Using digital and hand printing techniques to compensate for loss: re-establishing colour and texture in historic textiles

Conservators use a range of 'gap filling' techniques to improve the structural stability and presentation of objects. Textile conservators often use fabric supports to provide reinforcement for weak areas of a textile and to provide a visual infill in missing areas. The most common technique is to use dyed fabrics of a single colour but while a plain dyed support provides good reinforcement, it can be visually obtrusive when used with patterned or textured textiles. Two recent postgraduate dissertation projects at the Textile Conservation Centre (TCC) have experimented with hand printing and digital imaging techniques to alter the appearance of support fabrics so that they are less visually obtrusive and blend well with the colour and texture of the textile being supported. Case studies demonstrate the successful use of these techniques on a painted hessian rocking horse and a knitted glove from an archaeological context

On the effect of thin film growth mechanisms on the specular reflectance of aluminum thin films deposited via filtered cathodic vacuum arc

The optimisation of the specular reflectance of solar collectors is a key parameter to increase the global yield of concentrated solar power (CSP) plants. In this work, the influence of filtered cathodic vacuum arc deposition parameters, particularly working pressure and deposition time, on the specular and diffuse reflectance of aluminium thin films, was studied. Changes in specular reflectance, measured by ultraviolet–visible and near-infrared spectroscopy (UV-vis-NIR) spectro photometry, were directly correlated with thin film elemental concentration depth profiles, obtained by Rutherford backscattering spectrometry (RBS), and surface and cross-sectional morphologies as measured by scanning electron microscopy (SEM) and profilometry. Finally, atomic force microscopy (AFM) provided information on the roughness and growth mechanism of the films. The two contributions to the total reflectance of the films, namely diffuse and specular reflectance, were found to be deeply influenced by deposition conditions. It was proven that working pressure and deposition time directly determine the predominant factor. Specular reflectance varied from 12 to 99.8% of the total reflectance for films grown at the same working pressure of 0.1 Pa and with different deposition times. This transformation could not be attributed to an oxidation of the films as stated by RBS, but was correlated with a progressive modification of the roughness, surface, and bulk morphology of the samples over the deposition time. Hence, the evolution in the final optical properties of the films is driven by different growth mechanisms and the resulting microstructures. In addition to the originally addressed CSP applications the potential of the developed aluminium films for other application rather than CSP, such as, for example, reference material for spectroscopic diffuse reflectance measurements, is also discussed

Materials Science in Ancient Rome

Two books, the "De Architectura" by Vitruvius and the "Naturalis Historia" by Pliny the Elder, give us a portrait of the Materials Science, that is, the knowledge of materials, in Rome at the beginning of the Empire. Here, I am reporting some very attractive contents that we can find in these books. The reader will see the discussion proposed in fours case studies: concretes, coatings, amorphous materials and colloidal crystals, to describe them in modern word

Solvent extraction as additional purification method for postconsumer plastic packaging waste

An existing solvent extraction process currently used to convert lightly polluted post-industrial packaging waste into high quality re-granulates was tested under laboratory conditions with highly polluted post-consumer packaging waste originating from municipal solid refuse waste. The objective was to study the technical feasibility of using this extraction technology and to study the quality of the produced cleaned plastic flakes. Two types of dirty plastic flakes from household waste were used; transparent to white flexible film flakes and PET-bottle flakes

Microcrystalline identification of selected designer drugs

A microcrystalline test for the detection of 4-methylmethcathinone (mephedrone), benzylpiperazine (BZP) and 5,6-methylenedioxy-2-aminoindane (MDAI) using aqueous solutions of mercury chloride is described. Each of the compounds investigated formed specific drug–reagent crystals within minutes. The uniqueness of the test was confirmed by comparison of the microcrystalline response to that of other psychoactive stimulants and a common cutting agent. The limit of detection and cut-off levels for reference standards were established to 3 g/L and 5 g/L for mephedrone, 0.5 g/L for MDAI and 0.2 g/L and 0.3 g/L for BZP, respectively. Various mixtures of standards of either mephedrone, BZP or MDAI combined with caffeine were investigated for their microcrystalline response. Results showed that simultaneous detection of drug and cutting agent was possible with the concentrations tested but were dependant on the ratio of drug to cutting agent. BZP could be detected alongside caffeine from as low as 20% (v/v), MDAI from 40% (v/v) and mephedrone from 50% (v/v) and higher. Finally, seven samples of online purchased ‘legal highs’ were analysed using the developed test and the findings were compared to FTIR and GC–MS results. It was shown that 6 out of 7 samples did not contain the advertised active ingredient. Five samples consisted of BZP, caffeine and 1-[3-(trifluoromethyl)phenyl]piperazine (3-TFMPP). The microcrystalline tests carried out on these samples showed positive results for both BZP and caffeine without interference from other substances present

Redefining A in RGBA: Towards a Standard for Graphical 3D Printing

Advances in multimaterial 3D printing have the potential to reproduce various visual appearance attributes of an object in addition to its shape. Since many existing 3D file formats encode color and translucency by RGBA textures mapped to 3D shapes, RGBA information is particularly important for practical applications. In contrast to color (encoded by RGB), which is specified by the object's reflectance, selected viewing conditions and a standard observer, translucency (encoded by A) is neither linked to any measurable physical nor perceptual quantity. Thus, reproducing translucency encoded by A is open for interpretation. In this paper, we propose a rigorous definition for A suitable for use in graphical 3D printing, which is independent of the 3D printing hardware and software, and which links both optical material properties and perceptual uniformity for human observers. By deriving our definition from the absorption and scattering coefficients of virtual homogeneous reference materials with an isotropic phase function, we achieve two important properties. First, a simple adjustment of A is possible, which preserves the translucency appearance if an object is re-scaled for printing. Second, determining the value of A for a real (potentially non-homogeneous) material, can be achieved by minimizing a distance function between light transport measurements of this material and simulated measurements of the reference materials. Such measurements can be conducted by commercial spectrophotometers used in graphic arts. Finally, we conduct visual experiments employing the method of constant stimuli, and derive from them an embedding of A into a nearly perceptually uniform scale of translucency for the reference materials.Comment: 20 pages (incl. appendices), 20 figures. Version with higher quality images: https://cloud-ext.igd.fraunhofer.de/s/pAMH67XjstaNcrF (main article) and https://cloud-ext.igd.fraunhofer.de/s/4rR5bH3FMfNsS5q (appendix). Supplemental material including code: https://cloud-ext.igd.fraunhofer.de/s/9BrZaj5Uh5d0cOU/downloa

Seeing Double: Assessing Kendall Walton’s Views on Painting and Photography

In this paper I consider Kendall Walton’s provocative views on the visual arts, including his approaches to understanding both figurative and nonfigurative painting. I introduce his central notion of fictionality, illustrating its advantages in explaining the phenomenon of ‘perceptual twofoldness’. I argue that Walton’s position treats abstract artwork reductively, and I outline two essential components of our aesthetic encounters with the nonfigurative that Walton excludes. I then offer some criticisms of his commitment to photographic realism, emphasising its theoretical inconsistencies with his account of representation. My own proposal is that in our apprehension of non-figurative artworks, our attention is drawn to the underlying structures of both emotive and perceptual experience. In this way, paintings, particularly abstract ones, disclose human cognition in a manner that makes fictionality an inappropriate tool for their analysis