Search Results (6)

The differential effects of cellular and ultrastructural characteristics on the optical properties of adaxial and abaxial leaf surfaces in the genus Tradescantia highlight the intricate relationships between cellular arrangement and pigment distribution in the plant cells. We examined hyperspectral and chlorophyll a fluorescence (ChlF) kinetics using spectroradiometers and optical and electron microscopy techniques. The leaves were analysed for their spectral properties and cellular makeup. The biochemical compounds were measured and correlated with the biophysical and ultrastructural features. The main findings showed that the top and bottom leaf surfaces had different amounts and patterns of pigments, especially anthocyanins, flavonoids, total phenolics, chlorophyll-carotenoids, and cell and organelle structures, as revealed by the hyperspectral vegetation index (HVI). These differences were further elucidated by the correlation coefficients, which influence the optical signatures of the leaves. Additionally, ChlF kinetics varied between leaf surfaces, correlating with VIS-NIR-SWIR bands through distinct cellular structures and pigment concentrations in the hypodermis cells. We confirmed that the unique optical properties of each leaf surface arise not only from pigmentation but also from complex cellular arrangements and structural adaptations. Some of the factors that affect how leaves reflect light are the arrangement of chloroplasts, thylakoid membranes, vacuoles, and the relative size of the cells themselves. These findings improve our knowledge of the biophysical and biochemical reasons for leaf optical diversity, and indicate possible implications for photosynthetic efficiency and stress adaptation under different environmental conditions in the mesophyll cells of Tradescantia plants. Full article

This paper sheds light on the manufacturing processes, techniques, and materials used in the splendid illuminations of the oldest surviving copy of De Balneis Puteolanis, preserved at the Angelica Library in Rome (Ms. 1474). The codex is one of the masterpieces of mid-13th-century Italian-Southern illumination, traditionally referred to as the commission of Manfredi, son of Frederick II. The findings reported in the article result from the interdisciplinary study conducted in 2021–2023 in the framework of “Codex 4D: journey in four dimensions into the manuscript”, a multidisciplinary project involving many competences and dealing with art-historical studies on manuscripts, diagnostic and conservative analyses, scientific dissemination, storytelling, and public engagement. The considerations we present aims at increasing the knowledge of book artefacts while respecting their extraordinary complexity; data from non-invasive diagnostic investigations (X-ray fluorescence, Vis-NIR reflectance and Raman spectroscopies, hyperspectral imaging, and multi-band imaging techniques as ultraviolet, reflectography, and thermography), carried out in situ with portable instruments on the book, have been integrated with observations resulting from the historical-artistic study, and the reading of some ancient treatises on the production and use of the pigments and dyes employed in illumination. Full article

The comprehensive technical investigation of female nude paintings by the Singapore pioneer artist Liu Kang (1911–2004) provided the evidence for a discussion of the evolution of his palette of colours and his working process for expression in this genre, particularly the execution of female bodies. As the artist’s free expression in classical nude paintings was limited by the censorship imposed by the Singapore government, the investigated artworks span two periods, 1927–1954 (early career) and 1992–1999 (the “golden years”, during which censorship policies were relaxed). Hence, eight paintings from the Liu family and National Gallery Singapore were selected for non- and micro-invasive analyses of the paint layers. The obtained results were supplemented with archival sources to elucidate certain aspects of Liu Kang’s working practice. The investigation revealed the importance of drawing and sketching studies in the development of artistic ideas. The analytical techniques, such as polarised light microscopy (PLM), field emission scanning electron microscope with energy dispersive spectroscopy (FE-SEM-EDS) and attenuated total reflectance–Fourier transform infrared spectroscopy (ATR-FTIR), enabled us to observe a transition from the yellow iron-based tonal ranges of skin colours to complex pigment mixtures composed of additions of cobalt blue, ultramarine, Prussian blue, Cr-containing yellow(s) and green(s), cadmium yellow, orange and/or red and organic reds, revealing the artist’s more liberal use of colours and his experimentation with their contrasting and complementary juxtaposes. In terms of painting technique, the artist’s comparatively laborious paint application using small brushes quickly gave way to a more effortless manipulation of the paint using bigger brushes and the incorporation of palette knives. Moreover, visible light (VIS), near-infrared (NIR) and X-ray radiography (XRR) imaging techniques led to the discovery of a hidden composition in one investigated artwork, which bears resemblance to the nude painting known only from an archival photograph. Additionally, for the first time, the archival search provided photographic evidence that Liu Kang used oil paint tubes from Royal Talens and Rowney in the 1990s. Overall, this in-depth investigation contributes to the understanding of Liu Kang’s approach to the female nude painting and may assist conservators and art historians in studies of twentieth-century commercial paints. Full article

