Archives de catégorie : DATABASE MATERIAL

DATABASE MATERIAL, In ENGLISH

Pigment database Veneria reale

Lien

New database available from Centro Conservazione e Restauro dei Beni Culturali La Venaria Reale !

https://www.centrorestaurovenaria.it/en/laboratories/pigments-database

“Integrating the skills it possesses, the Centro has been able to produce a set of around 1200 painting samples with corresponding imaging and point analysis databases. The materials used – totalling 173 between pigments and dyes, 4 for the preparatory drawings, 4 binders and 2 types of oil – were selected to reproduce the principal artistic techniques used from antiquity to contemporary art, presenting combinations with the products most widely used in restoration.
The database is available online as a comparative and reference tool for the study of the royal art works.”

 

 

 

Billets, DATABASE MATERIAL, Fluorescence, In ENGLISH, IR, Photography, SPECTRAL IMAGING, UV

UKIYO-E color pigments optical and chemical

Japanese pigments in Ukiyo-e  (1700-1900) could be recognized with non invasive optical images from UV to IR (reflexion and fluorescence) and chemical XRF data.

Here is the summary of the work done in C2RMF of pigments registered in imaging under visible light, UV and IR transformed in False color (https://copa.hypotheses.org/1204) and fluorescence from UV light in visible domain.  Main chemical component from XRF are also listed.

Fluorescence response from visible to visible and visible to IR will be added soon.

2020 C2RMF Clotilde Boust

 

Billets, DATABASE MATERIAL, In ENGLISH, IR, Photography, SPECTRAL IMAGING, Spectrocolorimetry, UV

DATABASE : Pigment image database under UV and IR radiations -part 2 raw materials

C2RMF COPA project
Kremer raw  material samples :
– image in visible domain
– image in false color infrared with IR reflexion (750-1000nm)
– image in false color ultraviolet with UV reflexion (360-400 nm)
– image of fluorescence under UV (365 nm) to visible(380-780 nm)
Name of pigments in several langages :  https://www.kremer-pigmente.com/fr/information/catalogue/

Télécharger les PDF :

noms en Francais :  2017 C2RMF Pigments_KREMER_boites_noms

et imageries : 2017 C2RMF pigments bocaux Kremer Imagerie VIS IR UV

Cite this article as: Clotilde Boust, Anne Wohlgelmuth “DATABASE : Pigment image database under UV and IR radiations -part 2 raw materials,” in Scientific imaging for cultural heritage / Images scientifiques pour le patrimoine, ISSN 2609-780X, 13/09/2017, https://copa.hypotheses.org/620.

Billets, DATABASE MATERIAL, In ENGLISH, IR, Photography, SPECTRAL IMAGING, Spectrocolorimetry, UV

DATABASE : Pigments under UV and IR radiations

Scientific photography for cultural heritage : pigment image database under UV and IR radiations

Several pigments/colorants were registred using Hasselblad photography imaging under several radiations, from UV (365 nm) to IR (780-1000 nm). We obtained several images :

  • VIS : normal image, in visible domain under visible light (380-780 nm;
  • REF_UV_UV : reflection in UV domain under UV radiations (360-400);
  • UVFC : image treatment of REF_UV_UV with VIS to obtain false color lisible image
  • FLUO_UV_VIS : fluorescence of material under UV (pic 365 nm) seen in visible domain;
  • REF_NIR_NIR : infrared reflection under near infrared light (780-1000 nm);
  • IRFC : image treatment of REF_NIR_NIR with VIS to obtain false color lisible image
  • FLUO_VIS_IR : fluorescence under visible light (pic 690 nm)  in near infrared domain (780-1000 nm);

Those images are used to find out some possible pigments and colorants, because some of them have  specific spectral responses in IR or UV, or with fluorescence.

We provide FORS (400 nm-1000nm) reflection spectra made with Ruby Still non contact spectrometer for information.

Be aware that color material identification is usually completed with microscopic observations and FluoX analysis but could need much more complex investigations.

We share our image database hoping it could help the community of cultural heritage. In order to use them, please understand that the colors are indicatives as your artwork materials, binding and aging could differ.

