The Wattyl Colortint System is comprised of a database of paint formulae of over 25,000 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”

From these cultural colours 6 easily definable hues are recognisable

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.

About Wattyl Taubmans Colour Systems

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YELLOW

ORANGE

RED

VIOLET BLUE

GREEN

blue green

turquoise

cyan

maroon

blue violet

cerulean

brown

tan, gold

red violet

crimson

rose

magenta

red orange

scarlet

deep yellow

light (lemon) yellow

light (yellow) green

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August 2004

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.

The human eye can see about 2 million colours; Wattyl ColourSpace™ includes a position for every one.

Over 20,000 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.

The Wattyl ColourSpace™ System

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The reference number consists of:

1 alpha digit and 2 numeric digits 2 numeric digits 2 numeric digits 1 alpha digit indicating Hue indicating Chroma indicating Lightness indicating effect

V 00-99 00-99 00-99 s=Suede p=Pearl

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 00 moves toward orange to 99; orange starts at 00 and moves toward yellow to 99; yellow starts at 00 and moves toward green to 99 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 00 and 99.

• Lightness– The more white in the colour, the higher the number between 00 and 99.

Examples

Example 1:

– The colour Monks Robe R23-13-33 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.

The Wattyl Code System

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2 :

Chroma

Lightness99

00

00 9999

00 99

99

00

Yellow

Green

Blue

Violet

Red

Orange

0099

99 0000

9900

Hue

August 2004

Example 2:

– The colour Basmati Y59-06-92 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 Y30-40-75s

– Pearl Essence Wild Silk Y50-04-91p

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 100% 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.

The Wattyl Code System

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These are characteristised by 3 key factors:

1. AppearanceThe 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. DurabilityAs 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 UniformityGloss 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 85-100% Gloss 65-84% Semigloss 50-64% Satin 20-49% Low Sheen/Silk 5-19% Flat/Matt 0-4%

The table overleaf gives the gloss level for key products in the range.

Gloss Levels of Paint Colours

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Gloss Levels of Paint Colours

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Esta

pol P

olyu

reth

ane

Cle

ar M

att

Esta

pol S

peed

Cle

ar G

loss

or

Satin

Indo

than

e Sa

tinEs

tapo

l Pol

yure

than

e C

lear

Sat

inEs

tapo

l Spe

ed C

lear

Glo

ssEs

tapo

l Eas

yFlo

or C

lear

Glo

ssIn

doth

ane

Glo

ssEs

tapo

l Pol

yure

than

e C

lear

Glo

ssEs

tapo

l Moi

stur

e C

ured

Pol

yure

than

eLi

ving

Pro

of A

cryl

ic C

eilin

gEa

syflo

Was

habl

e Fl

atLi

ving

Pro

of A

cryl

ic M

att

Easy

flo W

asha

ble

Low

She

enLi

ving

Pro

of A

cryl

ic S

ilkLi

ving

Pro

of A

cryl

ic S

atin

Ultr

aPro

of A

cryl

ic E

nam

el S

atin

Easy

flo Q

D E

nam

el S

atin

Gay

lon

Enam

el S

atin

Ultr

aPro

of A

cryl

ic E

nam

el S

emig

loss

Gay

lon

Enam

el S

emig

loss

Ultr

aPro

of A

cryl

ic E

nam

el G

loss

Easy

flo Q

D E

nam

el G

loss

Bute

x En

amel

Glo

ssEx

teri

or C

lear

Glo

ss

Prod

uct G

loss

leve

ls

010

2030

4050

6070

8090

100

Flex

acry

l Acr

ylic

Low

She

enT

imbe

rPro

of L

ow S

heen

Wea

ther

glo

Acr

ylic

Lo

Lust

reSo

laga

rd A

cryl

ic L

ow s

heen

SunP

roof

Acr

ylic

Sat

inSo

laga

rd A

cryl

ic R

oof S

atin

Sola

gard

Acr

ylic

Sem

iglo

ssSu

nPro

of A

cryl

ic G

loss

Sola

gard

Acr

ylic

Glo

ssW

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ergl

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cryl

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loss

Bute

x En

amel

Glo

ssK

illru

st S

PE E

nam

el G

loss

Gloss Levels (%) Measured at 60 degrees

August 2004

Durability of Paint Systems

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Colour Colour Consultancy ServiceEvery 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 ServiceWattyl/Taubmans project services offer a colour rendering service. For further details contact:projectservices@wattyl.co.nz, Ph: 820 6700, Fax: 820 6701.

Sample PanelsA5 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 PotsTaubmans have a comprehensive range of pre-tinted test pots available in a 100ml 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.

About Colour

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