2 : About Wattyl Taubmans Colour Systems

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1 2 : About Wattyl Taubmans Colour Systems The Wattyl Colortint System is comprised of a database of paint formulae of over 25,0 colours. These colours are made up of palettes from ColourTrend Nuance, Ambiance, Folio syndicated colour systems as well as colours from the Australian, British and RAL standards and as matches to popular colours from the wider marketplace. These colours represent the colours of life light (lemon) yellow YELLOW light (yellow) green deep yellow ORANGE GREEN tan, gold red orange scarlet brown blue green RED crimson turquoise rose maroon magenta cyan cerulean red violet VIOLET BLUE blue violet From these cultural colours 6 easily definable hues are recognisable red orange violet yellow blue green To make the task of choosing colours simpler and easier for the specifier, Wattyl Taubmans colourists have distilled all of these into the Wattyl ColourSpace fandeck. Each of the colours in the Specifier Palette and the wider system has been mapped so that has its own unique colour reference number that is part of the Wattyl ColourSpace System. 2 1

2 2 : The Wattyl ColourSpace System Wattyl Taubmans ColourSpace uses a unique colour notation system that classifies every paint colour according hue, chroma and light reflectance. The concept is based on a 3 dimensional model of colour. These dimensions can be defined as: Hue colour family represented around the colour wheel Chroma describes the intensity or saturation of colour. Lightness Value represents the amount of black or white in a colour. Unlike other systems the Wattyl ColourSpace has been based on the human eye s perception of colour not a mathematical calculation. This means the popular warm colours expand from occupying only a quarter of the circle to about a third of it and the cooler colours reduce accordingly red orange 7 29 violet yellow blue green The human eye can see about 2 million colours; Wattyl ColourSpace includes a position for every one. Over 20,0 popular paint colours have been mapped in this 3 dimensional model that gives each colour its own reference number and colour formulation unique to the Wattyl Colortint System. 2 2

3 2 : The Wattyl Code System The reference number consists of: 1 alpha digit and 2 numeric digits indicating Hue 2 numeric digits indicating Chroma 2 numeric digits indicating Lightness 1 alpha digit indicating effect V s=suede p=pearl Lightness Hue Orange Red Yellow Chroma Violet Green Blue How to Estimate a Colour from the Code Hue The letter in the code tells you where to start on the colour wheel. Navigate the colour wheel in an anti-clockwise direction. The number in the code tells you the position between each colour on the wheel eg red moves toward orange to ; orange starts at and moves toward yellow to ; yellow starts at and moves toward green to and so on around the wheel to the start point at red. Chroma The more intense or saturated the colour, the higher the number between and. Lightness The more white in the colour, the higher the number between and. Examples Example 1: The colour Monks Robe R is 23 spaces toward the red end of the violet spectrum, 13 spaces from the lowest density of chroma, 33 spaces from the darkest shade. 2 3

4 2 : The Wattyl Code System Example 2: The colour Basmati Y is 59 spaces toward the green end of the yellow spectrum, 6 spaces from the lowest density of chroma, 92 spaces toward the lightest shade. Notes: Greys are those colours with a low chroma, generally < 12. Dark yellows will appear as olive, and dark oranges and reds will appear brown. If the colour comes from the Suede or Pearl Essence palette then an s or p is added to the code to indicate the type of special effect eg: Suede Mexican Gold Y s Pearl Essence Wild Silk Y p Light Reflectance Values (LRV s) Light striking a surface will either be absorbed or reflected depending on the texture and colour of the surface. The Light Reflectance Values (LRV) for a specific colour is measured according to a standard test method, and denotes the percentage light that is reflected from the surface. True white has a LRV of 1% while black a LRV of close to 0%. A colour with a LRV of 80% means that 80% of the light is reflected off the surface while the remaining 20% is absorbed into the surface. A dark colour will absorb more light, and so heat up more than a light colour, which reflects more light, and so stays cooler. When selecting a colour for exterior application, a light colour will have a longer life than a matt dark colour. A dark colour will cause more heat stress and this could also result in popping of joints due to thermal expansion. A coating with a LRV of greater than 40% is often required by manufacturers to help ensure longevity of the structure and coating. Similarly when re-coating, avoid putting a dark colour over a light colour, as the heat stress caused by the dark colour could cause failure of the underlying coating. A glossy surface reflects more light than a dull or matt surface. High gloss finishes stay cooler and give an appearance of lightness, while duller surfaces get warmer and give a dimmer appearance. For interior selection, if a room is small, selecting a higher gloss level will help increase the light reflectance and make the room appear brighter and lighter. Matt surfaces will give a large room a warmer and cozier feel. Careful selection of gloss level and colour can transform an undesirable area into a dream living space. Note: The lightness scale used in the Colourspace system is not the same as the LRV scale. 2 4

