Paint

Polychlorinated biphenyls (PCBs) are synthetic organic chemicals which have been commercially used worldwide in many specialty applications. In paints, PCBs were used because of their unique properties such as thermal stability, flame-resistance and low volatility. However, due to their adverse effects on human health and environment, the use of PCBs has now been banned. PCBs are today considered widespread pollutants in the global system . PCBs sources still exist in various products and in waste streams such as oil, paints, rubbers etc. Various remedial technologies have been developed in the world to detoxify PCBs. In the present study, radiolysis has been investigated as a safe means to reduce or destroy PCBs. Under this study, detoxification of PCBs in paint scrapings by gamma radiation using Cobalt 60 source has been investigated. The experimental results demonstrate that the gamma radiations can be an alternative environment- friendly technology for destroying PCBs. Gamma rad...

Aloe plants have been widely documented in artists’ treatises dating from the sixteenth to the nineteenth century as a source of colorant to achieve lustrous golden glazes on tin- and silver-foiled objects and warm-toned finishes on musical instruments, such as violins. Aloe extracts contain characteristic anthraquinone and phenolic components which impart a distinctive orange tone and fluorescence to mixtures containing them. Because of the low concentration of colorant in the coatings and its probable degradation by high temperature during manufacture, the identification of aloe in heated oil–resin mixtures represents an analytical challenge. For this reason, the possible presence of aloe in glazes and coatings has been largely overlooked. This paper describes various analytical approaches to the identification of aloe in historic samples, from comparison with results obtained from reference standards and mock-up samples. Complementary analytical techniques including thermally assisted hydrolysis and methylation–gas chromatography–mass spectrometry, high-performance liquid chromatography, laser desorption–mass spectrometry, matrix-assisted laser desorption-ionization-mass spectrometry and surface-enhanced Raman scattering were used. Different chemical markers were identified by the individual methods and the advantages and limitations of each technique for the identification of aloe in oil–resin varnishes are discussed.

The Renaissance represented a major advance in painting techniques, subject matter, artistic style and the use of pigments and pigment mixtures. However, most pigments in general use were still mineral-based as most organic dyes were believed to be fugitive; the historical study of artists' palettes and recipes has assumed importance for the attribution of art works to the Renaissance period. Although the application of diagnostic elemental and molecular spectroscopic techniques play vital and complementary roles in the analysis of art works, elemental techniques alone cannot definitively provide the data needed for pigment identification. The advantages and limitations of Raman spectroscopy for the definitive diagnostic characterisation of yellow pigments that were in use during the Renaissance is demonstrated here in consideration of heavy metal oxides and sulphides; these data will be compared with those obtained from analyses of synthetic yellow pigments that were available during the eighteenth and nineteenth Centuries which could have been used in unrecorded restorations of Renaissance paintings.

Five Greek icons, made between the 15th and 18th centuries and now belonging to the Victoria and Albert Museum collections, were analysed by energy-dispersive X-ray fluorescence (EDXRF), optical microscopy and Raman microscopy in order to determine the stratigraphy of the artworks and the identity of the pigments used. Together with common pigments, such as red lake, vermilion, red lead, red iron oxide, orpiment, yellow ochre, lead white, chalk, gypsum, anhydrite, Prussian blue, indigo and a copper-containing green, a few unusual materials were identified, specifically pararealgar (a yellow arsenic sulphide, As4S4), its precursor the chi-phase, and lead tin yellow type II (PbSn(1-x)SixO3). Attention is drawn to the complementarity of the techniques used for the pigment identifications.

Fourier-transform photoacoustic infrared (PAIR) spectroscopy has been used in the analysis of 12 inorganic pigments commonly in use by artists today, viz., cobalt blue, ultramarine blue, Prussian blue, azurite, malachite, chromium oxide, viridian, cadmium yellow, chrome yellow, iron oxide, yellow ochre and Mars orange. The authenticity of these 12 commercial pigments was first established by recording their Raman spectra. The subsequent PAIR spectra were highly reproducible and matched well in the mid-IR region with previously published data for these pigments. A number of additional overtone and combination bands were also detected that will prove useful in the identification of the pigments in the future. The PAIR technique is a promising and reliable method for the analysis of inorganic pigments, especially since it involves much simpler preparation than is required for conventional IR measurements.

Figure 1: Color compositing: (a) a color chart crafted in marker in order to observe how different pigments appear when layered; (b) alpha blending, though standard in computer graphics, fails to capture known effects like yellow over blue gives green; (c) radial basis functions interpolate and extrapolate from the data in the chart to produce more realistic effects; (d) fitting parameters of a Kubelka-Munk model to the data in the chart improves on radial basis functions for paint-like behaviors. The color of composited pigments in digital painting is generally computed one of two ways: either alpha blending in RGB, or the Kubelka-Munk equation (KM). The former fails to reproduce paint like appearances, while the latter is difficult to use. We present a data-driven pigment model that reproduces arbitrary compositing behavior by interpolating sparse samples in a high dimensional space. The input is an of a color chart, which provides the composition samples. We propose two different...