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WO2008110563A1 - Peinture à couleur non constante - Google Patents

Peinture à couleur non constante Download PDF

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Publication number
WO2008110563A1
WO2008110563A1 PCT/EP2008/052900 EP2008052900W WO2008110563A1 WO 2008110563 A1 WO2008110563 A1 WO 2008110563A1 EP 2008052900 W EP2008052900 W EP 2008052900W WO 2008110563 A1 WO2008110563 A1 WO 2008110563A1
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WO
WIPO (PCT)
Prior art keywords
colour
paint
under
light source
white light
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Application number
PCT/EP2008/052900
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English (en)
Inventor
Gerard Antonie Van Ewijk
Patrick Loffeld
Jan Adriaan Van Linden
Original Assignee
Akzo Nobel Coatings International B.V.
Priority date (The priority date is an assumption and is not a legal conclusion. Google has not performed a legal analysis and makes no representation as to the accuracy of the date listed.)
Filing date
Publication date
Application filed by Akzo Nobel Coatings International B.V. filed Critical Akzo Nobel Coatings International B.V.
Publication of WO2008110563A1 publication Critical patent/WO2008110563A1/fr

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Classifications

    • B—PERFORMING OPERATIONS; TRANSPORTING
    • B05—SPRAYING OR ATOMISING IN GENERAL; APPLYING FLUENT MATERIALS TO SURFACES, IN GENERAL
    • B05D—PROCESSES FOR APPLYING FLUENT MATERIALS TO SURFACES, IN GENERAL
    • B05D5/00—Processes for applying liquids or other fluent materials to surfaces to obtain special surface effects, finishes or structures
    • B05D5/06—Processes for applying liquids or other fluent materials to surfaces to obtain special surface effects, finishes or structures to obtain multicolour or other optical effects
    • C—CHEMISTRY; METALLURGY
    • C09—DYES; PAINTS; POLISHES; NATURAL RESINS; ADHESIVES; COMPOSITIONS NOT OTHERWISE PROVIDED FOR; APPLICATIONS OF MATERIALS NOT OTHERWISE PROVIDED FOR
    • C09D—COATING COMPOSITIONS, e.g. PAINTS, VARNISHES OR LACQUERS; FILLING PASTES; CHEMICAL PAINT OR INK REMOVERS; INKS; CORRECTING FLUIDS; WOODSTAINS; PASTES OR SOLIDS FOR COLOURING OR PRINTING; USE OF MATERIALS THEREFOR
    • C09D5/00—Coating compositions, e.g. paints, varnishes or lacquers, characterised by their physical nature or the effects produced; Filling pastes
    • C09D5/29—Coating compositions, e.g. paints, varnishes or lacquers, characterised by their physical nature or the effects produced; Filling pastes for multicolour effects

