Colour Science 2

Eng.
Dr Faiza Safdar
Eng. Dr Faiza Safdar
Light Source

Illuminants

Standard illuminants
• What are illuminants ?
• To understand an illuminat it is necessary to first understand how we describe
light.
• Light is describe for our purpose by what is called a spectral power

distribution curve.
• Spectral power distribution (SPD) curve

• A specific type of light will emit different amounts of energy at each part of the visual
spectrum. The graph of this power emittance over the visual spectrum is called relative
power distribution curve for that specific illuminant or source. The SPD of a light is a
function P(ʎ) which defines the power in the light at each wavelength.


• Spectral power distribution curve for natural light.
• Horizontal axis represents visible spectrum which is approximately between 380
and 750 nm.
• Highest peak in graph occurs around
460nm which represents the blue portion
of the spectrum.
• This tells us that day light, while appearing
to be pure white, is largly composed of
blue light.
• So every type of light has a unique, relative spectral power distribution curve
that describe what it looks like, or more importanytly, what other things look
like when illuminated by it.
• D65 below is an illuminant representing daylight.
• There is no actual light source that exactly matches the theoretical

illuminant (though many sources come close)
• So an illuminant is basically a defination used to determine how the
appearence of a color will be changed under a specific type of lighting

• Relative power distribution curve for standard illuminant A, Incandescent
• An electric bulb emits incandescent light. This contains an excess of yellow

and red light energy.Thus incandescent light is yellowish with color
temperature 2856K.
D-Series of illuminants are constructed to represent natural daylight.

Different Industrial
Illuminants

CRI (Colour
Illuminant Operating Rendering
Designation Lamp Type Temperature Index) Usage / Kind of Illumination
CIE Standard Incandescent or tungsten light,
Illuminant A Tungsten generally seen in home
(INCA-A) halogen 2856ºK 100 environments
Phosphor Most commonly used
CIE Standard daylight illuminant resembling average
Illuminant D65 fluorescent 6500ºK 93 daylight of northern sky
Narrow band fluorescent which
simulates office or store
European lighting; generally used by
Fluorescent commercial many merchandisers and
Illuminant TL84 fluorescent 4100ºK 85 retailers
Illuminant
CWF (Cool USA Cool white fluorescent light,
White commercial generally seen in office
Fluorescent) fluorescent 4150ºK 62 environments

Illuminant
CWF (Cool USA Cool white fluorescent light,
White commercial generally seen in office
Fluorescent) fluorescent 4150ºK 62 environments
Illuminant Reveals the presence of fluorescent
UV Ultra-violet N/A N/A dyes and optical brighteners
Phosphor Resembles 'horizon' daylight; it is the
Illuminant daylight reference for the printing and
D50 fluorescent 5000ºK 92 graphic arts industry
Phosphor Used to evaluate opaque materials,
Illuminant daylight resembles northern sky daylight at
D75 fluorescent 7500ºK 94 noon
USA
Illuminant commercial Commercial narrow band
U30 fluorescent 3000ºK 85 fluorescent light
Mercury Generally used in stores and
Vapour High intensity 4100ºK 75 factories
High Pressure Generally used in streets and
Sodium High intensity 2100ºK 50 factories

• Relative power distribution curve
for standard illuminant F2, cool
white
• F2 represents the typical cool white
fluorescent source, contains excess
of blue and green light energy and
a deficiency of red, therefore have
a distict blue color
• F series range from F1-F12 and
represent various types of
fluorescent lighting.

• Color rendering index (CRI)
• Through CRI method, sources are described. A CRI is a scale from 1 to 100 which
rates a source by comparing color apparence viewed under the source to color
appearence viewd under a standard illuminant such as D65.
• A CRI value of 100 means source is identical to the standard illuminant.
• Using CRI value as a guide one can choose a light source based on that light
sources ability to accurately display color as compared to a standard
illuminant.
• e.g a common light source for office space may have CRI in the 60‘s, but in
areas where color appearence is very critical, a light source with a CRI in
90‘s would be more appropriate.
How illuminants effect color
• Many colors undergo a common color phenomenon called
metamerism when viewd under different light sources.
• Two colors may appear to match under one source but appear
completely different under another source.
• For example, if your product was to be used in red light dark room
environment and the box was printed in blue, green and black, the
box would appear solid black in the dark room.
• If your illuminant only emits light in the red portion of the spectrum,
all the light will be absorbed and the whole box will appear black.

