浅谈肟类抗氧稳定剂在雕刻凹版腐蚀凹版专色平凸版专色平凹版油墨中的应用

本文通过对雕刻凹版、腐蚀凹版、专色平凸版和专色平凹版油墨中的抗氧剂的应用和探索、筛选出肟类抗氧稳定剂 ,肟类抗氧稳定剂对油墨催干剂中的金属盐具有络合作用 ,利用化学络合反应原理 ,以助剂方式加入油墨中有利于解决油墨干燥的平衡问题 ,缩短印刷生产周期 ,提高油墨的印刷适性、以及延长油墨的存放周期。油墨印刷适性的提高多从油墨原材料入手 ,但油墨助剂的选择和添加也可起到事半功倍的作用 ,而肟类抗氧稳定剂的引入希望能为提升我国油墨的质量水平有所帮助     

软管彩色油墨在牙膏行业的应用

软管彩色油墨在牙膏行业的应用牙膏是以金属软管为包装的产品，牙膏工业的发展捉进了软管彩色油墨印刷的发展。色墨印刷一般是通过软管三色印刷机采用橡胶板传印法予以完成。墨斗中的色墨通过胶辊传递到铜版上，再从铜版翻印至印刷橡皮，最后转印至软管表面，印好色墨的软...     

油墨及其他

彩色修正材料；具有好的柔韧性的耐焊接油墨组合物；油墨配方、改性的着色油墨配方及其制备；平版印刷油墨的防裉色：一种新的趋势——第二部分；耐焊接的油墨组合物；[编者按]     

光变色防伪油墨及其应用

随着观察者角度的不同而改变颜色的光学涂层适用于光学性质不同的薄箔、颜料和油墨，从而防止采用彩色复印机、印刷机、摄像机或平版复印技术进行彩色复制，具有优异的防伪特征，金属介质系多层薄膜结构，随着角度不同具有颜色变化大，包饱和度高，色移和色牢固度大的特点。因此特别适用于防伪油墨。世界货币和其它有价证券现在正逐渐采用这种结构来进行防伪。     

溶剂／颜料型喷墨油墨的制备及其性能的研究

利用物理分散手段制备了具有稳定分散性的溶剂/颜料型彩色数字打样用喷墨油墨样品,探讨了分散方法对颜料粒子分散性的影响以及油墨组分对其粘度、表面张力、电导率等性能的影响。研究结果表明,混合溶剂体系的表面张力可以通过各溶剂组分表面张力的算术平均数预测,快干溶剂和慢干溶剂分别影响喷墨油墨的初干性和彻干性,样品油墨的色域范围能够达到数字打样颜色再现的要求。     

彩色透明油墨

申请号 87 1 03578 申请日 1987.5.14 申请人赵烈溪地址甘肃省甘谷县电化铝厂彩色透明油墨,要求透明度极好,对玻璃附着力强,并且有一定的耐磨性、耐酸碱性、柔韧性、耐热及防潮性等。本发明是由胶粘剂、色液及酸组成。分为低粘度和高粘度两种,且可根据不同的需要,改变色液配成各种颜色的透明油墨。其中的胶粘剂是由稀释剂、丙烯酸树脂、582—2三聚氰胺树脂及透明交联剂组成。其稀释剂是由醋酸乙     

彩色新闻油墨溶剂油的研制

以新疆环烷基抽出油为原料研制出的彩色新闻油墨溶剂油，性能优良，彩色胶印轮转油墨中使用后，得到满意的效果。     

无定型二氧化硅纸张涂料的应用

油墨喷射印刷对用于印刷的纸张需要有专有的特征,近期在日本Tappi M.Takashi等的刊物中叙述了用于油墨喷射印刷纸的无定型二氧化硅的开发,对彩色的油墨喷射印刷要求的特性是这种纸张有满意的油墨吸附能力,均匀的点形状,良好的彩色功能,有良好的耐光性和良好的表面强度。当将凝     

油墨与相关技术

200707271含陶瓷粉末和电气石粉来的功能油墨及其制备方法；200707272活化射线固化苯胺印嗣油墨和凹版印刷油墨；200707273含7种珠宝粉末和电气石粉末的功能印刷油墨及其制备和应用；200707274滤色用红色印刷油墨。     