Definitions

  • the present invention relates to a paint product, particularly for in-house decoration or the like, giving certain special visual effects, and to a method of formulating such a paint.
  • Commonly used special effects in wall paints are for instance structure effects, such as a velvety or linen effect, or effects caused by pearlescent or metallic pigments.
  • the colour of interior walls can be dominant in the in-house atmosphere. For this reason, walls are often painted in neutral colours, generally white or off- white. This creates a rather similar mood over the full day, while the mood of a person staying in the particular room may be different by day that by evening or night.
  • Changing the atmosphere in a room can be done by changing the colour of the light source. However, this changes the colour of everything in the room and can be annoying for the persons present, particularly if they want to read or watch TV.
  • colour inconstancy The effect of colours changing under different white light conditions is generally referred to as colour inconstancy.
  • Colour inconstancy and an index for expressing its magnitude are for instance explained in the article "CMC 2002 colour inconstancy index: CMCCON02" by Luo CS. , in Coloration Technology, 119 (2003).
  • the effect of two colours looking the same under a first light source, but different under a second light source is defined as metamerism.
  • metamerism Hitherto the phenomena of colour inconstancy, and more particularly of metamerism, have been considered to be a problem, especially in the field of repair paint such as car refinishing, but also for clients of dress shops discovering in daylight that the black dress they thought to buy is actually blue. So far, it has never been recognized that these phenomena can be used to create special effects and moods in, for instance, interior decoration.
  • the object of the invention is to provide a paint with new special visual effects.
  • a further object of the invention is to provide a paint capable of creating a different atmosphere by day from that in the evening under incandescent light or other types of artificial illumination.
  • This object is achieved by providing a method of formulating a paint matching the colour of a standard, characterized in that a paint formulation is determined with a minimized colour difference from the standard under a first white light source and with an enhanced colour difference ⁇ E CMC (1 ;1 ) of at least 3 from the standard's colour and/or from the paint's colour under the first light source under a second white light source.
  • the ⁇ E CMC colour difference is determined in accordance with Test Method 173-1989 of the American Association of Textile Chemists and Colorists, AATCC, which takes into account the sensitivity of the human eye of a standardized observer.
  • the standard is a pre-selected colour, to be matched by the paint to be formulated under the first illumination source.
  • the paint formulation is determined to have an enhanced colour difference ⁇ E CMC (1 ;1 ) of at least 5 from either the standard's colour or the paint's colour under the first light source under that second white light source. More preferably the paint formulation is determined to have a maximized colour difference from either the standard's colour or the paint's colour under the first light source under that second white light source.
  • ⁇ E C MC(1 ;1 ) is an alternative expression to the ⁇ E a b colour difference.
  • ⁇ E a b is the colour difference calculated as the difference in L,a,b values according to the colorimetric system of the Commission Internationale de I'Eclairage, CIE. This L,a,b, system is defined in ASTM 308-99.
  • the ⁇ E a b is calculated as follows:
  • ⁇ E * ab is the colour difference according to CIE
  • the aforementioned enhanced colour difference under the second white light source should have a value ⁇ E CMC (1 ;1 ) of at least 3 and preferably at least 5.
  • the first and second light sources can for example be standardized light sources as defined in ASTM 308-99.
  • Examples of such light sources include standardized daylight sources D50, D55, D65, and D75; standardized incandescent light A; standardized illuminant C; or standardized fluorescent light sources such as F2, F7, and F11 , all as defined in ASTM 308-99.
  • the first white light source may be selected from the group of D50, D55, D65, and D75, while the second white light source is selected from the group of A, C; F2, F7, and F11.