Standard illuminant

• Appearance of color under different illuminants.
• Color may appear bright or dark when observed in different
illuminants.

Metamerism

• How illuminants effect color

Color Specification
And
Color Specifying System

Why need color specification
Color Specification and Color Specifying
System (Subjective)
• Many names are given to colors, e.g blue can be called sky blue, navy
blue, aquamarine etc.
• So, it is very difficult for designers, dyers, printers and the consumers
to name a color, so that it can be identified, reproduced consistently.
• For a color to be identified and reproduced consistently, it must be
possible to specify it accurately.
• The Munsell and CIE systems are the ones most frequently used to
specify color.

System (Subjective) The ostwald system
The ostwald system, which was
developed by German physical chemist
Wilhelm Ostwald in 1920s, was
successful at start but it was
superseded by Munsell system.

System (Subjective)
• The deficiency of the Ostwald system was its inability to add new or
different colors to those on which it was based.
• Today most of the subjective color order systems, such as color
atlases of the dye and paint manufacturers, are based essentially on
the munsell system.
• The CIE system describes color in numerical proportions. These
numerical proportions refer to the amounts of the primary colors,
blue, green and red, which are required to produce a particular color.

System (Subjective)
The Munsell System
• Munsell system is a subjective color ordering system which was developed
by an American called Albert Munsell.
• This system describes color using charts which display a large range of hues,
ordered according to value and Chroma.
• Munsell used a three dimensional color solid to plan his color system.
• The solid is pure black at the bottom and pure white at the top, with pure
red, blue and green at equal intervals around the circumference.
• Going around the solid horizontally left to right, blue tends to purple and
then red, red tends to yellow which becomes green, and the green tends to
blue-green which becomes blue.

The Munsell System

Color Specification and
Color Specifying System
(Subjective)
The Munsell System
• As the colors approches the top of the solid, they
become lighter and finally white.
• As they move out from the axis of the solid, they
become purer and more intense.
• Each color in munsell system has three parameters,
hue, chroma and value, which are represented by the
three dimensions of the solid.
• Munsell color chart is made up of hundreds of small
colored rectangles, called color chips, which are
arranged according to their hue, value and Chroma.
Each chip represent a specific color.
• Any color can be specified easily and quickly
according to the three Munsell parameters of hue,
Chroma and value.
Color Specification and Color Specifying System (Subjective)
The Munsell System
• The advantage of Munsell system over
any other subjective ordering system
is that it can accommodate and
specify every color in existance and
any new colors which may be
developed in the future.
• Its advantage over the objective CIE
system is that the Munsell charts
allow visual examination of the
numerous colors.
System (Subjective)
The Munsell System
• Munsell Hue
• When asked to identify the color of an object, you’ll most likely speak first of
its hue.
• Quite simply, hue is how we perceive an object’s color
• The quality by which we distinguish one color from another.
• Munsell selected five principles colors: red, yellow, green, blue and purple;
and five intermediate colors: yellow-red, green-yellow, blue-green, purple-
blue, and red-purple.
• Each of the ten areas is sub-divided into ten equal parts, each representing a
color.
System (Subjective)
The Munsell System
Munsell Hue
For example, primary red would be identified

as 5R, since it stands at the mid-point of the
red segment. 2.5R would be a red tending
towards red-purple, while 7.5R is red tending
more towards yellow-red.

Color Specification and Color Specifying System
(Subjective)
The Munsell System
Munsell Value
• Value refers to the lightness or darkness of a color and it is
represented by the vertical axis of the Munsell solid or the quality by
which we distinguish a light color from a dark color. Light green, Dark
green, Black, Gray
• The quality by which we distinguish lighter shades from darker ones.
• Value scale ranges from black to white in eleven equal intervals with
black being zero, white being 10 and various shades of grey in
between.
• Notation N is used to donate the grey value at any point, 2N a dark
grey and 7N a light grey.
(Subjective)
The Munsell System
Munsell Value
• The luminous intensity of a color — i.e.,
• its degree of lightness is called its value.
• Colors can be classified as light or dark

• when comparing their value.

