Influence of the effect pigment size on the sparkle detection distance

5 págs.; 5 figs.In an effort to create more dynamic looking automobiles, there is an ever increasing trend among automobile manufacturers towards the use of gonio-apparent coatings in car bodies. These coatings consist of transparent pigments mixed with metallic or interference flakes. The flakes in the coating cause a change in color and brightness of the finish with viewing and illumination direction. This change in appearance accentuates the 3D shading of a car body, making it visually more attractive. Besides this angular dependence on viewing/illumination direction, the metallic finishes also exhibit a visually complex texture. Depending on the properties of the finish and the viewing and illumination conditions, the flakes exhibit a sparkle like texture, while the glossy clear coat may show a rough or smooth surface. As a result of these complex visual attributes, capturing the appearance and finding a perfect color match for an automotive coating is a non trivial task. The main objective of this work is to evaluate the relationship between the special-effect pigments size, and the maximum distance which is detectable the sparkle texture effect. For this, two different sets of samples with different structural features were evaluated in a lighting booth specifically designed for the visual experiment. The booth allows to vary the lighting conditions, the viewing geometry and the distance at which the sample is perceived. The visual experiment was applied to evaluate the high correlation between a structural parameter (i.e. pigment size) and the visual appearance attribute related with texture (sparkle detection distance). Under some fixed environmental conditions, as light intensity, color temperature and geometry of the light source, the sparkle detection distance was evaluated by applying the adjustment psychophysical method for two panel sets (metallic grays and blues), with known pigment sizes and colorimetry, with a small set of observers. The visual results show that a greater the pigment size, a greater the sparkle detection, but with some considerations. In future, we will extend this method, even reinforced applying the statistical design of experiments (DOE), for understanding the relevance and interplay of structural (size, shape, concentration, orientation, etc.), environmental (illuminance level, color rendering, geometry, etc.) and colorimetric (dark vs. light background, chroma, etc.) factors on the sparkle detection distance. © 2015 Society for Imaging Science and Technology.Authors are grateful to EMRP for funding the project “Multidimensional reflectometry for industry”. The EMRP is jointly funded by the EMRP participating countries within EURAMET and the European Union. We would like to thank the Ministry of Economy and Competitiveness for the coordinated project “New developments in visual optics, vision and color technology” (DPI2011-30090-C02). Omar Gómez would also like to thank the Ministry of Economy and Competitiveness for his pre- doctoral fellowship grant (FPI BES-2012-053080).Peer Reviewe

Shear controlled orientation effects with injection mouldings produced by the SCORIM process

This thesis was submitted for the degree of Doctor of Philosophy and awarded by Brunel University.Injection moulding using the process of Shear Controlled Orientation Injection Moulding (SCORIM) to enhance the aesthetic characteristics of plastics was investigated. Unsightly surface weld lines were successfully removed from highly reflective aluminium flake pigmented plastics by the application of a single macroscopic SCORIM shear when used in series with Bright Surface Moulding (BSM). A gonio spectrophotometer (GSP) was used for the quantitative characterisation of the Al flake pigmented mouldings as a measure of surface reflectivity and preferred angle of reflection. The different directional properties of surface reflectivities to either side of a conventional weld line are unacceptable, but were successfully reoriented approximately uniformly with the use of SCORIM and BSM moulding (i. e. SBM) used in series. SBM therefore provided an acceptable quality of surface finish for mouldings originally containing a weld line, without deterioration of mechanical properties. Indeed, some improvements in mechanical properties were observed. Translucent two-colour mouldings were used to successfully demonstrate the flow paths taken by sheared material during the application of macroscopic shears. The use of intermittent shearing to encapsulate shear oriented material in the solidifying layers, manifested original and profound aesthetic effects. This resulted from mixing the two colours and was reproducible and widely variable. The morphology of isotactic polypropylene (iPP) processed in this way and examined by light and electron microscopy revealed how only one or two intermittent shears were required to orient a large volume of the moulding in the shear direction. Moreover, U-shaped flow paths demonstrated that the easiest shear route was close to the mouldings edges, an observation supported by x-ray analysis. The addition of Al flake pigment was found to act as a heterogeneous nucleant for ß-spherulites. This acted as a suitable marker for the clear identification of the displaced weld interface using polarised light microscopy, of filled and unfilled iPP. y-phase was identified with the use of only one or two intermittent shears which reflects an increase in molecular alignment and consequent improved mechanical properties. The intensity of the y-phase increased with the volume of material sheared. Strong evidence was also obtained of a linear relationship between the logarithm of the time lapse between two intermittent shears and the corresponding values of a-phase index, crystallinity index and percentage crystallinity. The values of each increasing proportionally with the length of time used. Microhardness characterisation revealed anisotropy within SCORIM samples consistent with preferred orientation and increased modulus in the shear direction. The skin layers were characterised as the softest region through the thickness of SCORIM mouldings. The results of this work were used to provide the basis of a computer simulation of the SCORIM process under development at the University of Wales Swansea