  • a paint composition comprising one or more binders, one or more carriers, such as solvents and/or water, and one or more colorants, characterized in that the colorants provide a colour under incandescent light with a colour difference, e.g., ⁇ Eab or ⁇ E CMC (1 ;1 ) of at least 5 in comparison with the colour in daylight or D65.
  • a colour difference e.g., ⁇ Eab or ⁇ E CMC (1 ;1
  • Such a paint can for example be used for painting architectural substrates, such as walls, doors, or window frames, located in the presence of a daylight source, such as a window, and a white artificial light source, e.g. incandescent illumination.
  • a set of two or more paint products having essentially the same colour under a first white light source, characterized in that the colour difference ⁇ E CMC (1 ;1 ) between the two or more paint products is more than 3, e.g., 5 or more, under a second white light source.
  • paint decorations and patterns which are not visible with a first light source, e.g., by day, but which are clearly visible under other white light conditions.
  • Such systems are also particularly suitable for camouflage or encryption purposes.
  • Colours showing colour inconstancy and pairs of metamehc colours typically show a similar effect when daylight deviates from the D65 standard, for instance in early morning light, daylight under very cloudy or thundery conditions, or evening twilight. This creates the possibility to paint decorations which are not visible by day but only in the early morning or evening or under thundery weather conditions.
  • the paints into which the novel visual effects of this invention are to be incorporated are not intended to be particularly limited.
  • the paint products according to the present invention can for example be wall paints, such as the usual latex paints based on aqueous emulsions of acrylic or vinyl polymers, or air drying alkyd paints, which can be solvent borne or water borne.
  • the paint according to the invention can also be an industrial paint system, based on a crosslinking system, such as isocyanate curing, melamine curing, carbodiimide curing, carbonyl/hydrazide curing, and the like.
  • Such industrial paint systems can for example be water borne, solvent borne, a powder coating or a hot melt coating, for instance to be applied on architectural elements.
  • one of the paints can for instance be a latex based wall paint while the other paint can be an alkyd based paint for joinery, such as doors and window frames.
  • the walls can have the same colour as the window frames and doors by day for example and have a very different colour by night, or the other way around. Other combinations may also be used, if so desired.
  • the paint according to the invention will also comprise one or more additives as are known in the art in order to improve its rheological behaviour and other properties.
  • Typical additives include UV stabilizers, co-solvents, dispersants, surfactants, inhibitors, fillers, anti-static agents, flame-retardant agents, lubricants, anti-foaming agents, extenders, plasticizers, anti-freezing agents, waxes, thickeners, thixotropic agents, anti-oxidants, and anti-skinning agents.
  • colourant is intended to include not only pigments, but dyes or combinations of dyes with pigments can also be used. Good results are obtained with colour formulations with mixtures of two or more pigments peaking at distant points in their reflection over the visible spectrum.
  • Organic as well as inorganic pigments can be used.
  • the organic pigments are typically organic chromatic and black pigments.
  • Inorganic pigments can likewise be chromatic, black, and/or white pigments, but also effect pigments, such as metallic pigments, pearlescent pigments, interference pigments, multi-colour pigments, and the inorganic pigments typically used as fillers.
  • Suitable organic colour pigments include monoazo pigments, such as C.I. Pigment Brown 25; C.I. Pigment Orange 5, 13, 36, 38, 64, and 67; C.I. Pigment Red 1 , 2, 3, 4, 5, 8, 9, 12, 17, 22, 23, 31 , 48:1 , 48:2, 48:3, 48:4, 49, 49:1 , 51 :1 , 52:1 , 52:2, 53, 53:1 , 53:3, 57:1 , 58:2, 58:4, 63, 112, 146, 148, 170, 175, 184, 185, 187, 191 :1 , 208, 210, 245, 247, and 251 ; C.I.
  • monoazo pigments such as C.I. Pigment Brown 25; C.I. Pigment Orange 5, 13, 36, 38, 64, and 67; C.I. Pigment Red 1 , 2, 3, 4, 5, 8, 9, 12, 17, 22, 23, 31 , 48:1 , 48:2, 48:3, 48:4, 49, 49:1