System (Subjective)
The Munsell System
• The value of a particular hue would be noted with the value after the
hue designation, e.g 5R 6/ indicates a primary red at the level of 6.
• Munsell‘s scale is visual, or perceptual.
• It is based on how we see differences
in relative light, not on a strict set of
mathematical values from a light source

(Subjective)
The Munsell System
• Chroma
• The third parameter of the Munsell system is Chroma which refers to the purity,
intensity, vividness, saturation or richness of a particular color.
• The strength of a color (distance from gay)
• The quality by which we distinguish strong saturated colors from weak achromatic
ones.
• The closer a color is to neutral axis, or the value scale, duller it becomes.
• The Chroma axis extends from the value axis at a right angle and the amount of
Chroma is noted after the value designation.
• 7.5YR 7/12 indicates a yellow-red hue tending towards yellow with a value of 7 and a
Chroma of 12. 7.5YR 7/12
(Subjective)
The Munsell System
Chroma
• Chroma describes the vividness or dullness of a color — in other words, how close the color is to either
gray or the pure hue.
• Figure shows how chroma changes as we move from center to the perimeter. Colors in the center are
gray (dull) and become more saturated (vivid) as they move toward the perimeter. Chroma also is known
as saturation.

System (Subjective)
The Munsell System
• Chroma
• Chroma is not uniform for every hue at every value.
• Munsell saw that full Chroma for individual hues
might be achieved at very different places in the
color sphere.
• For example fullest Chroma for hue
5RP (red-purple) is achieved at 5/26.

System (Subjective)
The Munsell System
• Chroma
• Another color such as 10YR (yellowish yellow-red) has a much shorter chroma
axis and reaches fullest chroma at 7/10 and 6/10.
10 YR 7/10;6/10
System (Subjective)
• Limitations of Munsell Color System
• Based on subjective color comparison
• Standard samples can fade and degrade
• Complementary colors are not on opposite side of value axis.

Pantone Color System

System (Objective)
Development of the CIE System
• Named after the International Commission of Illumination which
developed it.
• The commission was set up by a number of countries in order to

arrive at an objective means of specifying color.
• The CIE system specifies color in term of the proportion of the

primary additive colors (blue, green and red) required to produce a
particular color.

System (Objective)
• In 1931, the international commission of illumination developed the
CIE system of color specification which was based on the tristimulus
theory of color reception (Young-Helmholtz theory of color vision).
• The development of computers has enabled the CIE system to be

utilized and applied more effectively for the color matching.

System (Objective), CIE xyY
The basic principles of the CIE System
• Three primary additive colors add together to give white
Blue + Green + Red = White
0,33’ blue + 0,33’ green + 0,33’ red = 1,0 white
• Since any hue depends on the amounts of red, green and blue it contains,
the above equation can be rewritten in general terms as follow
xX + yY + zZ = C
• x= amount of red, X= Red
• y= amount of green, Y= Green C= Desired Hue
• z= amount of blue, Z= Blue
xX + yY + zZ = C
• This is the basic equation used by color physicists to specify hue or to
define the chromaticity of a dyed or printed textile, using CIE system.
• The chromaticity of a colored textile refers to how much of X, Y and Z
are required to produce its particular hue.
• Equal amounts of red, green and blue produce white and equation is
written as 1/3 X + 1/3 Y + 1/3 Z = White
• This means, the sum of the coefficients of X, Y and Z are always equal
to unity in the CIE System.

• A red hue may be expressed mathematically as
0,66’X + 0,25Y + 0,083Z = 1
0,66’ + 0,25 + 0,083 = 1
• A green hue may be expressed as follows
0,19X + 0,68Y + 0,13Z = 1
0,19 + 0,68 + 0,13 =1
• x, y and z are related mathematically (x+y+z=1), the color physicist
can depict this graphically.

• x, y and z of equation xX + yY + zZ =C known as chromaticity
coordinates and a graph of these points is called the chromaticity
diagram.
• Chromaticity diagram needs only show two of the three coordinates
as the third coordinate can always be deduced by subtracting the sum
of the other two from 1.
• x is horizontal and y is vertical axis, chromaticity diagram is of
triangular form. The graduated scale along perimeter of the
chromaticity graph represents the wavelengths in nm.

For example, reflectance
spectrophotometer measures
the dominant wavelength of
reflected light from a colored
textile material as 594nm. This
wavelength is for orange light
and on chromaticity diagram
the x and y coordinates for
orange are about 0,6 and 0,4
respectively, therefore z will
equal to zero.