The Appearance of Platelet-Polymer Composite Coatings: Microstructural Characterization, Hybrid Modeling, and Predictive Design.

The appearance of a platelet-containing polymer composite coating is governed by the microstructure and optical properties included scattering particles and platelets. Many models attempt to predict the coating's appearance, but do not utilize the complete 3D-microstructure, reducing their predictive utility. In this thesis, laser scanning confocal microscopy was used to measure the effect of platelet orientation on angle-dependent lightness, and quantify the spacing between platelets, from which a new microstructural property, the gap factor, was determined. The gap factor is a measure of the average gap size between platelets per unit material surface length. It ranged from 0 to 2 for the systems studied in this thesis. An increase in gap factor of about 0.1, keeping the orientation similar, reduced the near-specular lightness of the physical samples by more than 20%. A 3D hybrid-simulation was created using wave-optics to simulate the bidirectional-reflection-distribution-function (BRDF) for individual platelets. This was combined with ray-tracing to quantify the scattering behavior of a platelet array. This model more accurately predicted the lightness of a silver paint sample than an orientation-based microfacet-model, and was used to study how the surface roughness of the platelets influences lightness. The lightness at 15 degrees off-specular was about 130 when the root-mean square of the amplitude of the roughness, sigma(RMS), was much less than the wavelength of light. Lightness reduced to about 80 when sigma(RMS) was about equal to the wavelength of light. This effect of sigma(RMS) on lightness was found to be more significant with decreases in the roughness correlation length. The hybrid model was also used to study how width, thickness, and volume concentration of the platelets change the near-specular and backscattered lightness. The observed reduction in near-specular lightness with gap factor was verified. However, the resultant 2nd-order exponential decay was weaker than observed. This was attributed wave-scattering by faces and edges, behavior not included in the current model, but may be added in the future. This hybrid model can be used in the future to design unique microstructures to produce new and novel visual or functional effects using manufacturing techniques such as 3D-printing.PhDMaterials Science and EngineeringUniversity of Michigan, Horace H. Rackham School of Graduate Studieshttp://deepblue.lib.umich.edu/bitstream/2027.42/133404/1/cseubert_1.pd

The fate of colors in the 20th - 21st centuries: preserving the organic colorants in plastic artifacts