  • Pigment Brown 23 and 41 anthanthrone pigments, such as C.I. Pigment Red 168; anthraquinone pigments, such as C.I. Pigment Yellow 147, 177, and 199; C.I. Pigment Violet 31 ; anthrapyrimidine pigments, such as C.I. Pigment Yellow 108; quinacridone pigments, such as Pigment Orange 48 and 49; C.I. Pigment Red 122, 202, 206, and 209; C.I. Pigment Violet 19; quinophthalone pigments, such as C.I. Pigment Yellow 138; diketopyrrolopyrrole pigments, such as C.I. Pigment Orange 71 , 73, and 81 ; C.I.
  • Pigment Violet 31 metal complex pigments, such as C.I. Pigment Red 257; C.I. Pigment Yellow 117, 129, 150, 153, and 177; C.I. Pigment Green 8; perinone pigments, such as C.I. Pigment Orange 43; C.I. Pigment Red 194; perylene pigments, such as C.I. Pigment Black 31 and 32; C.I. Pigment Red 123, 149, 178, 179, 190, and 224; C.I. Pigment Violet 29; phthalocyanine pigments, such as C.I. Pigment Blue 15, 15:1 , 15:2, 15:3, 15:4, 15:6, and 16; C.I.
  • metal complex pigments such as C.I. Pigment Red 257; C.I. Pigment Yellow 117, 129, 150, 153, and 177; C.I. Pigment Green 8; perinone pigments, such as C.I. Pigment Orange 43; C.I. Pigment Red 194; perylene
  • Pigment Green 7 and 36 pyranthrone pigments, such as C.I. Pigment Orange 51 ; C.I. Pigment Red 216; pyrazolo- quinazolone pigments, such as C.I. Pigment Orange 67; C.I. Pigment Red 251 ; thioindigo pigments, such as C.I. Pigment Red 88 and 181 ; C.I. Pigment Violet 38; triarylcarbonium pigments, such as C.I. Pigment Blue 1 , 61 , and 62; C.I. Pigment Green 1 ; C.I. Pigment Red 81 , 81 :1 , and 169; C.I. Pigment Violet 1 , 2, 3, and 27; C.I. Pigment Black 1 (aniline black); C.I. Pigment Yellow 101 (aldazine yellow); C.I. Pigment Brown 22.
  • pyranthrone pigments such as C.I. Pigment Orange 51 ; C.I. Pigment Red 216; pyr
  • Suitable inorganic colour pigments are white pigments, such as titanium dioxide (C.I. Pigment White 6), zinc white, pigment grade zinc oxide; zinc sulfide, lithopone; black pigments such as iron oxide black (C.I. Pigment Black 11 ), iron manganese black, spinel black (C.I. Pigment Black 27); carbon black (C.I. Pigment Black 7); and chromatic pigments, such as chromium oxide, chromium oxide hydrate green; chrome green (C.I. Pigment Green 48); cobalt green (C.I. Pigment Green 50); ultramarine green; cobalt blue (C.I. Pigment Blue 28 and 36; C.I.
  • white pigments such as titanium dioxide (C.I. Pigment White 6), zinc white, pigment grade zinc oxide; zinc sulfide, lithopone
  • black pigments such as iron oxide black (C.I. Pigment Black 11 ), iron manganese black, spinel black (C.I. Pigment Black 27); carbon black (C.I
  • Pigment Blue 72 ultramarine blue; manganese blue; ultramarine violet; cobalt violet; manganese violet; red iron oxide (C.I. Pigment Red 101 ); cadmium sulfoselenide (C.I. Pigment Red 108); cerium sulfide (C.I. Pigment Red 265); molybdate red (C. I. Pigment Red 104); ultramarine red; brown iron oxide (C.I. Pigment Brown 6 and 7), mixed brown, spinel phases and corundum phases (C.I. Pigment Brown 29, 31 , 33, 34, 35, 37, 39, and 40), chromium titanium yellow (C.I. Pigment Brown 24), chrome orange; cerium sulfide (C.I.
  • Pigment Orange 75 yellow iron oxide (C.I. Pigment Yellow 42); nickel titanium yellow (C.I. Pigment Yellow 53; C.I. Pigment Yellow 157, 158, 159, 160, 161 , 162, 163, 164, and 189); spinel phases (C.I. Pigment Yellow 119); cadmium sulfide and cadmium zinc sulfide (C.I. Pigment Yellow 37 and 35); chrome yellow (C.I. Pigment Yellow 34); bismuth vanadate (C.I. Pigment Yellow 184).
  • inorganic pigments typically used as fillers are transparent silicon dioxide, ground quartz, aluminium oxide, aluminium hydroxide, natural micas, natural and precipitated chalk, and barium sulfate.
  • the paint can also comprise effect pigments or luster pigments.
  • effect pigments or luster pigments are platelet-shaped mono- or multi-layer pigments showing visual effects marked by the interplay of interference, reflection, and absorption phenomena.
  • examples are aluminium platelets and aluminium, iron oxide, and mica platelets bearing one or more coats, especially of metal oxides.
  • Suitable dyes are for instance cationic and anionic dyes.
  • Suitable cationic dyes belong in particular to the di-and tharylmethane, xanthene, azo, cyanine, azacyanine, methine, acridine, safranine, oxazine, induline, nigrosine, and phenazine range. Specific examples are: C.I. Basic Yellow 1 , 2, and 37; C.I. Basic Orange 2; C.I. Basic Red 1 and 108; C.I. Basic Blue 1 , 7, and 26; C.I. Basic Violet 1 , 3, 4, 10, 11 , and 49; C.I. Basic Green 1 and 4; C.I. Basic Brown 1 and 4.