• The chromaticity coordinates
specify the hue of a colored
material, they don’t indicate, how
light or dark a color is.
• This is done by adding a third
dimension to the chromaticity
diagram, luminosity axis Y.
• No light (black) equals to zero, and
white which has a 100 percent
luminosity is at the top of the scale.
• So to specify color, one requires x
value, which cannot be greater
than 0,73 and y value, which
cannot exceed about 0,83 and
luminosity value between 0 and
100.

• Using the xyY values, any two colors can be compared to determine
whether they match, which is the whole purpose of CIE-System.
• CIE did not create their system as a means for describing colors or
producing a line of swatches for use in color production.
• The diagram is flat representation of what is really a curved surface,
so it failed to give a uniformly spaced visual representation of what is
actually a three- dimensional color space.

System (Objective), CIE Lab Color Space
CIE LAB
• CIELAB is the second of two systems adopted by CIE in 1976 as
models that better showed uniform color spacing.
• CIELAB is an opponent color system based on earlier system of
Richard Hunter L, a, b.
• CIELAB is based on three parameter; light and dark, red and green,
blue and yellow.
• The vertical axis represents lightness (L), whose values run from 0
(black) to 100 (white).

CIE LAB
• The color axes are based on the fact that a color can't be both red and
green, or both blue and yellow, because these colors oppose each other.
• L (lightness) axis:0 is black , 100 is white.
• On each axis the values run from positive to negative.
• On the a-a' axis, positive values indicate amounts of red while negative
values indicate amounts of green.
• On the b-b' axis, yellow is positive and blue is negative. For both axes, zero
is neutral gray.
• The current recommendation is to use CIE L*a*b*


CIE Lab system

CIE Lab Color Specification

System (Objective), CIE Lab and Delta CIE Lab

System (Objective), CIE Lch Color Space
CIE Lch
• Lch is cylindrical version of Lab, which means that two opponent color
dimensions (a and b) are represented by a hue, h, and chroma, c
• The L* axis represents Lightness. This is vertical; from 0, which has no lightness
(i.e. absolute black), at the bottom; through 50 in the middle, to 100 which is
maximum lightness (i.e. absolute white) at the top.
• The c* axis represents Chroma or 'saturation'. This ranges from 0 at the center of
the circle, which is completely unsaturated (i.e. a neutral grey, black or white) to
100 or more at the edge of the circle for very high Chroma (saturation) or 'color
purity‘.
• The h* axis represents Hue. This circular axis is known as h° for Hue. The units are
in the form of degrees° (or angles), ranging from 0° (red) through 90° (yellow),
180° (green), 270° (blue) and back to 0°.

System (Objective), CIE Lch Color Space

The Colour Wheel
• Colours on the wheel can be

described using three
parameters:
1. Hue: degrees from 0˚ to 360˚
2. Saturation: brightness or
dullness
3. Value: lightness or darkness
(As suggested by Henry Albert Munsell in A Colour
Notation, 1905)

The Colour Wheel: Hue
• Hue or Spectral Colour is
represented as an angle.
• Primary Colours:
• 0˚ = Red
• 120˚ = Green
• 240˚ = Blue
• Secondary Colours:
• 60˚ = Yellow
• 180˚ = Cyan
• 300˚ = Magenta

The Colour Wheel: Saturation
• Saturation or Chroma is the
intensity of a colour.
• A highly saturated colour is

bright and appears closer to
the edge of the wheel.
• A more unsaturated colour

is dull.

Tint & Shade (color attributes)
• Color Theory defines • A True Shade is any pure
a True Tint as any Hue or Hue or mixture of pure
colors with only Black added.
mixture of pure colors In other words, it contains
with only White added. absolutely no White or Gray
(which change tone of color)

TINT
Made by adding white to a color
so that it is lighter.
+ =
HUE WHITE TINT

SHADE
Made by adding black to a
color so that it is darker.
+ =
HUE BLACK SHADE

Color Schemes: Complementary
• Complimentary: Colors that are opposite on color
wheel. High Contrast such as red and green

Color Schemes: Analogous
• Analogous: A selection of colors that are adjacent on color
wheel. Minimal contrast

Color Schemes: Warm
Warm: First half of the wheel give warmer colors.
The colors of fire.