KREMER PIGMENTS ON PAPER

Web page : http://www.kremer-pigmente.com/fr/livres-und-cartes-de-couleur/

Explanations : http://www.kremer-pigmente.com/media/pdf/fk-ColourCharts.pdf

  • RED HISTORICAL PIGMENTS – KREMER ON PAPER

    download pdf :

    C2RMF_EXTRACT1_DATABASE_HistoricalPigments_RED_170920

    Pinkcolor Very lightfast, < 38 µm
    Pinkcolor Deep Very lightfast, (contains lead) < 38 µm
    Natural Cinnabar from China, mercuric sulphide
    Cinnabar, ne chu piao, 20 – 50 µm
    Red Jasper semi-transparent, 0 – 120 µm
    Côte d’Azur Violet light caput mortuum
    Brown-Red Slate from Austria
    Gold Ochre from Saxony, Germany deep brown-gold. Very nd grind Burgundy Red Ochre Medium from France, 0 – 80 µm
    Burgundy Red Ochre Deep from France, ne, 0 – 80 µm
    Spanish Red Ochre Bauxite, extra ne, 0 – 63 µm
    Brown Earth from Otranto. Italy, pea-ore, sanguine-rust brown, stand. grind. Iseo Brown reddish brown umber, from Italy
    Red Maroccan Ochre. warm transparent red ochre, < 80 µm
    Dark Red Moroccan Ochre < 80 µm

    •  GREEN HISTORICAL PIGMENTS – KREMER ON PAPER

    download pdf :

    C2RMF_EXTRACT2_DATABASE_HistoricalPigments_GREEN_170920

    Egyptian Green Copper glass, 40 – 120  µm
    Ploss Blue. Sky-blue crystals of very brilliant luminosity
    Malachite natural, extra ne, 0 – 80  µm, intense color
    Malachite MP extra ne, 0 – 63 µm, intense color
    Chrysocolla, Bluish green, copper silicate, 0 – 120 µm
    Malachite Fibres, ne 0 – 80 µm
    Malachite Arabian, ne, 0 – 80 µm
    Turquoise sky-blue, ne 0 – 80 µm
    Atacamite, ne 0 – 80 µm
    Cavansite, extra ne, 0 – 40 µm
    Verona Green Earth, standard, genuine earth pigment, 0 – 120 µm Bavarian Green Earth, 0 – 120, similar to Bohemian Green Earth Russian Green Earth, ne, natural, extra ne, 0 – 63 µm
    Aegirine, ne, 0 – 63  µm, dark green earth
    Florentine Green, 60 – 120 µm, washed
    Andeer green, ne, 0 – 200 µm, Green Gneiss from Andeer, Switzerland Green Jasper, crystalline bluish green, 0 – 120 µm
    Celadonite, green earth, from the Côte d’Azur, France
    Copper Resinate, transparent copper green

    •  YELLOW HISTORICAL PIGMENTS – KREMER ON PAPER

    download pdf :

    C2RMF_EXTRACT3_DATABASE_HistoricalPigments_YELLOW_170920

    Lead Tin Yellow, light, < 38 µm, light lemon changed hue, contains lead, toxic
    Lead Tin Yellow deep, changed hue, < 38 µm, contains lead, toxic
    Lead Tin Yellow II, yellow lead glass, 0 – 63 µm, contains lead, toxic
    Naples Yellow, from Paris, < 50 µm, contains lead, toxic
    Orpiment, genuine, King s Yellow, coarse, 175 µm
    Realgar, genuine, red orpiment, 175 µm
    Epidote, yellow-green earth
    Jarosite, clear yellow ochre, < 100 µm
    Taunus Ochre, light, Ochre, from the Taunus region, Germany Burgundy Yellow Ochre, from France, 0 – 80 µm
    Yellow Moroccan Ochre, < 80 µm
    Elba Brown Ochre Deep, dark brown, fine grind, from Tuscany

    •  BLUE HISTORICAL PIGMENTS – KREMER ON PAPER

    download pdf :