  • Cationic dyes can also contain external basic groups. Suitable examples here are C.I. Basic Blue 15 and 161. Useful cationic dyes further include the corresponding dye bases used in the presence of solubilizing acidic agents. As examples thereof may be mentioned: C.I. Solvent Yellow 34; C.I. Solvent Orange 3; C. I. Solvent Red 49; C.I. Solvent Violet 8 and 9; C.I. Solvent Blue 2 and 4; C.I. Solvent Black 7. Suitable anionic dyes are in particular sulfo- containing compounds from the range of the azo, anthraquinone, metal complex (e.g., copper, chromium, and cobalt complex), tharylmethane, xanthene and, stilbene range.
  • Suitable anionic dyes are in particular sulfo- containing compounds from the range of the azo, anthraquinone, metal complex (e.g., copper, chromium, and cobalt complex), tharylme
  • C.I. Acid Yellow 3, 19, 36, and 204 C.I. Acid Orange 7, 8, and 142; C.I. Acid Red 52, 88, 351 , and 357; C.I. Acid Violet 17 and 90; C.I. Acid Blue 9, 193, and 199; C.I. Acid Black 194; anionic chromium complex dyes such as C.I. Acid Violet 46, 56, 58, and 65; C.I. Acid Yellow 59; C.I. Acid Orange 44, 74, and 92; C.I. Acid Red 195; C.I. Acid Brown 355 and C.I. Acid Black 52; anionic cobalt complex dyes such as C.I. Acid Yellow 119 and 204, C.I. Direct Red 80 and 81.
  • Combinations of dyes and pigments can also be used, for example combinations of dyes with pigments of a similar or identical colour or combinations of dyes with pigments of a different, e.g., contrasting colour.
  • a colorant or colorant combination that shows enhanced metamerism or colour inconstancy may be selected by computer calculations. These calculations are based on suitable optical models with which the colour of a given paint formulation - comprising said one or more colourants - can be predicted.
  • the procedure to calculate the colour inconstancy of a given recipe is as follows.
  • the starting point is a measured reflectance curve, or a reflectance curve calculated from the contents of the recipe with an optical model.
  • Suitable models include that of Kubelka-Munk (P. Kubelka, F. Munk, "Ein Beitrag zur Optik der Farbanstriche", Z. tech. Physik, 12 (1931 ) p. 593-601 ), as adapted by Duncan for use with pigment mixtures (D. R. Duncan, "The colour of pigment mixtures", Proc. Phys. So ⁇ , 52 (1940), p. 390-400) and by Saunderson to correct for reflections at the paint-air interface (J. L.
  • the first step in calculating the colour inconstancy is converting the tristimulus values of the second illuminant/observer combination by multiplying them by the MCAT02 matrix, the standard matrix for translating X, Y, Z tristimulus values into R, G, B values.
  • the MCAT02 matrix is described in the article "CMC 2002 colour inconstancy index: CMCCON02", by M. R. Luo c.s. in Coloration Technology, 119, 2003.
  • R, G, B sensor values are also calculated for perfect diffusers for the two illuminants.
  • a perfect diffuser is defined as an object colour having a reflectance of 100% in the visible range of the electromagnetic spectrum.
  • the R, G, B values of the corresponding colour under D65 are then calculated by multiplying the R, G, or B values under the second illumination source by the ratio of the R, G, or B values of a perfect diffuser under the first and second illumination sources, respectively. Finally, the tristimulus values of the corresponding colour under the first illumination source are calculated. These would be the tristimulus values of the colour under the first illumination source if the same colour appearance as under the second illumination source, i.e. the (virtual) colour constant colour, were retained. If the real tristimulus values are clearly different, then the colour appearance changes, or, in other words, it is colour inconstant.
  • the magnitude of colour inconstancy can be calculated with a color difference equation, such as ⁇ E a b or ⁇ E C MC(1 ; 1 )- TO this extent, the tristimulus values X, Y, Z are converted to L,a,b values in accordance with the official definition of the CIE.