Colour Schemes: Cool
Artist: Pablo Picasso Cool: Second half of the wheel

Title: Femme Allongée Lisant gives cooler colours
Year: 1939
Color Schemes:
Achromatic, Chromatic Grays
Chromatic Grays: Also
Achromatic: Black and
called neutral relief. Dull
white with all the grays in-
colors, low contrast.
between.

Color mixing
• Additive color mixing
• Subtractive color mixing

Color mixing
Additive Theory/Light Theory
• Additive color mixing is creating a new color by a process that adds one set
of wavelengths to another set of wavelengths. Additive color mixing is
what happens when lights of different wavelengths are mixed.
• When we add all of the different wavelengths of sunlight, we see white
light rather than many individual colors. It is called additive because all of
the wavelengths still reach our eyes.
• The primary colours in Additive mixing are: Red ( R ), Green ( G ), Blue ( B )
• The primary colours add together to make white
• Light Theory is used in Television, theater lighting, computer monitors, and
video production.

Additive color mixing

Color mixing
Subtractive theory
• Subtractive color mixing occurs when we mix paints, dyes, or
pigments.
• It is called subtractive mixing because when the dyes mix,
wavelengths are deleted from what we see because each dye will
absorb some wavelengths that the other dye reflects, thus leaving us
with a lesser number of wavelengths remaining afterward.
• The primary colours in subtractive mixing are: Red ( R ), Blue ( B ),
Yellow ( Y )

Subtractive color mixing

Opponent-Process Theory of color vision
• Trichromatic theory makes clear some of the processes involved in
how we see color, but doesn't explain all aspects of color vision
• The opponent-process theory of color vision was developed by Ewald
Hering.
• He noted that there are some color combinations that we never see,
such as reddish-green or yellowish-blue. This means opposite
opponents are never perceived together.
• Opponent-process theory suggest that color perception is controlled
by the activity of two opponent systems; a blue-yellow mechanism
and red-green mechanism.
Opponent Colors

Opponent Colors

CIE-Standard Observer
• In visual observing situation, the observer is the human eye, that
receives the transmitted or reflected light.
• Since different humans perceive color differently, therefore attempts
have been made to standardize the human observer as a numerical
representation, what an average person sees. This standard observer
helps us to assess the color instrumentally.
• Wright and Guild performed experiments using volunteers to assess
their color vision and develop an average or standard observer.
• In 1931, they published the 20 CIE standard observer function based
on their research.
• This function is called 20 because their experiments involved having
the subjects judge colors while looking through a hole that allowed
them a 20 field view.
• In 1931, it was believed that all color sensing cones of the eye were
located within a 20 arc of the fovea.
• But in 1960s, it was realized cones were present in a larger area of the
eye than previously believed, so in 1964, 100 observer was developed.


Color Measuring Instruments/Objective Color
Measurement
• The human eye is the oldest means of measuring color, but it has
certain drawbacks in connection with the analytic specification of
color. Drawbacks include individuality of spectral response and poor
color memory.
• Therefore instrumental methods of measuring color are required.
• Such instruments must evaluate the color by illuminating the material
with light of a standard spectral composition and have sensors with
standard spectral responses, just like of human observer with normal
color vision.
• This underlines the importance of the CIE’s definition of both
illuminants and standard observer.
Color Measuring Instruments
• Color measuring instruments are grouped into two main classes
• Colorimeters, and
• Spectrophotometers
• The principle of a spectrophotometer and a colorimeter is absolutely the
same. Both use a light/monochromatic light to pass through a substance
and measure its absorbance and transmittance.
• Colorimeter can only use one wavelength at a time and have a fixed
number of wavelengths that can be used and they have to be in the visible
range only.
• A spectrophotometer on the other hand can not only function like a
colorimeter but also take a spectrum across the entire wave spectrum, e.g
UV-Visible-IR. They generate wavelength by wavelength analyses of the
light reflected or transmitted by an object

Color Measuring Instruments, The tristimulus
colorimeter
• It is the simplest form of instrument for the measurement of color.
• Similar to the eye, it has red, green, and blue photodetectors, which
measure tristimulus values.
• Colorimeter use filters and approximate to the spectral distribution of
the CIE standard observer. They measure color in terms of x,y,z or Lab.
• A light source, illuminates the object at 450 to the normal, reflected
light along the normal is then collected and passed to the
photodetectors.
• Photodetector consists of three filters each in front of its own light
sensitive diode.

