pigmented colorants: dependence on media and time - Cornell ...

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Table 5.1: Relevant data regarding pigments used in research. Adapted from [Pig05]. Mineral name Pigment name Color Index Chemical name Chemical Composition Lapis lazurite Lapis lazurite PB 29 (77007) Sodium Calcium Alum- (Na,Ca)8Al6Si6O24(S, SO4) inum Silicate Sulfate Cold glauconite Terre verte, PG 23 (77009) Hydrated Iron (K, Na)(Fe 3 ,Al,Mg)2 Green earth Potassium Silicate (Si,Al)4O10(OH)2 Chrome yellow Chrome yellow, PY 43 (77492) Hydrated Iron Oxide Fe2O3 · H2O Yellow oxide Gold ochre Gold ochre PY 43 (42)(77492) Hydrated Iron Oxide Fe2O3 · H2O Raw umber Raw umber PBr 7 (77491) Hydrated Iron Oxide FeO 3+ (OH) (77492)(77499) (partial component) Burnt sienna Burnt sienna PBr 7 (77491) Iron Oxide (partial) Fe2O3 Red ochre Red ochre PR 101 (77491) Hydrated Iron Oxide Fe2O3 · H2O Hematite Indian/Venetian red PR 101 (77491) Iron Oxide Fe2O3 Cold hematite Caput mortem PR 101 (77491) Iron Oxide Fe2O3,Fe2(SO4) 3 Lampblack Lamp/Carbon black PBk 6 (77266) Amorphous Carbon C 145 Titanium dioxide Titanium white PW 6 (77891) Titanium Dioxide TiO2
Table 5.2: Relevant data regarding pigments used in research. Adapted from [Pig05]. Mineral name Origin Density ( g cm3 ) Hardness (Mohs) Refractive index ASTM ratinga Lapis lazurite Cordillera, Chile 2.38 − 2.9 5.6 1.50 I/I/I Cold glauconite Baltic states, Europe 2.2 − 2.9 2.0 − 3.0 1.551 − 1.569 I/I/n.r. Chrome yellow (not specified) b 2.9 − 4.3 4.0 − 5.5 2.260 − 2.398 I/I/I Gold ochre Voronezhskaya, Russia 2.9 − 4.3 4.0 − 5.5 2.260 − 2.398 I/I/I Raw umber Khot’kovskaia, Russia 3.3 − 4.3 5.0 − 5.5 2.260 − 2.398 I/I/I Burnt sienna Luberon, France 3.3 − 4.3 5.0 − 5.5 2.260 − 2.398 I/I/I Red ochre Izyumskyy, Ukraine 2.9 − 4.3 4.0 − 5.5 2.260 − 2.398 I/I/I Hematite Kerch, Russia 5.27 5.0 − 6.0 2.78 − 3.01 n.r./I/I Cold hematite Novgorod, Russia 5.27 5.0 − 6.0 2.78 − 3.01 n.r./I/I Lampblack (not specified) 1.77 (not specified) 2.42 I/I/I Titanium dioxide (not specified) c 4.00 (not specified) 2.72 I/I/I a The ASTM lightfastness rating is given for the binders (acrylic/oil/watercolor), unless not rated (n.r.) b Natural yellow oxide comes from South Africa, India, France, Russia and the United States. c Titanium Dioxide is processed in both the United States and Norway. 146
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PIGMENTED COLORANTS: DEPENDENCE ON
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ABSTRACT We present a physically ba
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Acknowledgements This work would no
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Table of Contents 1 Introduction 1
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List of Tables 2.1 Average pigment
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3.15 Photoreceptor absorption .....
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B.15 Variation of spectral reflecta
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corrode the surfaces of materials.
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Figure 1.1: Detail of the Azor-Sado
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However, since mural artwork is typ
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at a very high quality (albeit limi
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heterogeneous sum of very different
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which linseed oil derives (the most
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oration of a rigidly painted layer
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ing will hit the ground and reflect
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tion of paint tubes in 1841 and the
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Figure 2.8: Natural pigments of ant
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ecome more common recently. The Ame
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A V = O(r2 ) O(r3 ) = 1 O(r) 24 (2.
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Table 2.2: Pigment specific gravity
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provide the underlying color to a p
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though the speed of light in air is
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In general, when light travels from
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materials while lit from behind. Li
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Table 2.4: Index of refraction η f
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to completely congeal. Hence, these
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ond together to form proteins. Exam
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to its original state by any means.
