Of all the things customers could look at first when picking up their vehicles following collision repairs, color match usually is the first (Fig. 1), or at least a close second. Despite the degree of difficulty involved in many facets of restoring a vehicle to its pre-accident condition – such things as complex cutting and welding, body alignment and restoring a vehicle's crash-worthiness – consideration of these often comes after the customer is assured that the color matches. It's as if the benchmark of quality workmanship is color match. This means overall quality will be judged, at least first, by how well the color matches. How's that for a little pressure, painters?
There are a multitude of variables that affect color match. A painter has control over some, such as spray technique and reduction choices, but there are other areas where the painter has little or no control, such as weather conditions. For these, the painter must anticipate how the variable will affect the color outcome and adapt to it. It's complex and can be confusing.
Even the language used to describe the process can be confusing. For example, color match and tinting are used interchangeably, although they describe different processes. Color match is the art and science used to paint a repaired area of a vehicle so the new color is undetectable. Tinting is the art and science of choosing the correct color tint to add to a paint to bring it closer to the original color for that undetectable repair. With this in mind, the statement "tinting should be your last resort when color matching" is understandable.
Tinting is difficult. It's especially so if you don't have a firm understanding of color and how it works before attempting the task. Simply looking at a mismatched color and randomly grabbing a color off the mixing bank will, in all likelihood, result in failure. Many a painter who's had a successful career doesn't tint. For those who do successfully, it's a process that must be done regularly to remain profitable (fast) and accurate. Luckily, there are many techniques that can be employed to correct a mismatched color without resorting to tinting. So before you grab that tint and add it, consider the following suggestions.
D. Choosing reducers and spray technique. Choosing the correct reducer and spray technique for specific colors and paint types is critical. Different reducers can quicken the repair process and make the shop more profitable, but the choice of reducer can affect the color. Tip size, air pressure and application technique affect the color. The wetter a paint is applied, the darker the color will be, and the drier the application is, the lighter the color will be. Reducers that are correct for the weather conditions and allow the paint the correct flash time will be more likely to have a correct color match. This is why such things as proper gun set-up, air pressure, gun angles, distance, overlap and flash time are critical for color match.
Don't stare at the panel for long periods of time. When you look at the two colors continually, your eyes will develop color fatigue, and slight variances in shade will become difficult to see. Look at the vehicle, comparing it to the spray-out panel, for 15 to 20 seconds. Then look away for at least the same amount of time before looking back at the two colors. This will make identification more accurate.
The paint should be viewed head on (looking down at the two panels) and on the flop (a 45-degree angle). Look with the light source at the painter's back (Fig. 1) and in front of the painter. A more accurate color match can be made by viewing all three angles.
F. Another thing to consider. Are you blind? This isn't a bad question to ask a painter because every painter should know if he has a color deficiency. Twenty-five percent of males have some color recognition difficulty. A quick online test can tell you if you have color identification problems that need additional investigation. The test, called the Ishihara color test (http://colorvisiontesting.com/ishihara.htm) can be a good first step. If a painter has difficulties identifying colors, an eye doctor can diagnose how severe the problem is.
Technique: blend it, send it
Tinting
Color can be adjusted in three directions (Fig. 8). First a color's values are the lightness and darkness of the color or the center of the color. This can be seen more easily by looking at a Mensell color tree, which has three dimensions:
- The center or the axis of the tree that represents value or lightness and darkness of that color – in this case orange. On the left are seven squares that range from lightest at the top to the darkest at the bottom. This represents the value of this color.
- The hue, or color (in this case orange), is represented by the outermost part of the tree. Two distinctly orange squares are at the outer most portion of the tree.
- Chroma is represented by the seven squares running on the third horizontal plane, with gray oranges to the left and a clean bright orange to the right. These three dimensions help establish a true color description to use when tinting.
The hue or color can be viewed in a certain order: ROY G BIV, a memory device you may have learned in elementary school. Knowing this order – red, orange, yellow, green, blue, indigo and violet – helps. When tinting, remember a color can only be off toward one of its direct neighbors. Orange can be off only toward red or yellow. If a red vehicle is compared to spray-out panel, the vehicle can be more (or less) only orange or violet than the spray-out panel. By knowing this and using the formula and a tint plotting map, the most appropriate tint can be chosen for tinting.
Don't tint outside the formula
Tinting steps
1. Make a spray-out test panel of the color you think may be difficult to match.
1.1. Use the exact gun set-up, spray technique, reduction, sealer shade, flash time, etc., as will be used when spraying the vehicle for the spray-out panel (Fig. 6).
1.2. Using a color corrected light source, compare the vehicle to the spray-out panel (Fig. 7).
1.3. If the color is a blendable match, then blend it and send it. If not, while avoiding eye color fatigue, evaluate the three dimensions of the color – its hue, value and chroma.
2. Plot the color variance.
2.2. When the differences are noted using the original formula a tint can be chosen to adjust the color.
2.3. Each adjustment made should be recorded, so if the new color is correct, the second half or any additional mixing can be duplicated.
2.4. Take a portion, such as half of the original paint, and adjust it. With a second spray-out panel, check for a blendable match.
3.1. A file of old spray-out panels can be invaluable when the same color is encountered again.
Mastering a difficult task
When tinting is viewed as a gift that only few possess, it could make the process seem so difficult many won't attempt it. But when broken down into its elements, adjusting those in a proper order, it can be made into a process many, if not all, could do.