Color Measuring Instruments, The tristimulus
colorimeter

Color Measuring Instruments, The
Spectrophotometer
• Spectrophotometer measures the ratio of reflected/transmitted to
incident light from a sample at many points across the visible
spectrum. Reflectance/Transmittance values are generally expressed
as percentages
𝑅𝑒𝑓𝑙𝑒𝑐𝑡𝑒𝑑 𝑙𝑖𝑔ℎ𝑡
Reflectance = *100
𝐼𝑛𝑐𝑖𝑑𝑒𝑛𝑡 𝑙𝑖𝑔ℎ𝑡
𝑡𝑟𝑎𝑛𝑠𝑚𝑖𝑡𝑡𝑎𝑛𝑐𝑒 𝑜𝑓 𝑠𝑎𝑚𝑝𝑙𝑒
Transmittance = *100
𝑇𝑟𝑎𝑛𝑠𝑚𝑖𝑡𝑡𝑎𝑛𝑐𝑒 𝑜𝑓 𝑟𝑒𝑓𝑒𝑟𝑒𝑛𝑐𝑒
• A spectrophotometer consist of two instruments, namely a
spectrometer for producing light of any selected color (wavelength),
and a photometer for measuring the intensity of light.

Spectrophotometer
• A modern spectrophotometer consists of a source of radiant energy, a dispersing
system to provide monochromatic radiation and a detector system to measure
the amount of radiation.
• After reflectance/transmittance from a material, reflected or transmitted light is
then passed on to the spectral analyzer, where the light is split into its spectral
components.
• This allows the light detector and control electronics to make measurements at
many points across the visible spectrum.
• In many instruments the path of radiation is split into two within the instrument
to provide a sample beam and a reference beam, that makes comparison
readings easier and more stable. (double beam)
• Single beam spectrophotometer measures the relative light intensity of the
reflected/transmitted light before and after a test sample inserted. (single beam)

Spectrophotometer
This illustrates the basic structure of spectrophotometers. It consists of a light source, a lens, a
monochromator, a cuvette for sample solution in case of liquid (transmittance)/textile (reflectance), a
photodetector.

Spectrophotometer
Double beam Spectrophotometer

Spectrophotometer, CIE standard observer 1931
Color Matching functions

Spectrophotometer, calculation of X, Y, Z
Spectrophotometer
• Tristimulus colorimeter can generally take
measurements under only Illuminant A and D65, both
of which represent daylight and have similar spectral
power distribution because of this colorimeter cannot
be used to measure metamerism.
• Spectrophotometer on other hand equipped with the
spectral distributions of a wide range of illuminants and
thus can measure metamerism.
Spectrophotometer, Standard CIE Optical
Geometries
• An instrument should be able to give repeatable measurements of the same
sample.
• Different instruments of the same type and manufacturer will give similar results
when measuring the same sample.
• Ideally, instruments of the same type should give the same results, irrespective of
the manufacturer.
• In order to achieve this, CIE has defined four standard optical geometries.
• 0/45 and 45/0
• 0/d and d/0
• The first term refers to the direction of illumination arriving at the sample, the
second to the direction of light from the sample.
• In all four geometries, it is assumed that instrument is measuring the color of a
smooth, flat surface.
Standard Measuring Geometries for Reflectance Data
•45/0 (Normal)
• A geometry of 45° means that the light source is at
an angle of 45° to the sample and the measuring
head is at 0.
This type of instrument is said to be more sensitive to

surface irregularities and measures "appearance“
as well as color.
For this reason, 45/0 instruments are often used in

quality control applications where differences in
surface texture and finish are important

Normal /45
“Normal” indicates that the light
source is at 90°.
at this geometry the instrument

will measure a fairly large color
difference (2-3 dE CIELAB)
Because the glossy substrate will

give much higher reflectances
but lower chroma or saturation.

Diffuse/Normal
• “Diffuse” means that the sample is

illuminated diffusely, with the sample
attached to a hollow integrating sphere
and the measuring head placed on the
normal.
• In this arrangement the sample is

illuminated diffusely from all angles,
reducing the possibility of shadows
caused by the fabric surface structure.
• Often a baffle is included in the sphere to

assure that no direct light from the lamp
strikes the sample.

Normal / Diffuse
The sample may also be illuminated
from the normal direction with the
measuring head placed to receive the
diffused scattered light
On a diffuse/0
instrument with the specular
component included, the
same samples will show little color
difference (< 0.40 dE CIELAB) because
the diffuse illumination creates such
multiple reflectance's that the effects
of the gloss are minimized.

