Section: Aestheticsmentioning

confidence: 99%

Colour Trans:Form:Ation the Application of Knit as Knowledge

Gaston

Scott

2020

Journal of Textile Design Research and Practice

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It is widely acknowledged that textile processing is increasingly unsustainable, for example textile dyeing is experiencing a rising use of water, leading to a scarcity of freshwater globally (Easton, 2009, p145). It is imperative to investigate alternative strategies to colouration and whilst there is no single resolution to the problem, using design intelligence from diverse design specialisms, in this instance knitted fabric design, can offer a realistic framework within which to develop solutions.Following established design methodologies, successful knit design requires knowledge of materials, process, technology and aesthetics which is utilised in unique combinations to create a specified product. Disrupting this approach to design through the application of innovative technologies or removing the concept of designing for a specified product, this unique body of knowledge can question wider societal problems, including textile coloration, and determine a range of solutions through knitted fabric design practice.The paper will report on the development of sustainable textile coloration through innovative lighting technologies. New research explores the breadth of colour gamut achievable with a limited palette of yarn (so minimising dyeing) when recognised optical effects, for example optical mixing, are observed in different lighting conditions. The iterative design/research methodology used exploits the materiality and structural knowledge inherent in knitted fabrics and allows the creation of unique fabrics, which would be unachievable in any other medium, to test ideas abductively. A feature of this methodology is an acceptance of unexpected outcomes that challenge the concept of designing for a specified product. The fabrics produced are not in themselves functional, except as a communication tool for the knowledge revealed through the design research.

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“…First, mottling may appear, which is not desirable in most cases when the standard is a solid color. From previous studies 6,7 it is known that nonsolid effects increase with the size (fineness) of fibers and the contrast of the constitutive colors, whereas they are reduced if the blend is more intimate or if it is viewed at a greater distance. As a consequence, a distinction is made in fiber blending between a colorimetric match and a visual match 1 : the former refers to a match judged acceptable according to spectrophotometric data, and the latter relates to colors having the same visual appearance.…”

Section: Introductionmentioning

confidence: 96%