  • Colourant combinations that show enhanced metamerism or colour inconstancy are selected by computer calculations. These calculations are based on an optical model with which the colour of a given paint formulation can be predicted (as described above). With the optical model, a computer program can quickly run through all possible combination of one or more colourants, usually not more than five, and try to match a given colour standard with each of these colourant combinations. Typically, per colour standard thousands of colourant combinations are screened by the computer. Most of the colourant combinations give a very bad result, but usually a fair number of suitable combinations are found (typically between 1 and 100 combinations). One of these suitable recipes is then selected for further testing in practice.
  • colour matching with a given combination of one or more - typically not more than five - colourants is concerned with finding the amounts of colorants (v,) that minimize the colour difference between the predicted colour of the paint composition and the colour standard to be matched, while satisfying certain constraints:
  • ⁇ E is the colour difference between the colour standard and the predicted colour of the paint formulation (herein ⁇ E C MC(I ,I ); v is the composition vector with elements V 1 ;
  • V m ⁇ n and V m ax are the minimum and maximum total amount of colorants in the paint composition.
  • I 1 and u are the lower and upper bounds on the amount of colorant (i).
  • Compositions will typically not contain more than five colorants (i).
  • This invention is however concerned with paint formulations having a minimized colour difference with respect to a standard under the first white light source but an enhanced or maximized colour difference from the standard's colour and/or from the paint formulation's colour under the first light source under a second illuminant. As the maximizing of a quantity is equivalent to minimizing the negative of that quantity, enhanced colour inconstancy may be expressed by the formula:
  • ⁇ Ei is the colour difference under a first illuminant
  • ⁇ E C MCCONO2 is the colour inconstancy index
  • x is a factor determining the balance between colour accuracy ( ⁇ Ei) and colour inconstancy ( ⁇ E C MCCONO2)-
  • ⁇ E 2 is the colour difference under a second illuminant.
  • the invention is further illustrated by the following examples in which the pigments used are indicated with their international Colour Index code.
  • the first "P” stands for pigment, as opposed to dye, and the second character represents the main hue, e.g, B for blue, Y for yellow, and R for red.
  • a first paint was formulated comprising 69.8 wt.% of PW 6, 8.1 wt.% of PB 28, 1.8 wt.% of PR 122, and 20.3 wt.% of PY 184.
  • R, G, B sensor values are also calculated for perfect diffusers for the two illuminants.
  • the perfect diffuser has the following tristimulus values:
  • the R, G, B values of the corresponding colour under D65 are then calculated by multiplying the R, G, or B values under F11 by the ratio of the R, G, or B values of a perfect diffuser under D65 and F11 :
  • a second paint was then formulated having a minimized ⁇ E CMC under D65 illumination relative to the first paint, and a maximized colour difference under F11 conditions relative to the first paint.
  • the retrieved formulation included 91.1 wt.% of PW 6, 1.4 wt.% of PG 7, 6.3 wt.% of PY 170, and 1.2 wt.% of PR 168. Although this paint does not contain a yellow or black colorant, it has a dirty yellow colour in daylight.
  • the R, G, B values of the corresponding colour under D65 are then calculated by multiplying the R, G, or B values under F11 by the ratio of the R, G, or B values of the perfect diffuser of Example 1 under D65 and F11 :
  • the ⁇ E CM c(1 ;1 ) 0.79.
  • This means that the colour difference between the two paints under D65 illumination is ⁇ E ab 13.52.
  • the ⁇ E CMC (1 ;1 ) 19.98.
  • a third paint (“Blue-1 "), having an enhanced color inconstancy from a dirty blue colour was prepared in accordance with the method described above.
  • the pigment composition of this paint was 73.6 wt.% PW 6, 18.3 wt.% PB 28, 1.2 wt.% PR 122, and 6.9 wt.% PY 184.
  • This fourth paint formulation (“Blue-2”) had a pigment composition of
  • Example 2 this pigment combination is uncommon: although the color is blue, the formulation does not contain blue pigment, and although it is dirty, it does not contain black.
  • Blue-1 and Blue-2 form a highly metameric pair.
  • Blue-1 is also highly color inconstant.
  • the panel is dirty blue in daylight (see [L, a, b]), and purple in fluorescent light (see [L,a,b] * ).