油墨及油墨树脂

油墨及其组成，国内油墨工业发展概况以及油墨的连接料、几种常用树脂的性质、制造方法；着重介绍高档彩色油墨用的聚酰胺树脂的特点。     

On the colours dichromats see

Dichromatic colour vision is commonly believed to be a reduced form of trichromatic colour vision (referred to as the reductionist principle). In particular, the colour palette of the dichromats is believed to be a part of the colour palette of the trichromats. As the light‐colour palette differs from the object‐colour palette, the dichromatic colour palettes have been derived separately for light‐colours and object‐colours in this report. As to light‐colours, the results are in line with the widely accepted view that the dichromatic colour palettes contain only two hues. However, the dichromatic object‐colour palettes have proved to contain the same six component colours which constitute the trichromatic object‐colour palette (yellow, blue, red, green, black and white). Moreover, all the binary and tertiary combinations of the six component colours present in the trichromatic object‐colour palette also occur in the dichromatic object‐colour palettes. Yet, only five of the six component colours are experienced by dichromats as unitary (unique) object‐colours. The green unitary colour is absent in the dichromatic object‐colour palettes. The difference between the dichromatic and trichromatic object‐colour palettes arises from the fact that not every combination of the component‐colour magnitudes occurs in the dichromatic object‐colour palettes. For instance, in the dichromatic object‐colour palettes there is no colour with the strong green component colour. Furthermore, each achromatic (black or white) component colour of a particular magnitude is combined with the only combination of the chromatic components. In other words, the achromatic component colours are bound with the chromatic component combinations in dichromats. © 2012 Wiley Periodicals, Inc. Col Res Appl, 39, 112–124, 2014     

Colour and tolerance of preferred skin colours on digital photographic images

Skin‐tone has been an active research subject in photographic colour reproduction. There is a consistent conclusion that preferred skin colours are different from actual skin colours. However, preferred skin colours found from different studies are somewhat different. To have a solid understanding of skin colour preference of digital photographic images, psychophysical experiments were conducted to determine a preferred skin colour region and to study inter‐observer variation and tolerance of preferred skin colours. In the first experiment, a preferred skin colour region is searched on the entire skin colour region. A set of nine predetermined colour centers uniformly sampled within the skin colour ellipse in CIELAB a*b* diagram is used to morph skin colours of test images. Preferred skin colour centers are found through the experiment. In a second experiment, a twice denser sampling of nine skin colour centers around the preferred skin colour center determined in the first experiment are generated to repeat the experiment using a different set of test images and judged by a different panel of observers. The results from both experiments are compared and final preferred skin colour centers are obtained. Variations and hue and chroma tolerances of the observer skin colour preference are also analysed. © 2011 Wiley Periodicals, Inc. Col Res Appl, 2013     

Geometric invariants under illuminant transformations

An object colour's Commission Internationale de l'Éclairage XYZ coordinates can change when it is viewed under different illuminants. The set of XYZ coordinates for all object colours, which is called the object‐colour solid, likewise varies under different illuminants. This article shows that, despite these changes, some properties are invariant under illuminant transformations. In particular, as long as the illuminant is nowhere zero in the visible spectrum, optimal colours take the same Schrödinger form, and no two optimal colours are metameric. Furthermore, all object‐colour solids have the same shape at the origin: they all fit perfectly into the convex cone (which we will call the spectrum cone) generated by the spectrum locus. The spectrum cone, itself, does not vary when the illuminant changes. The object‐colour solid for one illuminant can be transformed into the solid for another illuminant, by an easily visualized sequence of expansions and contractions of irregular rings, called zones. © 2012 Wiley Periodicals, Inc. Col Res Appl, 39, 179–187, 2014     

Grids for Assessing Colour Appearance

A technique of subjective magnitude estimation has been used to assess a set of pseudosurface colours, each having a luminance equal to half that of its adapting surround. Five observers scaled each of the colours three times in each of two adaptation conditions corresponding to daylight and tungsten light at 120 cd/m². Loci of constant hue and saturation were derived in u', v' chromaticity space for daylight and tungsten light. These grids enable the appearance of a colour to be specified from a knowledge of its chromaticity coordinates and they enable such effects as colour constancy and colour fidelity to be investigated in terms of perceived colour appearance.     