Objectos modernos e contemporâneos feitos de plástico são amplamente encontrados no património cultural. Presentemente, a sua preservação levanta questões críticas aos conservadores e cientistas uma vez que estes objectos podem facilmente sofrer degradação num curto espaço de tempo. Um dos fenómenos que pode alterar significativamente a aparência de objectos em plástico é a alteração de cor (descoloração). De um modo geral, a descoloração é habitualmente associada à degradação dos polímeros, contudo, os pigmentos, que são parte integrante das formulações do plástico, também podem desvanecer devido à exposição à luz. A identificação de objetos de plástico com pigmentos sensíveis à luz é um exercício bastante exigente devido à sensibilidade dos mesmos a alterações na cor. A caracterização dos corantes nos plásticos é normalmente realizada através de amostragem, métodos de extração e testagem destrutiva. Como alternativa, esta tese apresenta uma abordagem inovadora e multi- analítica baseada em espectroscopias que foi desenvolvida para a identificação in situ dos pigmentos em plásticos históricos. Esta metodologia compreendeu a utilização de microscopia ótica (MO), microespectrometria por fluorescência de raios X dispersiva de energias (μ-EDXRF), espectroscopia UV-Vis-NIR de reflectância, fotoluminescência (PL) e micro-espectroscopia de Raman (μ-Raman) na análise de obras de arte, objetos industriais e de uso diário, datados de 1950-2000s e pertencentes a coleções Portuguesas. Deste estudo resultou a identificação dos pigmentos comumente presentes na paleta de cor dos coloristas da indústria dos plásticos portuguesa: óxido de ferro (PR 101, α-Fe2O3), molibdato de cromato de chumbo (PR 104, Pb(Cr,Mo,S)O4), vermelho de cádmio (PR 108, Cd(S,Se); PR 113, (Cd,Hg)S), amarelo de cádmio (PY 37, CdS; PY 35; (Cd,Zn)S), branco de titânio (PW 6, TiO2 ambos rutilo e anátase), oxicloreto de bismuto (PW 14, BiOCl) e lacas do pigmento orgânico β-naftol (PR 48, PR 49, PR 53). Adicionalmente, foi também identificado um pigmento fora do comum, o pigmento perlascente plumbonacrite Pb5(CO3)3O(OH)2. Para todos os casos de estudo, μ-Raman foi a ferramenta chave para a caracterização dos pigmentos nos objetos de plástico, aportando dados conclusivos para a identificação dos mesmos. A impressão digital vibracional dos pigmentos orgânicos e inorgânicos foi adquirida com sucesso recorrendo à focagem do laser na superfície das partículas. A aquisição de dados espectrais de pigmentos com concentrações muito baixas (0.1 % a 5%, aproximadamente) à escala micro foi possível através de microscopia confocal, que faz parte do sistema do equipamento de μ-Raman. Adicionalmente, foi também possível obter informação sobre o polímero base (principalmente termoplásticos) e cargas. Os métodos analíticos desenvolvidos neste estudo deverão, em trabalhos futuros, facilitar a obtenção de informação complementar sobre estes objetos de plástico e permitir uma melhor identificação e avaliação do seu estado de conservação. Esta tese foca particularmente objectos de plástico vermelhos visto que estes foram identificados como os mais severamente afetados por alterações de cor. O estado avançado de desvanecimento identificado no pigmento β-naftol PR 53 mostrou a sua fraca estabilidade à luz em formulações de plástico. Esta situação, junto com as alterações de cor descritas em literatura para o pigmento PR 48 em objetos de plástico, sugere uma sensibilidade dos pigmentos vermelhos da família dos β-naftol ao desvanecimento. O PR 53 e os pigmentos vermelhos da família dos β-naftóis são pigmentos históricos facilmente encontrados em objetos do património cultural. No entanto, o conhecimento acerca da sua estabilidade a longo prazo e resistência à foto-degradação é limitado, especialmente para os casos onde os mesmos se encontram em polímeros, sendo que este conhecimento é essencial para a sua preservação. Neste estudo, a quantificação da foto-estabilidade para uma série de pigmentos vermelhos da família dos β-naftol foi realizada pela primeira vez, através do cálculo do rendimento quântico de fotodegradação (ΦR). Os valores obtidos variaram entre 3x10-6 e 4x10-5, indicativo de uma estabilidade relativamente boa à luz por parte das moléculas. Tendo em consideração que a estabilidade dos pigmentos não se limita exclusivamente ao pigmento em si, mas também à sua interação com o meio envolvente, foram realizados ensaios de envelhecimento por exposição à luz (λ>300 nm) do pigmento em solução, em pó e incorporado em polímeros de modo a avaliar o papel do meio na estabilidade à luz dos pigmentos e as vias pelas quais estes se degradam. Verificou-se que o ligante tem um impacto significativo na estabilidade do pigmento uma vez que se foi detetada uma maior sensibilidade à luz dos pigmentos PR 48 e PR 53 quando incorporados nos plásticos, comparativamente