Multiple Pigment Selection for Inpainting Using Visible Reflectance Spectrophotometry

Berns, Roy S.; Krueger, Jay; Swicklik, Michael

doi:10.2307/1506834

Cited by 12 publications

(14 citation statements)

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“…It is usually assumed that the effective absorption and scattering coefficients (K and S) of a mixture is a linear combination of the constituent coefficients weighted by their concentrations. In the case where the pigments are all mixed with a highly scattering white paint, the final pigment mix can be described as a linear combination of K/S since the white paint dominates the scattering [78]. The advantage of this simplification is that only one measurement of the spectral reflectance of a reference paint is necessary.…”

Section: Pigment Identificationmentioning

confidence: 99%

Advances in multispectral and hyperspectral imaging for archaeology and art conservation

2011

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Multispectral imaging has been applied to the field of art conservation and art history since the early 1990s. It is attractive as a noninvasive imaging technique because it is fast and hence capable of imaging large areas of an object giving both spatial and spectral information. This paper gives an overview of the different instrumental designs, image processing techniques and various applications of multispectral and hyperspectral imaging to art conservation, art history and archaeology. Recent advances in the development of remote and versatile multispectral and hyperspectral imaging as well as techniques in pigment identification will be presented. Future prospects including combination of spectral imaging with other noninvasive imaging and analytical techniques will be discussed.

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Section: Pigment Identificationmentioning

confidence: 99%

Advances in multispectral and hyperspectral imaging for archaeology and art conservation

2011

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“…Since the mixing model can be described mathematically as a multivariate linear regression model, stepwise regression, [16] which automatically chooses candidate variables based on some statistical fit criterion (e.g., T statistic, partial probability, Mallow's Cp), could be used, in similar fashion to selecting pigments for inpainting. [11] However, this algorithm is highly dependent on the criteria of entering and removing that determine which variable is entered into and removed from the linear model. Also, concentrations cannot be constrained.…”

Section: Pigment Mapping For a Pixelmentioning

confidence: 99%

“…Furthermore, it was assumed that a single optical constant, the ratio of absorption to scattering, would have sufficient accuracy to describe a pigment's optical properties throughout its range of concentrations, both singly and in mixtures. [11] The post-impressionist masterpiece, The Starry Night, painted by Vincent van Gogh in 1889, was studied extensively in this research. The unframed painting was imaged in the conservation studio of the Museum of Modern Art, New York City.…”

Section: Introductionmentioning

confidence: 99%

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An investigation of multispectral imaging for the mapping of pigments in paintings

et al. 2008

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Compared with colorimetric imaging, multispectral imaging has the advantage of retrieving spectral reflectance factor of each pixel of a painting. Using this spectral information, pigment mapping is concerned with decomposing the spectrum into its constituent pigments and their relative contributions. The output of pigment mapping is a series of spatial concentration maps of the pigments comprising the painting. This approach was used to study Vincent van Gogh's The Starry Night. The artist's palette was approximated using ten oil pigments, selected from a large database of pigments used in oil paintings and a priori analytical research on one of his self portraits, executed during the same time period. The pigment mapping was based on single-constant Kubelka-Munk theory. It was found that the region of blue sky where the stars were located contained, predominantly, ultramarine blue while the swirling sky and region surrounding the moon contained, predominantly, cobalt blue. Emerald green, used in light bluish-green brushstrokes surrounding the moon, was not used to create the dark green in the cypresses. A measurement of lead white from Georges Seurat's La Grande Jatte was used as the white when mapping The Starry Night. The absorption and scattering properties of this white were replaced with a modern dispersion of lead white in linseed oil and used to simulate the painting's appearance before the natural darkening and yellowing of lead white oil paint. Pigment mapping based on spectral imaging was found to be a viable and practical approach for analyzing pigment composition, providing new insight into an artist's working method, the possibility for aiding in restorative inpainting, and lighting design.

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“…7-8, as well as 9. A considerable amount of work has also been done in conservation research on colour spectroscopy (diffuse reflectance spectra in the visible range -VIS) and analysis for paintings, varnishes, and inks, see for example the work at the Rochester Institute of Technology [10][11], and the fibre optic diffuse (colour) spectroscopy system developed by the C2RMF -Paris 12,13,14 .…”

Section: Introductionmentioning

confidence: 99%

NRC's 3D technology for museum and heritage applications

2005

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For archiving, art historical purposes and restoration, "two dimensional" (2-D) works of art such as paintings or photographs have, in modern times, traditionally been documented using (colour) photography and/or digital imaging techniques. While current technology allows reproductions with high spatial and colour resolution, these techniques only document the 2-D form and colour of the surface of the object. Surfaces also have, however, three dimensional (3-D) properties which play just as important a role in determining an objects appearance and how it is perceived. Among these, surface roughness/texture and the optical properties of transparent layers are particularly important. Both deter'-mine the way light is scattered from the surface, and influence not only colour perception, but also glossiness, illusions of transparency, and depth perception. These properties are often the first to be affected before colour changes happen or are perceived in a measurable quantity. They are difficult, if not, impossible to document using current 2-D techniques, while current 3-D scanners do not have the resolution necessary to document the micro-roughness of surfaces which actually determine appearance.The Netherlands Institute of Cultural Heritage has started a multidisciplinary programme to study the effect of 3-D properties of surfaces on the appearance of works of art. The combined effects of colour, roughness, and optical properties of transparent layers are being investigated in situ using standard engineering micro-roughness measurements, colour spectroscopy, and digital imaging techniques. Initial work indicates that these are excellent methods for documenting, for example, the effects of cleaning of paintings and face-mounted photographs. Combined with light scattering models, they will provide a good tool for understanding the appearance of objects, and for their conservation. Rendering models, for example, could help conservators make selections of retouching materials based on colour and texture, or varnishes based on optical properties.

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Multiple Pigment Selection for Inpainting Using Visible Reflectance Spectrophotometry

Cited by 12 publications

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Advances in multispectral and hyperspectral imaging for archaeology and art conservation

Advances in multispectral and hyperspectral imaging for archaeology and art conservation

An investigation of multispectral imaging for the mapping of pigments in paintings

NRC's 3D technology for museum and heritage applications

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