    C2RMF_EXTRACT4_DATABASE_HistoricalPigments_BLUE_170920

    Smalt, very fine, according to a recipe from 1820, < 80 µm
    Egyptian Blue, blue copper silicate, <120 µm
    HAN-Blue, fine, the blue of ancient China, 0 – 40 µm
    HAN-Purple, fine, < 40 µm, color of ancient China
    Blue Verditer, synthetic Azurite, blue bice, cendres blue
    Blue Bice, Copper Calcium Carbonate, CCC
    Blue Azurite MP, pale, 38 – 63 µm
    Azurite natural fine, 0 – 80 µm
    Sodalite, fine, 0 – 80 µm , bluish-purple gray pigment
    Lapis Lazuli, grayish-blue, natural ultramarine
    Lapis Lazuli, pure, Fra Angelico Blue
    Lapis Lazuli from Chile, 0 – 20 µm

    •  BLACK HISTORICAL PIGMENTS – KREMER ON PAPER 

    download pdf :

    C2RMF_EXTRACT5_DATABASE_HistoricalPigments_BLACK_170920

    Galena, Gray-black lustrous powder, contains lead, toxic
    Pyrite Powder Fine, 0 – 80 µm
    Antimony, stibium, gray metallic, baroque, 0 – 200 µm
    Gray from Mels, Switzerland
    Onyx black, 0 – 120 µm
    Ivory Black, Genuine
    Ivory Black, own production
    Peach Black, genuine, matt black
    Grape Black, genuine, bluish-black
    Cherry Black, genuine, brownish-black
    Atramentum, ink stone, black
    Bistre, genuine beechwood soot
    Sepia, from adriatic cuttlefish, raw, dry, 0 – 120 µm

    •  WHITE HISTORICAL PIGMENTS – KREMER ON PAPER 

    download pdf :

    C2RMF_EXTRACT6_DATABASE_HistoricalPigments_WHITE_170920

    Nero Bernino, gray-green slate, Bernina (Switzerland), 0-120 µm
    Alba Albula, buff white colored chalk, from Albula, Switzerland Sugar Dolomite, 0 – 120 µm
    Rhodochrosite, pale-coral pink, 0 – 120 µm
    Slate Green from Mels, Switzerland
    Jade, very fine, Russian, < 63 µm
    Rock Crystal, powder, 0 – 63 µm
    Eggshell White, fine, white powder
    Fuchsite, extra fine, 0 – 100 µm
    Obsidian black, natural glass from Mexico
    Selenite, Marienglas, gypseous spar, from Cyprus, 0 – 80 µm
    Aragonite, extra white, fine grind, 0 – 63 µm

    •  CADMIUM PIGMENTS – KREMER ON PAPER 

    download pdf :

    C2RMF_EXTRACT7_DATABASE_CadmiumPigments_RED_GREEN_YELLOW_170920

    RED CADMIUM PIGMENTS
    Cadmium Orange No. 0 very light, very lightfast, opaque
    Cadmium Orange No. 0.5, light, very lightfast, opaque
    Cadmium Orange No. 1, medium, very lightfast, opaque
    Cadmium Orange No. 2, vermilion, very lightfast, opaque Cadmium Red No. 1, light, very lightfast, opaque
    Cadmium Red No. 2, medium, very lightfast, opaque
    Cadmium Red No. 3, dark, very lightfast, opaque
    Cadmium Red No. 4, bluish purple, very lightfast, opaque

    GREEN CADMIUM PIGMENTS
    Cadmium Green, light, mixture of cadmium yellow and ultramarine blue
    Cadmium Green, dark, mixture of cadmium yellow and ultramarine blue

    YELLOW CADMIUM PIGMENTS
    Cadmium Yellow Lemon No.1, very lightfast, opaque
    Cadmium Yellow No. 2, very light, very lightfast, opaque Cadmium Yellow No. 4 light, very lightfast, opaque
    Cadmium Yellow No. 6, medium, very lightfast, opaque
    Cadmium Yellow No. 8, medium dark, very lightfast, opaque Cadmium Yellow No. 9, dark, very lightfast, opaque

    •  GREEN COLORS

    download pdf :