Preferred geometry
• The preferred geometric arrangement for measuring textile samples is diffuse/normal and most
modern instruments for textiles measure in this configuration.
• Depending on the arrangement, the integrating sphere distributes light onto the sample diffusely
from many directions or collects light diffusely from many directions.
• Integrating spheres are hollow spheres painted white on the inside.

Geometries
SPIN and SPEX measurement
• When a textile object is exposed to light, a
part of light is reflected back without
modification. This is due to gloss.
Gloss can be included or excluded using d/80
geometry.
• If this part is excluded from measurement, then reflectance shows a considerable
variation from one type of instrument to another.
• The integrating sphere geometries shown in last slides include a gloss trap. This is
a section of the sphere wall that absorbs all of the radiation that falls on it.
• Specular included (SPIN)
• Specular excluded (SPEX)
Geometries
SPIN and SPEX measurement
• The position and size of the trap acts to remove from the measurements
the specular or mirror like portion of the light reflected from the sample.
• Modern integrating sphere instruments have the option of automatically
replacing the gloss trap with a reflecting section.
• In this way, the operator can choose to make measurements either in the
specular excluded (SPEX) or in the specular included mode (SPIN).
• The instrument geometry notation T is changed to D when specular light
excluded measurements are being made to indicate that only diffuse (D)
light directions instead of the total (T) are being used.

Spectrophotometer, Photodetection
• Photosensitive detectors are those which convert the light falling on them
into an electrical signal. They are of five types
• Photovoltaic cells
• Phototubes
• Photomultiplier tubes
• Silicon photodiodes
• Photoconductivity detectors
• An ideal photodetector for reflectance spectrophotometer should have the
following properties
• Electrical signal proportional to light intensity
• High sensitivity and response time
• Constant Response over wide range of wavelengths
• no signal in absent of light
• Constant signal with time i.e. no fatigue and high reproducibility.

Spectrophotometer, Errors in reflectance
measurement
• Errors in reflectance measurement can arise depending on
• The area of sample measured: The larger the area of the sample, greater is
the accuracy.
• Solidity/homogeneity of the sample: The better the solidity of the shade,
better will be the reproducibility.
• The condition of the integration sphere: The variations in reflectance data.
ageing of the inner sphere coating with time leading to yellowing, which
causes
• The viewing geometry used: also effect on reflectance readings,plus specular
component of reflected light.

Spectrophotometer
Portable Spectrophotometer for

Garment and fabric exporters
Desktop Spectrophotometer

How to Select a Spectrophotometer for Your
Process House
• First obtain following information
• Purpose of color measurements, e.g routine quality check, conformation to
certain specifications, color matching, color communications etc.
• Number of samples to be measured per shift.
• Precision required
• Availability of computer and colorimeter literate persons
• The availability of facilities and spare parts with the supplier.
• For routine measurement and passing of shades of finished goods, a
portable spectrophotometer is ok.

How to Select a Spectrophotometer for Your
Process House
• For ‘right first time’ approach may also need the instrument for dye
strength evaluation and tone analysis. In this case a PC is required for
analysis of data obtained from a spectrophotometer (can be portable)
and for storage of data.
• For assessment of shade of dye batches and working out batch
correction, recording the color of dyed/printed batches from shift to
shift, checking the strength of every lot of dye receive, color and
shade fastness for export purpose bench top model
spectrophotometer is required rather than a portable.

• Minolta, Datacolor, Spectroflash, SF-300, F-600 are the examples of
some Spectrophotometers.
• https://www.datacolor.com/business-solutions/blog/how-to-store-
use-clean-spectrophotometer-calibration-tiles/

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Eng.

Eng. Dr Faiza Safdar

Eng. Dr Faiza Safdar

• Light is describe for our purpose by what is called a spectral power

• Spectral power distribution (SPD) curve

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• There is no actual light source that exactly matches the theoretical

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• An electric bulb emits incandescent light. This contains an excess of yellow

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For example, primary red would be identified

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• Colors can be classified as light or dark

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• The commission was set up by a number of countries in order to

• The CIE system specifies color in term of the proportion of the

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• The development of computers has enabled the CIE system to be

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• Colours on the wheel can be

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• A highly saturated colour is

• A more unsaturated colour

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