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  • Chemical & Material Sciences (AREA)
  • Life Sciences & Earth Sciences (AREA)
  • Engineering & Computer Science (AREA)
  • Materials Engineering (AREA)
  • Wood Science & Technology (AREA)
  • Organic Chemistry (AREA)
  • Paints Or Removers (AREA)

Abstract

L'invention concerne un procédé de formulation d'une peinture correspondant à la couleur d'un standard, caractérisé en ce qu'une formulation de peinture est déterminée avec une différence de couleur minimale par rapport au standard sous une première source de lumière blanche et une différence de couleur renforcée par rapport à la couleur standard et/ou par rapport à la couleur de la peinture sous la première source de lumière sous une seconde source de lumière blanche. En outre, l'invention concerne un ensemble de deux produits de peinture ou plus présentant essentiellement la même couleur sous une première source de lumière blanche, caractérisé en ce que la différence de couleur ΔECMC(1;1) entre les deux produits de peinture ou plus est supérieure à 3, par exemple 5 ou plus sous une seconde source de lumière blanche.
PCT/EP2008/052900 2007-03-15 2008-03-12 Peinture à couleur non constante WO2008110563A1 (fr)

Applications Claiming Priority (4)

Application Number Priority Date Filing Date Title
EP07104245 2007-03-15
EP07104245.1 2007-03-15
US92210007P 2007-04-05 2007-04-05
US60/922,100 2007-04-05

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WO2008110563A1 true WO2008110563A1 (fr) 2008-09-18

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Cited By (2)

* Cited by examiner, † Cited by third party
Publication number Priority date Publication date Assignee Title
CN107960087A (zh) * 2015-06-05 2018-04-24 汽车便利俱乐部株式会社 用于修补漆的颜色匹配装置和颜色匹配方法
CN114080433A (zh) * 2019-06-25 2022-02-22 地板技术有限公司 用于制造至少一种设有印刷装饰的载体材料的方法

Citations (5)

* Cited by examiner, † Cited by third party
Publication number Priority date Publication date Assignee Title
GB1407065A (en) * 1972-11-30 1975-09-24 Rue Co Ltd Thomas De Production of security documents
DE7430222U (de) * 1975-10-09 Siegwerk Farbenfabrik Keller Rung & Co Wertpapier
EP0603117A1 (fr) * 1992-12-03 1994-06-22 Ciba-Geigy Ag Procédé pour la fabrication des papiers de sécurité imprimés et colorés
US6569919B1 (en) * 1998-03-31 2003-05-27 Seiko Instruments Inc. Composition exhibiting reversible color change and exterior parts for clock using the same
WO2004101689A2 (fr) * 2003-05-07 2004-11-25 E. I. Du Pont De Nemours And Company Procede de production d'une composition de revetement nuancee et dispositif associe

Patent Citations (5)

* Cited by examiner, † Cited by third party
Publication number Priority date Publication date Assignee Title
DE7430222U (de) * 1975-10-09 Siegwerk Farbenfabrik Keller Rung & Co Wertpapier
GB1407065A (en) * 1972-11-30 1975-09-24 Rue Co Ltd Thomas De Production of security documents
EP0603117A1 (fr) * 1992-12-03 1994-06-22 Ciba-Geigy Ag Procédé pour la fabrication des papiers de sécurité imprimés et colorés
US6569919B1 (en) * 1998-03-31 2003-05-27 Seiko Instruments Inc. Composition exhibiting reversible color change and exterior parts for clock using the same
WO2004101689A2 (fr) * 2003-05-07 2004-11-25 E. I. Du Pont De Nemours And Company Procede de production d'une composition de revetement nuancee et dispositif associe

Cited By (2)

* Cited by examiner, † Cited by third party
Publication number Priority date Publication date Assignee Title
CN107960087A (zh) * 2015-06-05 2018-04-24 汽车便利俱乐部株式会社 用于修补漆的颜色匹配装置和颜色匹配方法
CN114080433A (zh) * 2019-06-25 2022-02-22 地板技术有限公司 用于制造至少一种设有印刷装饰的载体材料的方法

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