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While it has been used since the 19
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organic binder found in more conven
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3.1.1 Visible Light Spectrum Light
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Figure 3.2: Hue, brightness and sat
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measures how much light is reflecte
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Figure 3.6: Additive color mixing o
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Figure 3.9: The physical amount of
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The vascular tunic lies on the wall
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Figure 3.11: Cross section of the r
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Not all areas have the same sensiti
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identify and distinguish between va
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that range between zero and full in
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spectrum. This insures that the res
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Figure 3.19: Graphical representati
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X x = (X + Y + Z) Y y = (X + Y + Z)
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color into the appropriate RGB colo
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components in the image (the smalle
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haviors of subtractive mixing and i
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of perceptually equal sizes. Unfort
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enabling one to transform between t
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andwidth as converted signals are s
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Figure 3.28: Retinal ganglion recep
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example shown in Figure 3.28. Under
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Figure 3.31: The work of Josef Albe
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sensations for each trial and picke
Page 107 and 108: Chapter 4 Previous Work There is no
Page 109 and 110: different location. Subsurface scat
Page 111 and 112: describes the scattering and absorp
Page 113 and 114: only accounts for a small percentag
Page 115 and 116: σ ′ t = σa + σ ′ s and α
Page 117 and 118: 104 Figure 4.4: A model of an alaba
Page 119 and 120: effects or are too computationally
Page 121 and 122: 108 Figure 4.6: Results using Kubel
Page 123 and 124: specifying pigments works adequatel
Page 125 and 126: color representation, it is not fea
Page 127 and 128: time. A metallic surface patina is
Page 129 and 130: the system consisted of wetness and
Page 131 and 132: or darkening enables the museum per
Page 133 and 134: in front of a displayed work. Felle
Page 135 and 136: light exposure. This effect is espe
Page 137 and 138: over time. Perceptually, these hues
Page 139 and 140: The rate of change of the concentra
Page 141 and 142: over white grounds) suffer the grea
Page 143 and 144: protects the deeper remaining color
Page 145 and 146: light source. This method is used w
Page 147 and 148: chemical smog and have been identif
Page 149 and 150: Chapter 5 Preparation & Measurement
Page 151 and 152: tending transparent pigments used i
Page 153 and 154: 140 Figure 5.1: Spectral reflectanc
Page 155 and 156: the requirements of the work at han
Page 157: 144 Figure 5.2: Left: Magnified vie
Page 161 and 162: historically one of the best grades
Page 163 and 164: created far too strong of a binder,
Page 165 and 166: too brittle and cracking. While wor
Page 167 and 168: 154 Figure 5.4: Reflectance values
Page 169 and 170: 5.1.5 Painting After the layers of
Page 171 and 172: The gray card reflected 18% of the
Page 173 and 174: 160 Figure 5.8: The optical setup f
Page 175 and 176: Note that harmonics reflect at the
Page 177 and 178: Note that the calibration factors f
Page 179 and 180: Chapter 6 Experimental Results 6.1
Page 181 and 182: 168 Figure 6.1: Lapis Lazuli in dif
Page 183 and 184: (such as CIE standards C, D50, orD6
Page 185 and 186: 172 Table 6.2: Perceptual differenc
Page 187 and 188: 174 Figure 6.3: Munsell plots of La
Page 189 and 190: and j has a saturation of red rsat,
Page 191 and 192: 178 Figure 6.4: Variation of spectr
Page 193 and 194: visible spectrum are increasing at
Page 195 and 196: 182 Figure 6.5: Munsell plots of La
Page 197 and 198: trying to match color ca from the p
Page 199 and 200: as it ages. This is in direct contr
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Page 203 and 204: 190 Figure 7.1: Our simulated canva
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Page 207 and 208: In summary, our implementation prov
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Chapter 8 Conclusion We have studie
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inks are beginning to find their wa
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Appendix A Derivation of K-M theory
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∆i − =(K + S) idx 202 ∆j −
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Equation A.8 is now: Rearranging yi
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and if the paint is infinitely thic
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One concatenates the layers into a
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210 Figure B.1: Cold Glauconite in
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Table B.1: Color conversions from t
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214 Figure B.4: Munsell plots of Co
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216 Figure B.5: Burnt Sienna in dif
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220 Figure B.8: Munsell plots of La
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222 Figure B.9: Red Ochre Tint in d
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226 Figure B.12: Munsell plots of C
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228 Figure B.13: Variation of spect
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230 Figure B.15: Variation of spect
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Table B.13: Color conversions of Bu
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234 Figure B.18: Munsell plots of C
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236 Figure B.20: Munsell plots of R
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References [Alb71] Josef Albers. In
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240 [GLL + 04] Michael Goesele, Hen
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242 [KM31] Paul Kubelka and Franz M
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[Rat72] Floyd Ratliff. Contour and
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