    C2RMF_EXTRACT8_DATABASE_GREEN_COLORS_170920

    Phthalo Green dark, bluish
    Phthalo Green, yellowish lightfast
    Green Earth, light yellowish, German
    Bohemian Green Earth, genuine, brilliant hue, extra fine grinding
    Green Earth from Verona, genuine, pure
    Green Earth from France, light
    Verona Green Earth enhanced with Viridian Green
    Vagone Green Earth, enhanced with Prussian blue and chrome oxide green
    Nicosia Green, mixed green earths with cobalt blue,enhanced
    Bohemian Green Earth, imitation, enhanced earth color, yellowish green light
    Verona Green Earth, imitation, mixed green earths
    Cobalt Green, contains cobalt
    Cobalt Oxide Green Blue, deep turquoise, contains cobalt
    Cobalt Bottle Green, dark green, contains cobalt
    Cobalt Green, bluish A, contains cobalt
    Pastel Green, Victoria Green, bright, very lightfast, transparent
    Chrome Oxide Green, cool green, opaque
    Chrome Oxide Green DD, pure, intensive color, very fine
    Viridian Green, hydrated chrome oxide, bright, transparent
    Permanent Green, mixture, lightfast
    Malachite, synthetic, contains copper
    Verdigris, synthetic,coarse bluish green powder, contains copper
    Cadmium Green, light, mixture of cadmium yellow and ultramarine blue
    Cadmium Green, dark, mixture of cadmium yellow and ultramarine blue
    Ultramarine Green, genuine, historic pigment
    Studio Pigment Light Green, synthetic organic pigment and filler
    Studio Pigment Dark Green, synthetic organic pigment and filler

    •  YELLOW COLORS 

    download pdf :

    C2RMF_EXTRACT9_DATABASE_YELLOW_COLORS_170920

    Cadmium Yellow Lemon No. 1, very lightfast, opaque
    Cadmium Yellow No. 2, very light, very lightfast, opaque Cadmium Yellow No. 4 light, very lightfast, opaque
    Cadmium Yellow No. 6, medium, very lightfast, opaque
    Cadmium Yellow No. 8, medium dark, very lightfast, opaque Cadmium Yellow No. 9, dark, very lightfast, opaque
    Permanent Yellow light, organic pigment
    Permanent Yellow medium, organic pigment Irgazin
    Yellow greenish, transparent Isoindole
    Yellow, organic pigment
    Indian Yellow, imitation, contains nickel
    Pyramid-Yellow medium, clear warm yellow
    Brilliant Yellow, Hansa yellow
    Isoindolinon Yellow, greenish
    Irgazin Yellow light orange
    Studio Yellow, Hansa yellow
    Paliotol Yellow-Orange, brilliant orange
    Massicot, Litharge, yellow lead oxide, litharge, pieces, contains lead, toxic
    Bristol Yellow pale Naples yellow imitation, lead-free
    Bristol Yellow, medium, Naples yellow imitation, lead-free
    Naples Yellow, lemon, genuine, contains lead, toxic
    Naples Yellow, dark, genuine, contains lead, toxic
    Naples Yellow, reddish, contains lead, toxic
    Bristol-Yellow, reddish, Naples yellow reddish imitation, lead-free Nickel-Titanium Yellow, artificial mineral pigment
    Nickel-Titanium Yellow, greenish, artificial mineral pigment Praseodym Yellow, pale
    Titanium Orange, golden-orange
    Cobalt Yellow aureolin
    Antinomy Red, golden antinomy sulphide
    Yellow Zircon, Zircon-Praseodymium-Silicate
    Intensive Yellow transparent
    Bismuth-Vanadate Yellow lemon, very lightfast
    Studio Pigment Yellow, synthetic organic pigment and filler
    Studio Pigment Egg Yolk Yellow, synthetic organic pigment and filler
    Studio Pigment Yellow Sun Gold, synthetic organic pigment and filler

    •  BLUE COLORS 

    download pdf :

