When we began developing Chromatron, we conducted extensive testing to identify a palette that closely matched CMYK (cyan, magenta, yellow, black), aiming to achieve optimal results. Our approach mostly utilises a method known as Chromoluminarism, which explores colour perception through the mechanical interaction of lines rather than optical blending. By placing lines of cyan, magenta, yellow, black, and white in close proximity, we create the impression of a wider colour spectrum than is not physically present. For Chromatron, we aimed to create a precise preview of the works, ensuring that the colors perfectly matched those we are using.
To achieve this, we created swatches for all the colors in our palette. We utilized the Nix sensor, which allows for accurate color matching across various materials and surfaces. This tool is particularly useful in painting, where color accuracy is crucial. The Nix sensor identifies the true color with a Hex code, a hexadecimal format used for color identification. As a result, the preview in Chromatron is highly accurate and faithfully represents reality.
To find suitable materials, we evaluated a wide range of commercially available markers and inks. Our goal was to find material that met our high standards. These are:
Lightfastness refers to the resistance of a colour or pigment to fading or changing when exposed to light, particularly sunlight. It's an important property in art materials, textiles, and other coloured products, as it determines how well the colour will retain its original appearance over time. High lightfastness means the colour will remain stable for a lifetime. Fugitive colours are those that fade the fastest or change over time due to exposure to light, particularly ultraviolet (UV) light. Reds, pinks and yellows typically are the first to fade. This is because these colors tend to absorb more light, leading to faster degradation of the pigment.
Vibrance generally refers to the intensity, brightness, and saturation of a colour. A colour with high vibrance appears vivid, rich, and lively, while a colour with low vibrance might seem dull or muted. Vibrance is often used to describe how pure and strong a colour appears, which can be influenced by factors such as the quality of the pigment, the medium used, the surface it is applied to, and the lighting conditions. For example, dye-based ink is more vibrant than pigment-based, but it is not lightfast and will fade over time. Examples of dye ink include Ecoline Talens, all commercial non archival grade markers or fineliners and alcohol based markers.
Dye-based inks are made from colourants dissolved in liquid, usually water. They produce vibrant, bright colours ideal for photos and graphics. However, they are absorbed into paper, which may cause bleeding or feathering, and are less durable, being susceptible to fading from sunlight or moisture.
Pigment-based inks are made from tiny colour particles suspended in liquid. They offer a wider colour range and accurate colour reproduction. These inks sit on top of paper, reducing bleeding and feathering, and are more durable, resistant to fading, water, and UV light.
A range of reliable colours offered by each company, especially CMYK, RGB, and various shades, provides a lot of variety and richness in the final result.
We prefer to use refillable markers rather than having to throw away perfectly good markers just because a company doesn’t offer the service. At this time, we are forced to use a type of marker that is not refillable because the ink checks all our criteria, but we are hope we will be a ble to replace them if we find an equally reliable replacement. All other types of markers we use are refillable.
Different ink types as water or acrylic-based, and their compatibility with refillable markers. For example, markers that have an absorbent material inside their tube that holds and dispenses the ink are suitable for water-based ink. Acrylic ink needs different pump markers with a special tip and typically metallic balls inside the body to shake the paint.