ao ensaio do pigmento em pó. Este novo conhecimento irá contribuir para o desenvolvimento de novas estratégias na conservação dos plásticos com estes pigmentos vermelhos fotossensíveis através da previsão do desvanecimento. Espectrometrias de massa (MS) por cromatografia em fase líquida e gasosa foram utilizadas na caracterização dos principais subprodutos da degradação. Observou-se uma fotodegradação significativa e a formação de compostos ftálicos e ftalatos nos pigmentos em solução e em pó.Modern and contemporary objects made of plastics are widely found in cultural heritage. Today, their preser- vation poses critical issues to conservators and scientists, as they can suffer from extensive degradation in a short time period. Color change (discoloration) is one of the alteration phenomena that can significantly affect their appearance. Discoloration is commonly associated with the degradation of polymers. However, pigments within plastics can also fade due to exposure to light. The identification of objects that contain light-sensitive pigments is demanding because of the sensitivity of plastics to color change. Normally sampling, extraction methods and destructive testing are required for the characterization of colorants in plastics. In this work, an innovative multi-analytical spectroscopic approach for the in situ identification of pigments in historical plastics was developed. Optical microscopy (MO), micro-energy dispersive X-ray fluo- rescence (μ-EDXRF), UV-Vis-NIR reflectance, photoluminescence (PL) and Raman microscopy (μ-Raman), were used for the analysis of artworks, industrial and daily objects dated from 1950s-2000s from Portuguese collections. A common colorists’ palette within the Portuguese plastics industry was identified: iron oxide (PR 101, α-Fe2O3), lead chromate molybdate (PR 104, Pb(Cr,Mo,S)O4), cadmium red (PR 108, Cd(S,Se); PR 113, (Cd,Hg)S) and cadmium yellow (PY 37, CdS; PY 35; (Cd,Zn)S) pigments, titanium whites (PW 6, TiO2 both rutile and anatase), bismuth oxychloride (PW 14, BiOCl) and organic β-naphthol lakes (PR 48, PR 49, PR 53). An exceptional pigment found was the pearlescent plumbonacrite pigment Pb5(CO3)3O(OH)2. In all the case studies, μ-Raman was the key analytical tool for pigment characterization in the plastic objects, providing conclusive data for their identification. The vibrational fingerprint of both inorganic and organic pigments was successfully recorded by focusing the laser beam on particle surfaces. The confocal microscopy system used in μ-Raman enabled the collection of spectral data from low concentrations of pigments (ap- proximately 0.1%-5%) on the micro-scale. In addition to pigments, information on the base polymer (mainly thermoplastics) and fillers was obtained. The analytical methods developed will facilitate the acquisition of complementary data from plastics allowing material identification and condition assessment in the future. This thesis focused on red pigmented plastic artifacts, as they were found to be severely faded among the studied objects. The identification of β-naphthol pigment lake PR 53 as a faded pigment highlighted its poor fastness in plastics, that together with the color change of PR 48 in plastic objects, reported in literature, suggests the particular susceptibility of β-naphthol red lakes to fading. PR 53, and the other β-naphthol reds, are historical pigments widely found in cultural heritage. However, little is known about their photodegradation and stability, especially when they are found in polymer media, and this knowledge is essential for their long- term preservation. For the first time, photodegradation quantum yields (ΦR) were calculated for a series of red pigments based on β-naphthol in order to quantify their photo-stability. ΦR values ranging from 3x10-6 to 4x10-5 were obtained, indicating relatively light-stable molecules. Bearing in mind that pigment fastness is not only related to the pigment itself, but also to its interaction with the confined environment, light-aging experiments (λ>300 nm) were conducted in solution, on powders, and in polymers to assess the role of the medium on the lightfastness of the pigments and their degradation pathways. A significant impact of the binder on their stability was found. Indeed, a higher sensitivity to light of PR 48 and PR 53 pigments, when incorporated in plastics than in powder, was observed. This new knowledge will contribute to the prediction of plastic fading and inform effective preventive conservation strategies for objects containing light- sensitive β-naphthol red pigments. Liquid- and gas-chromatography mass spectrometry (MS) were used for the characterization of the main degradation products. Extensive photodegradation was observed with the formation of phthalic compounds and phthalates in both solution and powder phases