    C2RMF_EXTRACT10_DATABASE_BLUE_COLORS_170920

    BLUE

    Phthalo Blue, Primary blue
    Phthalo Blue royal blue, Heliogen Blue
    Phthalo Blue reddish, Heliogen Blue
    Phthalo Blue, very lightfast
    Idanthren Blue, deep blue
    Dioxazine Violet, halogen-free
    Thioindigo Red, lightfast
    Cinquasia Violet RT 201 D, reddish violet
    Alizarine violet, bright medium violet
    Indigo, genuine, Indian, powder, Indigofera tinctoria
    Indigo Blue Lake, medium blue, natural blue dye
    Indigo Red-Violet, natural blue pigment
    Maya Blue, genuine, indigo in a silicic crystal matrix
    Ultramarine Blue, very dark, synthetic mineral pigment Ultramarine Blue, dark, synthetic mineral pigment
    Ultramarine Blue, reddish, synthetic mineral pigment Ultramarine Blue, greenish extra, synthetic mineral pigment Ultramarine Blue, greenish light, synthetic mineral pigment Ultramarine Blue, light, synthetic mineral pigment
    Ultramarine Violet, medium, bluish, mixture
    Ultramarine Violet, reddish, dark
    Ultramarine Violet, light reddish, synthetic mineral pigment Prussian Blue LUX also Milori blue, Berlin blue
    Manganese Violet, synthetic mineral pigment
    Copper Blue, very light turquoise blue
    Zirconium Cerulean Blue, semi-opaque, light blue
    Cobalt Blue Dark, synthetic mineral pigment
    Cobalt Blue Dark, greenish, slightly lighter and more greenish than 45700
    Cobalt Blue, Sapporo
    Cobalt Blue Medium, opaque
    Cobalt Blue Pale, synthetic mineral pigment
    Cobalt Blue light, synthetic mineral pigment
    Cobalt Cerulean blue
    Cobalt Blue, greenish
    Cobalt Blue Turquoise, light
    Cobalt Blue Turquoise, dark
    Cobalt violet, dark, semi-opaque
    Cobalt Violet brilliant, dark < 75
    Cobalt Violet, light brilliant
    Studio Pigment Sky Blue, synthetic organic pigment and filler Studio pigment dark blue, synthetic organic pigment and filler Studio pigment violet, synthetic organic pigment and filler

 

Cite this article as: Clotilde Boust, Anne Wohlgelmuth “DATABASE : Pigments under UV and IR radiations,” in Scientific imaging for cultural heritage / Images scientifiques pour le patrimoine, ISSN 2609-780X, 18/08/2017, https://copa.hypotheses.org/552.

Billets, DATABASE MATERIAL, In ENGLISH, IR, Photography, SPECTRAL IMAGING, UV

Fiber Optics Reflectance Spectra (FORS) of Pictorial Materials in the 270-1700 nm range

Le laboratoire  de restauration de l’Opificio delle Pietre Dure et le laboratoire de spectroscopie appliquée de l’institut de physique appliquée “Nello Carrara” ont mis en ligne les spectres de réflectance UV/VIS/IR des principaux pigments de peinture. Il faut s’inscrire et les courbes ne sont pas téléchargeables mais c’est une vraie mine d’informations pour la reconnaissance des matériaux et issu d’un travail collectif partagé.

source : http://fors.ifac.cnr.it/photo.jpg

This database presents a collection of reflectance spectra in the 270-820 nm, 350-1000 nm, and 980-1700 nm ranges acquired on several paint layer structures that were built with materials selected from those most commonly used both in the past and in the present day. The pictorial materials were painted out onto small wood panels prepared with a traditional ground of gypsum and animal glue. They were applied as pure pigment/dye or as a mixture of different pigments/dyes with different binding media. Some of these pictorial materials were also applied as transparent glazes over opaque paint layers or metal leaf.

This spectra collection focuses on providing information that permits recognition of the spectral features of several pictorial materials. The spectra may be enlarged by directly clicking on the displayed graph. To date the spectroscopic data cannot be downloaded via the spectra pages.

This database is part of the continuing collaboration between the Restoration Laboratory of the Opificio delle Pietre Dure and the Applied Spectroscopy Laboratory of the Institute of Applied Physics “Nello Carrara” of the Italian National Research Council.

http://fors.ifac.cnr.it/main.php