Tactile colour pictogram to improve artwork appreciation of people with visual impairments

A recent development in tactile technology enables an improvement in the appreciation of the visual arts for people with visual impairment (PVI). The tactile sense, in conjunction with, or a possibly as an alternative to, the auditory sense, would allow PVIs to approach artwork in a more self‐driven and engaging way that would be difficult to achieve with just an auditory stimulus. Tactile colour pictograms (TCPs), which are raised geometric patterns, are ideographic characters that are designed to enable PVIs to identify colours and interpret information by touch. In this article, three TCPs are introduced to code colours in the Munsell colour system. Each colour pattern consists of a basic cell size of 10 mm × 10 mm to represent the patterns consistently in terms of regular shape. Each TCP consists of basic geometric patterns that are combined to create primary, secondary, and tertiary colour pictograms of shapes indicating colour hue, intensity and lightness. Each TCP represents 29 colours including six hues; they were then further expanded to represent 53 colours. Two of them did not increase the cell size, the other increased the cell size 1.5 times for some colours, such as yellow‐orange, yellow, blue, and blue‐purple. Our proposed TCPs use a slightly larger cell size compared to most tactile patterns currently used to indicate colour, but code for more colours. With user experience and identification tests, conducted with 23 visually impaired adults, the effectiveness of the TCPs suggests that they were helpful for the participants.     

Notes on the Construction of a Colour Atlas

Problems occurring in the preparation of a colour atlas are discussed, and illustrated by considering a specific colour atlas in which the colours of paints, which consist of three pigments in a white base, are related to the concentrations of the pigments. Direct tables. giving colour as a function of concentrations, and inverse tables, giving concentrations as functions of colour, are considered and it is shown that both types of table may be constructed with a minimum of difficulty.     

Colour words and their uses

Popular usage of colour words as parts of speech obey certain rules according to whether they are population dependent and whether use demands a degree of colour vision. The word green refers to that colour most of us see, recognize and categorize as being of the colour called green. But, colours and colour words are to do with emotion as well as perception. What can we learn from the greatest writers, artists and musical composers; how do they, for example, regard green? From them we learn that we perceive colours with our ears as well as our eyes and, in an emotional sense, a colour word means or is associated with just what the writer intends. © 2014 Wiley Periodicals, Inc. Col Res Appl, 40, 111–113, 2015     

A computer‐assisted colour selection system based on aesthetic measure for colour harmony and fuzzy logic theory

An aesthetic measure based approach for constructing a colour design/selection system is proposed in this article. In this model, an image data base for the relationships between the psychological preference of customers and clothing colour tones is built using the membership functions of a fuzzy set, and an aesthetic measure calculation method based on colour harmony is also proposed. In addition, a skin colour detection theory is proposed to construct a skin colour detection program to detect the skin colour of a customer, which is then taken as the major colour in matching the skin, polo shirt, and(or) pant colours to select the best colour combination. Integrating the skin colour detection theory, colour harmony theory, aesthetic measure method, and fuzzy set theory, a program is constructed to build an aesthetic measure based colour design/selection system. With the aid of this system, one can get proper cloth colours to match his/her skin colour and image requirement by starting with inputting one's colour photo, catching image with a camera, or inputting R, G, B values of his/her skin. The theoretical results for the ranks of clothing colours proposed by the system are examined with the experimental results and the result shows they are very close, suggesting that the proposed colour selection system is acceptable. Although the selection of clothing colours is taken as an example to specify the methodology, it can also be used to develop a system for other products. © 2008 Wiley Periodicals, Inc. Col Res Appl, 33, 411–423, 2008     

Perceptual factors affecting colour order systems

The perceptual colour attributes relevant for ordering unrelated, related, luminous, and nonluminous colours are different insome respects. Colour order systems for related nonluminous colours have been the most fully developed, but different systems depend on different types of experimental data, such as equalization of small perceptual differences, colour scaling, and some relationships to properties of the stimuli. The resulting systems have both similarities and differences, which are worthy of careful study. Chromatic adaptation is an important factor affecting and appearances of samples of colour order systems viewed in illuminants of various colours, and requires further study.     

Colour memory for various sky,skin, and plant colours: Effect of the image context

In memory‐matching techniques, the remembered colour might differ from the original colour even if the viewing situation is the same. Our aim was to point out whether these so‐called memory shifts are significant in the everyday situations of viewing photos depicting sky, skin, or plant, or viewing standalone uniform colour patches of sky, skin, or plant colours. In many cases, significant memory shifts have been found. Considering only one type of object (sky or skin or plant), memory shifts turned out to be systematic in the sense that they were directed toward specific intervals of hue, chroma, and lightness. This tendency was more explicit for photos than for standalone colour patches. A method to quantify prototypical colours and their tolerance bounds was suggested. © 2001 John Wiley & Sons, Inc. Col Res Appl, 26, 278–289, 2001