From industry to artworks by Lourdes Castro and Ângelo de Sousa: conservation studies on cast acrylic sheet

Acrylic sheet, a plastic based on poly(methyl methacrylate) (PMMA), became popular within artists during the 1960s, when it was also used by two major Portuguese artists, Lourdes Castro (*1930) and Ângelo de Sousa (1938–2011). Taking as a starting point their work with this material, this thesis seeks to expand knowledge about the use of PMMA in art, its stability, and preservation. Therefore, a survey on artworks containing PMMA in Portuguese collections, as well as research on the history of production of this material in Portugal, was conducted in parallel with a material study of acrylic sheets used by those artists, and sheets produced by two Portuguese companies from which production processes were investigated and compared. This study included an artificial ageing experiment conducted in a solarbox (λ > 300 nm) for 8000 h, besides the characterization of the samples combining optical microscopy, colorimetry, gravimetry, micro-indentation, Raman, infrared and ultraviolet-visible spectroscopies, size exclusion chromatography, thermogravimetry, and thermo-desorption-gas chromatography/mass spectrometry. For the survey, 137 artworks from 8 Portuguese art collections were considered, providing an overview of the use of this material by artists and of its condition. Artworks surveyed included paintings, sculptures, objects/reliefs, photography, installations and artist books. From the 69 authors, 48 were Portuguese and have used PMMA from the 1960s to nowadays. Most of the artworks were in good or fair condition, and the main problems observed were dust and dirt deposits, abrasion, and scratches. This research showed that PMMA sheet was produced in Portugal between 1955 and 2009. At least four companies operated during the 1960s and all except one, produced nacreous PMMA sheets from recovered monomer obtained by depolymerization of acrylic residues. The material used by Ângelo de Sousa falls within this category. Concerns about the quality of these sheets led to a comparative study between PMMA samples of different typologies and origins. Results revealed a connection between particular aspects of the production technique (polymerization conditions, organic additives, and origin of monomer) with the properties (molecular weight, hardness, thermal stability) and long-term behaviour of acrylic sheets. The pigment responsible for the nacreous effect in Ângelo de Sousa‘s acrylic sheets showed signs of instability during the photodegradation experience, and was identified as plumbonacrite, Pb5(CO3)3O(OH)2, by Raman microspectroscopy. Cleaning and polishing treatments (as the ones used by Lourdes Castro for finishing her artworks) were also investigated in terms of immediate and long-term effects in the samples that had presented higher and lower photostability in the artificial ageing experiment. Treatments‘ impact seems to be dependent of the particularities of the acrylic sheet under testing. This research highlights that not all acrylic sheets present the same stability, which may be relevant for establishing new monitoring plans and preventive conservation measures, as well as to consider when testing interventive treatments in this material.A chapa acrílica, um plástico à base de poli(metacrilato de metilo) (PMMA), tornou-se popular entre os artistas durante a década