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the most widely used pigment (many of the pigments on this list are derivatives of similar minerals). Gold ochre. Similar to yellow oxide, Gold Ochre derives its color from iron hydroxides. The content of iron oxide must not be less than 12% to be considered an ochre. Depending upon the content of hydrated iron oxide, the color of ochre varies from light yellow to golden. While ochres occur all over the world, Mayer states that the best are mined and refined in France [May81]. It is one of the oldest traditional artists’ pigments, is typically very opaque and dries to an excellent film. Raw umber. Umber (literally shade) is one of the most widely used browns. It is a variety of ochre obtaining its color from the presence of iron hydroxides (45-70%) and manganese oxide (5-20%). Historically, the pigment was mined near Umbria, Italy, but now the best umbers are mined primarily in Cyprus. The pigment has a high opacity and tinting strength. Due to its manganese content, umber hastens the drying of media, but forms a good, flexible film. Burnt sienna. The pigment sienna owes its name to the Tuscan hills surround- ing Siena, Italy. Raw sienna is hydrated iron oxide closely resembling yellow ochre (40-70% hydrated iron oxide content). When a limonite, like sienna, is calcined (or roasted) at high temperatures, its water content is eliminated and it becomes a hematite (anhydrous), or burnt sienna. This process changes the pigment to have exceptional translucency (different from most other earths) and a deep rich hue. Burnt sienna is one of the most useful and versatile pigments: its masstone a reddish brown, its glaze a fiery red, its tint with white a salmon pink. This pigment is highly absorbent of binding media. Red ochre. Natural red ochre has a greater percentage of iron oxide than does 147 its yellow counterparts, to which yields its characteristic red color. French ochre,
historically one of the best grades of limonite, contains about 20% iron oxide and is high in silica. Ochres are among the most permanent hues on the palette and absorb a medium amount of binder. Hematite. The native mineral hematite (also hæmatite) is essentially ferric oxide, occurring almost chemically pure (approximately 95%) without the presence of water. It has been a source of supply of for natural red pigments since the earliest classical and ancient times–many other pigments are basically hematite with varying degrees of mineral impurities such as clay, chalk and silica. Natural red iron oxides are mostly of dark hue and equally as permanent and dependable as those synthetically prepared. The high purity leads to high tinting strength and opacity. The red iron oxides are among the basic, original pigments usually considered indispensable–one seldom sees a palette that does not contain at least one of them. Cold hematite. Familiarly known as Caput mortem, this pigment includes small amounts of iron sulfate and other impurities usually associated with hematite, giving the pigment a deep violet hue. It maintains the same qualities as hematite, as the concentration of ferric oxide is comparable. Lampblack. This pigment is a black of commercially pure carbon. The finer varieties are obtained from wick lamps in which fluid fatty oils rich in carbon are burnt with insufficient air for complete combustion. The soot is collected from plates held in the flame. Lampblack is a very strong color, whose origin dates back to antiquity. It has considerable opacity, and is very stable and permanent. It is very fluffy, of a low specific gravity and absorbs a large portion of binder. Titanium dioxide. This pigment is a development of the 20th century. It has 148 eclipsed other traditional white pigments due to its high opacity, nontoxic nature
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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
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Chapter 4 Previous Work There is no
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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
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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 and 158: 144 Figure 5.2: Left: Magnified vie
Page 159: Table 5.2: Relevant data regarding
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
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Page 195 and 196: 182 Figure 6.5: Munsell plots of La
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Page 199 and 200: as it ages. This is in direct contr
Page 201 and 202: teractive viewer. In our applicatio
Page 203 and 204: 190 Figure 7.1: Our simulated canva
Page 205 and 206: where n is the normal at the curren
Page 207 and 208: In summary, our implementation prov
Page 209 and 210: 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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