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

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Figure 1.2: Left: difficulties in color matching between fresco giornate in Masaccio’s Expulsion are evident, as colors in adjacent giornate do not always match. Right: divisions of the four giornate. Adapted from [Mas27]. 7
at a very high quality (albeit limited color gamuts), their value would be greatly enhanced if they could be made more permanent. Therefore, when a typical user makes a print, what assurances are there that a once vibrant color print will appear equally as vivid long after it was printed? Ink manufacturers are able to control the initial materials (as artists do), but wish to minimize any future change in the colorant (as conservationists do). This problem is a very active research area for digital imaging and printing today. In all of these cases, the goal is to find ways to predict the appearance of <strong>pigmented</strong> materials through time. In our research, we study paint appearance in perceptually uniform color spaces, showing very significant perceptual differences in two domains: the appearance of paint changes over time; and the appearance of one <strong>pigmented</strong> colorant varies when dispersed in different materials. The thesis is organized in the following manner: Chapter 2 provides an overview of traditional artist materials and how microscopic events contribute to the overall appearance of the surface of a painting. Chapter 3 covers the relationship between light, paint, and our perception of color. Previous work related to simulating the overall appearance of translucent materials (such as paint) and research on natural changes in <strong>pigmented</strong> materials are detailed in Chapter 4. Chapter 5 describes our research process, including the preparation and measurement of the paint samples. The experimental results are presented in Chapter 6 and we introduce an interactive program to simulate the appearance of arbitrary paints in Chapter 7. Conclusions and applications are addressed in Chapter 8. 8
Page 1 and 2: PIGMENTED COLORANTS: DEPENDENCE ON
Page 3 and 4: ABSTRACT We present a physically ba
Page 5 and 6: Acknowledgements This work would no
Page 7 and 8: Table of Contents 1 Introduction 1
Page 9 and 10: List of Tables 2.1 Average pigment
Page 11 and 12: 3.15 Photoreceptor absorption .....
Page 13 and 14: B.15 Variation of spectral reflecta
Page 15 and 16: corrode the surfaces of materials.
Page 17 and 18: Figure 1.1: Detail of the Azor-Sado
Page 19: However, since mural artwork is typ
Page 23 and 24: heterogeneous sum of very different
Page 25 and 26: which linseed oil derives (the most
Page 27 and 28: oration of a rigidly painted layer
Page 29 and 30: ing will hit the ground and reflect
Page 31 and 32: tion of paint tubes in 1841 and the
Page 33 and 34: Figure 2.8: Natural pigments of ant
Page 35 and 36: ecome more common recently. The Ame
Page 37 and 38: A V = O(r2 ) O(r3 ) = 1 O(r) 24 (2.
Page 39 and 40: Table 2.2: Pigment specific gravity
Page 41 and 42: provide the underlying color to a p
Page 43 and 44: though the speed of light in air is
Page 45 and 46: In general, when light travels from
Page 47 and 48: materials while lit from behind. Li
Page 49 and 50: Table 2.4: Index of refraction η f
Page 51 and 52: to completely congeal. Hence, these
Page 53 and 54: ond together to form proteins. Exam
Page 55 and 56: to its original state by any means.
Page 57 and 58: While it has been used since the 19
Page 59 and 60: organic binder found in more conven
Page 61 and 62: 3.1.1 Visible Light Spectrum Light
Page 63 and 64: Figure 3.2: Hue, brightness and sat
Page 65 and 66: measures how much light is reflecte
Page 67 and 68: Figure 3.6: Additive color mixing o
Page 69 and 70: Figure 3.9: The physical amount of
Page 71 and 72:
The vascular tunic lies on the wall
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Figure 3.11: Cross section of the r
Page 75 and 76:
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
Page 103 and 104:
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
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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
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effects or are too computationally
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108 Figure 4.6: Results using Kubel
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specifying pigments works adequatel
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color representation, it is not fea
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time. A metallic surface patina is
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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
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light exposure. This effect is espe
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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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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
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144 Figure 5.2: Left: Magnified vie
Page 159 and 160:
Table 5.2: Relevant data regarding
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
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(such as CIE standards C, D50, orD6
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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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visible spectrum are increasing at
Page 195 and 196:
182 Figure 6.5: Munsell plots of La
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trying to match color ca from the p
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as it ages. This is in direct contr
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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
Page 211 and 212:
inks are beginning to find their wa
Page 213 and 214:
Appendix A Derivation of K-M theory
Page 215 and 216:
∆i − =(K + S) idx 202 ∆j −
Page 217 and 218:
Equation A.8 is now: Rearranging yi
Page 219 and 220:
and if the paint is infinitely thic
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One concatenates the layers into a
Page 223 and 224:
210 Figure B.1: Cold Glauconite in
Page 225 and 226:
Table B.1: Color conversions from t
Page 227 and 228:
214 Figure B.4: Munsell plots of Co
Page 229 and 230:
216 Figure B.5: Burnt Sienna in dif
Page 231 and 232:
Page 233 and 234:
220 Figure B.8: Munsell plots of La
Page 235 and 236:
222 Figure B.9: Red Ochre Tint in d
Page 237 and 238:
Page 239 and 240:
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
Page 245 and 246:
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
Page 251 and 252:
References [Alb71] Josef Albers. In
Page 253 and 254:
240 [GLL + 04] Michael Goesele, Hen
Page 255 and 256:
242 [KM31] Paul Kubelka and Franz M
Page 257 and 258:
[Rat72] Floyd Ratliff. Contour and
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