Hyperspectral Imaging as Powerful Technique for Investigating the Stability of Painting Samples
Abstract
:1. Introduction
2. Materials and Methods
2.1. Sample Preparation and Ageing
2.2. Hyperspectral Imaging (HSI)
2.3. Spectral Analysis
3. Results
4. Discussion
5. Conclusions
Author Contributions
Funding
Acknowledgments
Conflicts of Interest
References
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Abbreviation | Visible Colour | Description |
---|---|---|
GB1 | Black | Ivory black in pan |
TB1 | Black | Ivory black in tube |
GBr1 | Dark brown | Burnt umber in pan |
TBr1 | Dark brown | Burnt umber in tube |
GBr2 | Light brown | Natural umber in pan |
TBr2 | Light brown | Natural umber in tube |
GBr3 | Reddish brown | Burnt Sienna in pan |
GBr4 | Yellow-orange | Natural Sienna in pan |
TBr3 | Reddish brown | Burnt Sienna in tube |
TBr4 | Yellow-orange | Natural Sienna in tube |
GR1 | Dark red | Indian red in pan |
TR1 | Dark red | Indian red in tube |
GR2 | Light red | Venetian red in pan |
TR2 | Light red | Venetian red in tube |
GR3 | Light red | Cadmium red in pan |
TR3 | Light red | Cadmium red in tube |
GY1 | Light Yellow | Yellow ochre in pan |
TY1 | Light yellow | Yellow ochre in tube |
GG1 | Green | Bladder green in pan |
TG1 | Green | Chrome green in tube |
GG2 | Green | Viridian in pan |
TG2 | Green | Viridian in tube |
GC1 | Blue | Cobalt blue in pan |
TC1 | Blue | Cobalt blue in tube |
GU1 | Blue | Ultramarine blue in pan |
TU1 | Blue | Ultramarine blue in pan |
Abbreviation | Visible Colour | Description |
---|---|---|
Br1 | Dark brown | Burnt umber in powder + GA |
Br2 | Dark brown | Burnt umber in powder + GA |
Br3 | Dark brown | Natural umber in powder + GA |
Br4 | Dark brown | Burnt umber in powder + GA |
Br5 | Dark brown | Burnt umber in powder + GA |
Br6 | Dark brown | Natural umber in powder + GA |
Br7 | Dark brown | Natural umber in powder + GA |
Br8 | Dark brown | Natural umber in powder + GA |
Br9 | Dark brown | Burnt umber in powder + GA |
Br10 | Dark brown | Natural umber in powder + GA |
Br11 | Dark brown | Natural umber in powder + GA |
R1 | Light red | Red ochre in powder + GA |
R2 | Dark red | Red ochre in powder + GA |
R3 | Dark red | Red ochre in powder + GA |
R4 | Dark red | Red ochre powder + GA |
R5 | Dark red | Red ochre powder + GA |
R6 | Light red | Red ochre in powder + GA |
R7 | Light red | Red ochre in powder + GA |
Y1 | Dark yellow | Yellow ochre in powder + GA |
Y2 | Light yellow | Yellow ochre in powder + GA |
Y3 | Light yellow | Yellow ochre in powder + GA |
Y4 | Dark yellow | Yellow ochre in powder + GA |
Y5 | Dark yellow | Yellow ochre in powder + GA |
Y6 | Light yellow | Yellow ochre in powder + GA |
Y7 | Dark yellow | Yellow ochre in powder + GA |
Y8 | Light yellow | Yellow ochre in powder + GA |
Y9 | Dark yellow | Yellow ochre in powder + GA |
Y10 | Dark yellow | Yellow ochre in powder + GA |
Y11 | Dark yellow | Yellow ochre in powder + GA |
Y12 | Dark yellow | Yellow ochre in powder + GA |
CB1 | Blue | Cobalt blue in powder + GA |
UB1 | Blue | Ultramarine blue in powder + GA |
Commercial Watercolours | Pigment Powders+Gum Arabic | ||
---|---|---|---|
Abbreviation | Stability | Abbreviation | Stability |
GB1 | High | Br1 | High |
TB1 | Medium-high | Br2 | Medium-high |
GBr1 | High | Br3 | Medium-low |
TBr1 | High | Br4 | High |
GBr2 | Medium | Br5 | High |
TBr2 | Medium-high | Br6 | High |
GBr3 | Low | Br7 | Medium-high |
GBr4 | Low | Br8 | Medium-high |
TBr3 | Low | Br9 | Medium-high |
TBr4 | Medium | Br10 | High |
GR1 | High | Br11 | High |
TR1 | High | R1 | High |
GR2 | High | R2 | High |
TR2 | Medium-low | R3 | High |
GR3 | High | R4 | Medium-high |
TR3 | Medium-low | R5 | High |
GY1 | High | R6 | Medium-high |
TY1 | Medium | R7 | Medium-high |
GG1 | High | Y1 | Medium-high |
TG1 | High | Y2 | Medium-high |
GG2 | High | Y3 | Medium-high |
TG2 | High | Y4 | High |
GC1 | High | Y5 | High |
TC1 | High | Y6 | Medium-high |
GU1 | Medium-high | Y7 | High |
TU1 | Medium | Y8 | High |
Y9 | Low | ||
Y10 | High | ||
Y11 | Medium | ||
Y12 | Low | ||
CB1 | High | ||
UB1 | High |
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Bonifazi, G.; Capobianco, G.; Pelosi, C.; Serranti, S. Hyperspectral Imaging as Powerful Technique for Investigating the Stability of Painting Samples. J. Imaging 2019, 5, 8. https://0-doi-org.brum.beds.ac.uk/10.3390/jimaging5010008
Bonifazi G, Capobianco G, Pelosi C, Serranti S. Hyperspectral Imaging as Powerful Technique for Investigating the Stability of Painting Samples. Journal of Imaging. 2019; 5(1):8. https://0-doi-org.brum.beds.ac.uk/10.3390/jimaging5010008
Chicago/Turabian StyleBonifazi, Giuseppe, Giuseppe Capobianco, Claudia Pelosi, and Silvia Serranti. 2019. "Hyperspectral Imaging as Powerful Technique for Investigating the Stability of Painting Samples" Journal of Imaging 5, no. 1: 8. https://0-doi-org.brum.beds.ac.uk/10.3390/jimaging5010008