Hyperspectral reflectance imaging in the short-wave infrared range (SWIR, “extended NIR”, ca. 1000 to 2500 nm) has proven to provide enhanced characterization of paint materials. However, the interpretation of the results remains challenging due to the intrinsic complexity of the SWIR spectra, presenting both broad and narrow absorption features with possible overlaps. To cope with the high dimensionality and spectral complexity of such datasets acquired in the SWIR domain, one data treatment approach is tested, inspired by innovative development in the cultural heritage field: the use of a pigment spectral database (extracted from model and historical samples) combined with a deep neural network (DNN). This approach allows for multi-label pigment classification within each pixel of the data cube. Conventional Spectral Angle Mapping and DNN results obtained on both pigment reference samples and a Buddhist painting (thangka) are discussed. Full article

This study aims to evaluate the difference in thermal behavior among paints with the presence of traditional and NIR pigments by means of a simple and cheap laboratory-scale test. Considering these goals, the thermal and esthetical properties of two different cool coatings were assessed, highlighting their positive and limited aspects. Two different complex near-infrared inorganic reflective (NIR) pigments with yellow and black respectably colors were mixed in an acrylic waterborne copolymer binder. The paint formulations were applied on steel panels. The thermal performance of the coatings was investigated in the NIR-region of the light spectrum by exposing the samples to an IR-lamp. The outer and inner surface temperatures of the painted panels were recorded using thermocouples and an IR camera. The samples were aged by artificial UV-B light exposure. Color and specular gloss changes at different exposure times were evaluated. The behavior of the cool coatings was compared with that of conventional coatings with similar color characteristics. The black cool coating achieved a maximum temperature decrease, compared to the conventional black one, of approximately 12 °C. The stability for the cool coatings was very similar to that of the conventional coating, indicating that black pigment could be a potential candidate for cool-coating applications. The yellow cool coatings did not show a significant decrease in temperature compared to the conventional paint. The gloss and color changes resulted as influenced by the types and amount of pigments. Full article

A low infrared emissivity coating was prepared using graphene surface-modified flaky aluminum complex powders (rGO-FAl) as fillers. The flaky aluminum powders were coated with graphene through chemical bonding. Compared with pure flaky aluminum, the Vis-NIR diffuse reflectance of rGO-FAl complex powders was significantly decreased, which was beneficial to the low glossiness of the coating. After the modification, the glossiness at 60° of the coating with 40% (mass fraction) pigments decreased from 12.8 to 6.7, while the coating maintained low infrared emissivity (0.238~0.247) at a spectral range of 8–14 μm. In the electrochemical impedance spectroscopy (EIS) measurement, at the lowest frequency, the impedance of the Al-rGO test plate was at least two orders of magnitude greater than that of the control Al test plate, and the graphene layer significantly increased the bandwidth of the maximum phase angle, which indicates a good protective effect of the ultra-thin graphene layer on metal in a corrosive environment. The coating with 40% rGO-FAl complex powders can maintain its appearance after 500 h of salt spray corrosion testing. In contrast, the color of the coating with the original aluminum powders changed after only 300 h. Full article