de 1960, período em que foi também utilizada por dois grandes artistas portugueses, Lourdes Castro (*1930) e Ângelo de Sousa (1938-2011). Tendo como ponto de partida o seu trabalho com este material, esta tese procura contribuir para o conhecimento sobre a utilização do PMMA na arte, sobre a sua estabilidade e sobre a sua preservação. Assim, em paralelo com um levantamento de obras de arte contendo PMMA em colecções portuguesas, bem como uma investigação sobre a história da produção deste material em Portugal, foi realizado um estudo material comparativo, que abrangeu tanto chapas acrílicas utilizadas pelos dois artistas em estudo, como chapas produzidas por duas empresas portuguesas das quais os processos de produção foram investigados. Este estudo incluiu uma experiência de envelhecimento artificial realizada numa solarbox (λ > 300 nm) durante 8000 h, e a caracterização das amostras combinando microscopia óptica, colorimetria, gravimetria, microindentação, espectroscopias Raman, de infravermelho e de ultravioleta-visível, cromatografia de exclusão molecular, termogravimetria, e espectrometria de massa por cromatografia em fase gasosa. Para o levantamento, foram consideradas 137 obras de arte de 8 colecções nacionais, permitindo obter uma visão geral acerca da forma como os artistas utilizaram este material, mas também do seu estado de conservação. As obras de arte consideradas incluem pinturas, esculturas, objectos/relevos, fotografia, instalações e livros de artista. Dos 69 autores, 48 são portugueses e utilizaram PMMA desde os anos 60 até aos dias de hoje. A maioria das obras de arte estava em boas condições ou razoáveis; os principais problemas observados foram depósitos de pó e sujidade, abrasão e riscos. Esta investigação mostrou que chapa de PMMA foi produzida em Portugal entre 1955 e 2009. Pelo menos quatro empresas operaram durante a década de 1960 e todas, excepto uma, produziram chapas de PMMA nacaradas a partir de monómero recuperado obtido por despolimerização de resíduos acrílicos. O material utilizado por Ângelo de Sousa enquadra-se nesta categoria. Preocupações sobre a qualidade destas chapas levaram a um estudo comparativo entre amostras de PMMA de diferentes tipologias e origens. Os resultados revelaram uma relação entre aspectos particulares da técnica de produção (condições de polimerização, aditivos orgânicos, e origem do monómero) com as propriedades (ex. peso molecular, dureza, estabilidade térmica) e comportamento a longo prazo das chapas acrílicas. O pigmento responsável pelo efeito nacarado nas chapas acrílicas de Ângelo de Sousa mostrou sinais de instabilidade durante a experiência da fotodegradação, e foi identificado como plumbonacrite, Pb5(CO3)3O(OH)2, através de microespectroscopia Raman. Tratamentos de limpeza e polimento (como os utilizados por Lourdes Castro para acabamento das suas obras) foram também investigados em termos de efeitos imediatos e a longo prazo nas amostras que tinham apresentado maior e menor foto-estabilidade na experiência de envelhecimento artificial. O impacto dos tratamentos parece estar dependente das particularidades da chapa acrílica em teste. Esta investigação salienta que nem todas as chapas de acrílico apresentam a mesma estabilidade, o que pode ser relevante para estabelecer novos planos de monitorização e medidas de conservação preventiva, bem como para intervenções de conservação e restauro neste material

