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

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stance has dried. This behavior is desirable when an artist wants to rework an area that was completed previously. However, the resulting paint film is not very permanent nor durable, as it is sensitive to moisture and quite brittle. A great number of plant gums were used in different times as binders. The most common is the material gum arabic, which comes from a particular variety of the accaia. Accaia was one of the few trees that grew in ancient Egypt and served as a binder in that period. Gums have similar behavior to that of honey; it is re- workable and the dried film results in a matte surface. Gum arabic is the primary ingredient for watercolor painting. Other watercolor additives that are sometimes included are a plasticizer, usually glycerin, to soften the dried gum arabic and help it re-dissolve; and a preservative, to suppress the growth of mold and bacteria. The method of mixing watercolor paints with an opaque white pigment is tra- ditionally referred to as gouache. Gouache is an opaque watercolor paint, and creates a flawless, flat color area. Watercolors are layered in glazes, while gouache is applied more directly, since applications of gouache will completely hide the layers underneath. Whereas, the white of the paper provides the light for watercolors (those who practice watercolor typically do not use white), the brilliance of gouache comes from the pigment. The perfection of the gouache surface appeals to illustration and commercial artists. Projects on both binders can be completed quickly, as gum arabic dries rapidly. 2.3.2 Protein-Based Proteins are compounds that consist mainly of carbon, oxygen, hydrogen and nitrogen. Similar to carbohydrates, proteins are also comprised of building blocks. There are approximately two-dozen naturally occurring amino acids known, which 39
ond together to form proteins. Examples of important proteins include keratin (found in skin, wool and feathers), hemoglobin and silk. In the context of traditional binding materials, glue refers specifically to a substance derived from boiling skins or connective tissues of certain mammals or fish. The adhesive is the protein collagen, which is a major structural ingredient in mammals and fish. Skin glue is made from the extracted gelatin from boiled raw hides, and is sold in powder form or as plates. The protein has the unusual property of being soluble in hot water, but gels as the solution cools to room temperature. If substance is left, the water will completely evaporate and the substance will harden. Hence, a painter using this media must work while the glue is hot. Glue paint is made fresh daily, as reheated glue loses some of its binding strength. The method of painting with a solution of gelatin and water is called distemper. A common artists’ glue paint is extracted from rabbit skin, which yields a very strong, matte, and colorful paint film. The most attractive quality of the glue paints is its beautiful reflection of light due to the grains of pigment that are lying on the top of the paint layer. Of all the binding media, glue is almost certainly the one mostly widely utilized around the world, though from different animal sources. An emulsion is a stable mixture of an aqueous liquid with a oily, fatty, waxy or resinous substance. The yolks of hen’s eggs contain albumen (a gummy substance), a nondrying oil, and lecithin (an efficient, stabilizing lipoid). Yolk is approximately one-third protein, the rest containing oil droplets in water. Albumen belongs to a class of proteins that have the property of being coagulated by heat, as demon- strated by a cooked egg. The same effect occurs when it is spread out in a thin film and exposed to daylight. Tempera painting refers to a binder of egg yolk. 40
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 and 20: However, since mural artwork is typ
Page 21 and 22: at a very high quality (albeit limi
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: to completely congeal. Hence, these
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
Page 73 and 74: Figure 3.11: Cross section of the r
Page 75 and 76: Not all areas have the same sensiti
Page 77 and 78: identify and distinguish between va
Page 79 and 80: that range between zero and full in
Page 81 and 82: spectrum. This insures that the res
Page 83 and 84: Figure 3.19: Graphical representati
Page 85 and 86: X x = (X + Y + Z) Y y = (X + Y + Z)
Page 87 and 88: color into the appropriate RGB colo
Page 89 and 90: components in the image (the smalle
Page 91 and 92: haviors of subtractive mixing and i
Page 93 and 94: of perceptually equal sizes. Unfort
Page 95 and 96: enabling one to transform between t
Page 97 and 98: andwidth as converted signals are s
Page 99 and 100: Figure 3.28: Retinal ganglion recep
Page 101 and 102: example shown in Figure 3.28. Under
Page 103 and 104:
Figure 3.31: The work of Josef Albe
Page 105 and 106:
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 and 158:
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
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
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
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 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
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 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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