5 2 : Gloss Levels of Paint Colours These are characteristised by 3 key factors: 1. Appearance The gloss of paint is essentially an appearance attribute, but with secondary implications. The vast majority of paint binders are inherently somewhat glossy and uniform. Reduction of gloss requires the precise disturbance of the surface of the film, so as to diffuse the incident light on it. By this definition flat paints are always rougher than glossier paints, even though this roughness is on a very small scale. Nonetheless this roughness and the way in which it is achieved affects the cleanability of the surface, the durability of the surface and the mechanical strength of that surface. 2. Durability As a rule of thumb, within the same generic type of paint, glossier products will have more durability than their flatter counterparts. The rate of drop off in durability of exterior acrylics with decreasing gloss is much less than that of alkyd paints and whilst very useful lives can be achieved with low gloss and flat acrylics out of doors, alkyds of the same degree of gloss would erode very rapidly. 3. Gloss/Sheen Uniformity Gloss is not uniform over a range of viewing angles. Sheen paints can appear to be quite flat when viewed directly on (that is, at 90 degrees to the surface), but can have quite a high lustre when viewed along the surface. This can be quite significant when painting long rooms or corridors, particularly those, which have a light source at one end. Wattyl Taubmans gloss levels are based on the following guidelines: Full Gloss Gloss Semigloss Satin Low Sheen/Silk Flat/Matt 85-1% 65-84% 50-64% 20-49% 5-19% 0-4% The table overleaf gives the gloss level for key products in the range. 2 5

6 Product Gloss levels 90 1 Estapol Polyurethane Clear Matt Estapol Speed Clear Gloss or Satin Indothane Satin Estapol Polyurethane Clear Satin Estapol Speed Clear Gloss Estapol EasyFloor Clear Gloss Indothane Gloss Estapol Polyurethane Clear Gloss Estapol Moisture Cured Polyurethane Living Proof Acrylic Ceiling Easyflo Washable Flat Living Proof Acrylic Matt Easyflo Washable Low Sheen Living Proof Acrylic Silk Living Proof Acrylic Satin UltraProof Acrylic Enamel Satin Easyflo QD Enamel Satin Gaylon Enamel Satin UltraProof Acrylic Enamel Semigloss Gaylon Enamel Semigloss UltraProof Acrylic Enamel Gloss Easyflo QD Enamel Gloss Butex Enamel Gloss Exterior Clear Gloss Flexacryl Acrylic Low Sheen TimberProof Low Sheen Weatherglo Acrylic Lo Lustre Solagard Acrylic Low sheen SunProof Acrylic Satin Solagard Acrylic Roof Satin Solagard Acrylic Semigloss SunProof Acrylic Gloss Solagard Acrylic Gloss Weatherglo Acrylic Gloss Butex Enamel Gloss Killrust SPE Enamel Gloss 2 : Gloss Levels of Paint Colours Gloss Levels (%) Measured at 60 degrees 2 6

7 Durability Colour of Paint Systems 2 : About 1 Colour Colour Consultancy Service Every project requires the careful evaluation of many factors in order to achieve a co-ordinated colour plan. These include the fixed and unchangeable elements such as flooring, furnishings and light sources. Wattyl Taubmans colour consultants can assist in evaluating these factors and incorporate them into colour schemes that will produce the result you wish to achieve. Colour Rendering Service Wattyl/Taubmans project services offer a colour rendering service. For further details contact: projectservices@wattyl.co.nz, Ph: , Fax: Sample Panels A5 sample panels of the proposed colours and finishes are available to assist in assessing the suitability of alternative products and colour schemes. These enable the suitability of texture, gloss and colour to be verified. Wattyl Taubmans experience and colour knowledge is freely available to assist in the preparation of your colour and coatings programme. Your Wattyl Taubmans representative is a coatings specialist trained to recommend the best paint system and colour plan for your project. The following chart is designed as on easy guide to the references available from which Topcoat Colours con be selected. Topcoat Products not included are available in white only or in special colours (see appropriate data sheet). Test Pots Taubmans have a comprehensive range of pre-tinted test pots available in a 1ml size. Details of this range can be seen at any Taubmans stockist or at Wattyl/Taubmans Trade Centres. 250ml test pots can also be tinted to a wide range of colours if required. 2 7