BRDF representation and acquisition

Photorealistic rendering of real world environments is important in a range of different areas; including Visual Special effects, Interior/Exterior Modelling, Architectural Modelling, Cultural Heritage, Computer Games and Automotive Design. Currently, rendering systems are able to produce photorealistic simulations of the appearance of many real-world materials. In the real world, viewer perception of objects depends on the lighting and object/material/surface characteristics, the way a surface interacts with the light and on how the light is reflected, scattered, absorbed by the surface and the impact these characteristics have on material appearance. In order to re-produce this, it is necessary to understand how materials interact with light. Thus the representation and acquisition of material models has become such an active research area. This survey of the state-of-the-art of BRDF Representation and Acquisition presents an overview of BRDF (Bidirectional Reflectance Distribution Function) models used to represent surface/material reflection characteristics, and describes current acquisition methods for the capture and rendering of photorealistic materials

BRDF Representation and Acquisition

Photorealistic rendering of real world environments is important in a range of different areas; including Visual Special effects, Interior/Exterior Modelling, Architectural Modelling, Cultural Heritage, Computer Games and Automotive Design. Currently, rendering systems are able to produce photorealistic simulations of the appearance of many real-world materials. In the real world, viewer perception of objects depends on the lighting and object/material/surface characteristics, the way a surface interacts with the light and on how the light is reflected, scattered, absorbed by the surface and the impact these characteristics have on material appearance. In order to re-produce this, it is necessary to understand how materials interact with light. Thus the representation and acquisition of material models has become such an active research area. This survey of the state-of-the-art of BRDF Representation and Acquisition presents an overview of BRDF (Bidirectional Reflectance Distribution Function) models used to represent surface/material reflection characteristics, and describes current acquisition methods for the capture and rendering of photorealistic materials

Image based surface reflectance remapping for consistent and tool independent material appearence

Physically-based rendering in Computer Graphics requires the knowledge of material properties other than 3D shapes, textures and colors, in order to solve the rendering equation. A number of material models have been developed, since no model is currently able to reproduce the full range of available materials. Although only few material models have been widely adopted in current rendering systems, the lack of standardisation causes several issues in the 3D modelling workflow, leading to a heavy tool dependency of material appearance. In industry, final decisions about products are often based on a virtual prototype, a crucial step for the production pipeline, usually developed by a collaborations among several departments, which exchange data. Unfortunately, exchanged data often tends to differ from the original, when imported into a different application. As a result, delivering consistent visual results requires time, labour and computational cost. This thesis begins with an examination of the current state of the art in material appearance representation and capture, in order to identify a suitable strategy to tackle material appearance consistency. Automatic solutions to this problem are suggested in this work, accounting for the constraints of real-world scenarios, where the only available information is a reference rendering and the renderer used to obtain it, with no access to the implementation of the shaders. In particular, two image-based frameworks are proposed, working under these constraints. The first one, validated by means of perceptual studies, is aimed to the remapping of BRDF parameters and useful when the parameters used for the reference rendering are available. The second one provides consistent material appearance across different renderers, even when the parameters used for the reference are unknown. It allows the selection of an arbitrary reference rendering tool, and manipulates the output of other renderers in order to be consistent with the reference

Simulation of Energy Savings in Automotive Coatings Processes

Recently, the automakers have become more and more aware of the environmental and economic impact of their manufacturing processes. The paint shop is the largest energy user in a vehicle manufacturing plant, and one way to reduce costs and energy usage is the optimization of this area. This project aims at providing a tool to model and simulate a paint shop, in order to run and analyze some scenarios and case studies, helping to take strategic decisions. Analytical computations and real data were merged to build a tool that can be used by FCA for their Sterling Heights plant. Convection and conduction heat losses were modeled for the dip processes and the ovens. Thermal balances were used to compute the consumptions of booths, decks and ovens, while pump and fan energy consumptions were modeled for each sub-process. The user acts on a calendar, scheduling a year of production, and the model predicts the energy consumption of the paint shop. Five scenarios were run to test different conditions and the influence of scheduling on the energy consumption. Two different sets of production schedules have been evaluated, the first one fulfilling the production requirement in one shift of 10 hours, at high rate, the second one using two 7-hour-long shifts at medium production rate. It was found that the unit cost was minimized in the warmest months of spring and fall, and system shutdown was a crucial factor to reduce energy consumption. A fifth hypothetical scenario was run, with a 4 month continuous production and an 8 month total shutdown, which reduced the energy consumption to a half of the best realistic scenario. When the plant was run in a two-shifts configuration, the cost to coat a vehicle was found to be $29 with weekend shutdown, and$39 without. In the one-shift configuration, the cost was slightly higher, but the difference was less than 5%. While the fifth scenario showed a consistent reduction of the unit cost, inventory and logistic expenses deriving from the production strategy make this scenario almost impossible to realize. A sensitivity analysis was run on several parameters influencing the energy consumption of the paint shop, and the booths set point temperature was found to be the most significant factor