Micro-fading spectrometry: investigating the wavelength specificity of fading

Lerwill, Andrew; Brookes, Anna; Townsend, Joyce H.; Hackney, Stephen; Liang, Haida

doi:10.1007/s00339-014-8645-3

Cited by 26 publications

(17 citation statements)

References 9 publications

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“…The behaviour of these samples was the same as Prussian blue in all cases, and the same conclusions could be drawn as for Prussian blue; a conclusion mirrored in other aspects of this research (Lerwill et al, 2013). There was little other colour change to indicate the behaviour of the (unidentified) yellow components.…”

Section: Prussian Greensupporting

confidence: 82%

Photochemical colour change for traditional watercolour pigments in low oxygen levels

Lerwill¹,

Townsend

Thomas³

et al. 2014

Studies in Conservation

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An investigation for light exposure on pigments in low-oxygen environments (in the range 0-5% oxygen) was conducted using a purpose-built automated microfadometer for a large sample set including multiple samples of traditional watercolour pigments from nineteenth-century and twentieth-century sources, selected for concerns over their stability in anoxia. The pigments were prepared for usage in watercolour painting: ground and mixed in gum Arabic and applied to historically accurate gelatine glue-sized cotton and linen-based papers. Anoxia benefited many colorants and no colorant fared worse in anoxia than in air, with the exception of Prussian blue and Prussian green (which contains Prussian blue). A Prussian blue sampled from the studio materials of J.M.W. Turner (1775 − 1851) was microfaded in different environments (normal air (20.9% oxygen) 0, 1, 2, 3.5, or 5% oxygen in nitrogen) and the subsequent dark behaviour was measured. The behaviour of the sample (in normal air, anoxia, and 5% oxygen in nitrogen) proved to be consistent with the 55 separately sourced Prussian blue samples. When exposed to light in 5% oxygen in nitrogen, Prussian blue demonstrated the same light stability as in air (at approximately 21°C and 1 atmosphere). Storage in 5% oxygen is proposed for 'anoxic' display of paper-based artworks that might contain Prussian blue, to protect this material while reducing light-induced damage to other components of a watercolour, including organic colorants and the paper support.

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Section: Prussian Greensupporting

confidence: 82%

Photochemical colour change for traditional watercolour pigments in low oxygen levels

Lerwill¹,

Townsend

Thomas³

et al. 2014

Studies in Conservation

Self Cite

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“…Photo-degradation reduces with wavelength since these materials are more transparent at longer wavelength [6]. Using the results from light-induced accelerated ageing experiments using broadband sources with an approximate daylight spectrum (400-700 nm) of some of the most sensitive pigments such as Prussian blue [16], we can deduce that an OCT operating at 1 mW over a spot size of 17 μm in diameter with an exposure time of 6 μs is at least 4 orders of magnitude below the damage threshold even if the OCT uses a source with the same visible spectrum. Figure 4 shows an example of an application to paint imaging using a mock-up historical paint sample.…”

Section: Fdoct Imaging Of Paint Samples At 2 Micronsmentioning

confidence: 99%

High resolution Fourier domain optical coherence tomography in the 2 μm wavelength range using a broadband supercontinuum source

Cheung¹,

Daniel²,

Tokurakawa³

et al. 2015

Opt. Express

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A 220 nm bandwidth supercontinuum source in the two-micron wavelength range has been developed for use in a Fourier domain optical coherence tomography (FDOCT) system. This long wavelength source serves to enhance probing depth in highly scattering material with low water content. We present results confirming improved penetration depth in high opacity paint samples while achieving the high axial resolution needed to resolve individual paint layers. This is the first FDOCT developed in the 2 μm wavelength regime that allows fast, efficient capturing of 3D image cubes at a high axial resolution of 13 μm in air (or 9 μm in paint). tomography imaging of human tissue at 1.55 μm and 1.81 μm using Er-and Tm-doped fiber sources," J.

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“…Furthermore, Lerwill et al . have recently reported on the wavelength dependence of the fading of traditional watercolour pigments using MFT. In addition, Beltran et al .…”

Section: Methodsmentioning

confidence: 99%

“…The proposed methodology has been successfully applied when performing microfading tests of ethnographic objects [10], natural history collections [16] and Japanese woodblock prints [17], among others. Furthermore, Lerwill et al [18] have recently reported on the wavelength dependence of the fading of traditional watercolour pigments using MFT. In addition, Beltran et al [19] have employed MFT to study cultural heritage materials under anoxic or hypoxic conditions through glazing.…”

Section: Evaluation Of Mft Datamentioning

confidence: 99%

Measuring photostability through glass: the application of microfading testing to the study of framed pastel artworks

Hoyo‐Meléndez

Świt

Sobczyk

2018

Coloration Technology

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Paper‐based heritage objects on exhibition are typically framed using a transparent glazing material such as glass or acrylic. This often makes the task of measuring their light fastness a difficult one since cultural institutions may have unframing restrictions, especially for large‐format objects. However, a testing programme recently conducted at the National Museum in Krakow has revealed that in certain cases it is possible to obtain colorant stability information directly from a framed object. Microfading testing results are reliable if the distance from the object to the protective glazing is adequate to allow proper illumination and collection of reflected light. This paper presents a case study of six large‐format pastels on paper by Stanisław Wyspiański, one of the most outstanding and versatile artists at the turn of the twentieth century in Poland. Some of the orange and pink areas showed higher sensitivity to light with fading rates that remain within the Blue Wool 1–2 range. The objects have been classified according to the light sensibility of their colorants, and this information has allowed development and implementation of exhibition guidelines that serve to minimise the degradation associated with museum illumination. In addition, scientific imaging, microfading data and computer analysis of the images have allowed virtual representation of the potential colour changes that these artworks may experience as a result of uncontrolled and long exposure to gallery illumination.

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Micro-fading spectrometry: investigating the wavelength specificity of fading

Cited by 26 publications

References 9 publications

Photochemical colour change for traditional watercolour pigments in low oxygen levels

Photochemical colour change for traditional watercolour pigments in low oxygen levels

High resolution Fourier domain optical coherence tomography in the 2 μm wavelength range using a broadband supercontinuum source

Measuring photostability through glass: the application of microfading testing to the study of framed pastel artworks

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