In this way, selected pigments are likely to be identified by means of MSI examination.
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Will work for those which present peculiar behaviors in the range of the electromagnetic spectrum readily observable with an IR-VIS-UV modified digital camera (360-1100 nm) and an InGaAs camera (900-1700 nm). This method doesn't claim to allow the identification of all different pigments, but itĬorrespondence: Scholar at "CulturalHeritage Science Open Source" Blog,, Piazza Cantarella 11, Aci Sant'Antonio 95025, Italy The intention of this paper is to show that with a flowchart based methodology it is possible to tentatively identify some historical pigments by means of MSI performed with simplified equipment and without the aid of imaging analysis software. The use of MSI to tentatively identify pigments has an important advantage justifying its application: the rapid and low-cost survey of large areas. To identify pigments with an acceptable degree of certainty, at least one other material specific technique must be used to complement hyper or multispectral imaging diagnostics. Though, it is mandatory to point out that these methods are problematic and the user may be subjected to draw conclusions that remain uncertain, essentially, because pigments are often mixed and overlapped in layers to make the desired color and effect. Multispectral imaging (MSI) and Hyperspectral Imaging, have been suggested as methods for the non-destructive identification of pigments.
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The InGaAs camera is the only expensive instrument used in this study but its cost is relatively affordable for the average painting conservation studio since only a model with a low pixel count is required (320x256 pixels) rather than a more sophisticated InGaAs scanner system. Though, considerably limited in its analytical capabilities, the low cost and speed of the workflow make the method worthwhile, even if only to localize retouching and areas appearing the same hue but painted with different pigments. The flowchart method will be most successful on paint made of one layer of pure pigment, and it can selectively discriminate only a fraction of the 56 pigments analyzed.
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This paper presents a flowchart for the identification of historical pigments applied with gum Arabic using multispectral imaging (wavelength ranging from 360 to 1700 nm) performed with a modified digital camera for infrared, visible and ultraviolet photography and an InGaAs camera for infrared reflectography. While these methods do not provide the analytical capability that spectroscopies do offer, the use of spectral imaging has the advantage of being a rapid and relatively low-cost solution for the examination of large areas. The literature on the application of Multispectral and Hyperspectral imaging for identification of pigments on artworks is sparse. If you post your project I'll be happy to spec it out for you based on durability requirements.Identification of pigments by multispectral imaging a flowchart method If you don't the solvent with turn the fleck to gel. If you apply a non water base primer down first, be sure to Flush gun then run water to make your equipment compatible. Prior to loading your cup use a wisp normally used for eggs our batter to slowly break fleck up so it does not clog gun. That is the preservative and it will fade too the correct color. The fleck go down wet with a blue gray haze. Gun setting are actually more important than tip size. The higher the air the smaller the fleck. Even using a 1.3 mm tip using this method you can still get a nice pattern. Cross hatch spray so the fleck does not look wind blown in one direction. This will allow you to achieve the largest fleck with vibrant colors. I normally suggest those gun settings only just before I spray I shut air completely off, point the gun at a test area pull the trigger back, then slowly rotate the air control valve up, the gun will begin to spatter but slowly increase the air until the gun begins spraying a nice even steady pattern. If you spray above 45 PSI the Fleck will be destroyed and it will dry down to a dull gray haze. Multispec can actually be sprayed with a 1.3 but 2.0 to 2.5 with 20 % water with the fluid set 3/4 open at 10 psi and back will produce large vibrant colored flecks. We have servicing the refinishing market for 30 years and this is a question I get daily. We are ac warranty equipment repair center for just about anything that sprays. I supply hundreds of companies and I'm in the industrial spray equipment business. I prefer distilled water as it slicks the fleck up. The heavy bodied material is also e easier to work with if you add 15 to 20 % water. Multi spec is best shot with low air if you want large vibrant colors especially the stone accent line.