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

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241 [IGG92] E. L. Williams II., E. Grosjean, and D. Grosjean. Exposure of artists’ <strong>colorants</strong> to airborne formaldehyde. Studies in Conservation, 37:201– 210, 1992. [IGG93a] E. L. Williams II., E. Grosjean, and D. Grosjean. Exposure of artists’ <strong>colorants</strong> to peroxyacetyl nitrate. Journal of the American Institute for Conservation, 32:59–79, 1993. [IGG93b] E. L. Williams II., E. Grosjean, and D. Grosjean. Exposure of artists’ <strong>colorants</strong> to sulpher dioxide. Journal of the American Institute for Conservation, 32(3):291–310, 1993. [JF63] Ruth M. Johnston and Robert L. Feller. The use of differential spectral curve analysis in the study of museum objects. Dyestuffs, 44(9):1–10, 1963. [JF99] Garrett M. Johnson and Mark D. Fairchild. Full-spectral color calculations in realistic image synthesis. IEEE Computer Graphics Applications, 19(4):47–53, 1999. [JF01] Ruth Johnston-Feller. Color Science in the Examination of Museum Objects. The Getty Conservation Institute, Los Angeles, CA, 2001. [JFFBC84] Ruth Johnston-Feller, Robert L. Feller, Catherine W. Bailie, and Mary Curran. The kinetics of fading: Opaque paint films <strong>pigmented</strong> with alizarin lake and titanium dioxide. Journal of the American Institute of Conservation, 23:114–129, 1984. [JK55] John A. Jacquez and Hans F. Kuppenheim. Theory of the integrating sphere. Journal of the Optical Society of America, 45(6):460–470, June 1955. [JMLH01] H. W. Jensen, S. R. Marschner, M. Levoy, and P. Hanrahan. A practical model for subsurface light transport. In SIGGRAPH ’01: Proceedings of the 28th annual conference on Computer graphics and interactive techniques, pages 511–518, New York, NY, 2001. ACM Press. [Joh67] Ruth M. Johnston. Spectrophotometry for the analysis and description of color. Journal of Paint Technology, 39(509):346–354, 1967. [Joh86] Ruth M. Johnston. Reflections on the phenomenon of fading. Journal of Coatings Technology, 58(736):32–50, 1986. [JW75] D. B. Judd and G. Wyszecki. Color in Business, Science and Industry. John Wiley & Sons, Inc., New York, NY, third edition, 1975.
242 [KM31] Paul Kubelka and Franz Munk. Ein beitrag zur optik der farbastriche (An article on optics of paint layers). Zeitschrift fr Technishen Physik, 12(112):47–53, August 1931. Translated by Stephen Westin . [Kor69] Gustav Kortüm. Reflectance Spectroscopy: Principles, Methods, Applications. Penguin Books, New York, NY, 1969. Translated by James E. Lohr. [Koz04] O. N. Kozakov. Computer simulation of integral and differential optical characteristics of paints. Optics and Spectroscopy, 96(1):122–127, 2004. Original text in Optika i Spektroskopya, 96(1):133-138, 2004. [Kub48] Paul Kubelka. New contributions to the optics of intensely lightscattering materials. part i. Journal of the Optical Society of America, 38(5):448–457, May 1948. [Kub54] Paul Kubelka. New contributions to the optics of intensely lightscattering materials. part ii: Nonhomogeneous layers. Journal of the Optical Society of America, 44(4):330–335, April 1954. [Lab94] Optronic Laboratories. OL Series 750 Automated Spectroradiometric Measurement System Manual, 1994. [Lab05] Munsell Color Science Laboratory. Munsell Renotation Data, 2005. . [LaF86] R. H. LaFontaine. Seeing through a yellow varnish: A compensating illumination system. Studies of Conservation, 31:97–102, 1986. [Lan77] Edwin Land. The retinex theory of color vision. Scientific American, 238(6):108–128, December 1977. [Lau26] Arthur P. Laurie. The Painter’s Methods and Materials. Seeley, Service & Co., London, 1926. [LGB + 03] Hendrik P. A. Lensch, Michael Goesele, Philippe Bekaert, Jan Kautz, Marcus Magnor, Jochen Lang, and Hans-Peter Seidel. Interactive rendering of translucent objects. Computer Graphics Forum, 22(2):195– 205, June 2003. [LJP06] H. Laamanen, T. Jääskeläinen, and J. Parkkinen. Conversion between reflectance spectra and the Munsell notations. Color Research and Application, 31(1):57–66, February 2006. [LKG + 01] Hendrik P. A. Lensch, Jan Kautz, Michael Goesele, Wolfgang Heidrich, and Hans-Peter Seidel. Image-based reconstruction of spatially
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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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different location. Subsurface scat
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describes the scattering and absorp
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only accounts for a small percentag
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σ ′ t = σa + σ ′ s and α
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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
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or darkening enables the museum per
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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
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The rate of change of the concentra
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over white grounds) suffer the grea
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protects the deeper remaining color
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light source. This method is used w
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chemical smog and have been identif
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Chapter 5 Preparation & Measurement
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tending transparent pigments used i
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140 Figure 5.1: Spectral reflectanc
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the requirements of the work at han
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144 Figure 5.2: Left: Magnified vie
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Table 5.2: Relevant data regarding
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historically one of the best grades
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created far too strong of a binder,
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too brittle and cracking. While wor
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154 Figure 5.4: Reflectance values
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5.1.5 Painting After the layers of
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The gray card reflected 18% of the
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160 Figure 5.8: The optical setup f
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Note that harmonics reflect at the
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Note that the calibration factors f
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Chapter 6 Experimental Results 6.1
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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
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174 Figure 6.3: Munsell plots of La
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and j has a saturation of red rsat,
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178 Figure 6.4: Variation of spectr
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visible spectrum are increasing at
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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
Page 221 and 222: 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 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 239 and 240: 226 Figure B.12: Munsell plots of C
Page 241 and 242: 228 Figure B.13: Variation of spect
Page 243 and 244: 230 Figure B.15: Variation of spect
Page 245 and 246: Table B.13: Color conversions of Bu
Page 247 and 248: 234 Figure B.18: Munsell plots of C
Page 249 and 250: 236 Figure B.20: Munsell plots of R
Page 251 and 252: References [Alb71] Josef Albers. In
Page 253: 240 [GLL + 04] Michael Goesele, Hen
Page 257 and 258: [Rat72] Floyd Ratliff. Contour and
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