Paper Conservation: Decisions & Compromises

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all conservation treatment decisions, this approach defines the appropriate intervention as a balance between the condition of the handscroll and the conservator’s resources. The information presented in this paper can serve as a basis for future discussions on the specific treatments of handscrolls. Mint, R. 2006. ‘Conservation of Asian art – a select bibliography of Western language publications’. The Paper Conservator, 30:123-31. Winter, J. 2008. East Asian Paintings: Materials, Structures and Deterioration Mechanisms, London: Archetype Publications. Acknowledgements Andrew Hare and the Department of Conservation and Scientific Research (Freer|Sackler); Mary Oey (Library of Congress); and Kerith Koss Schrager References Gouet, V., Gu, X., and Hou, Y. 2003. ‘The treatment of Chinese portraits: An introduction to Chinese painting conservation techniques’. Journal of the American Institute for Conservation, 42(3):463-477. Gu, X., Hou, Y. and Gouet, V. 1999. ‘The treatment of Chinese portraits: An introduction to Chinese painting conservation techniques’. The Book and Paper Group Annual, 18:17-24. Gulik, R.H. van. [1958] 1981. Chinese Pictorial Art as Viewed by the Connoisseur. Reprint, New York: Hacker Art Books. Authors Grace Jan Smithsonian Institution Freer Gallery of Art and Arthur M. Sackler Gallery Department of Conservation and Scientific Research P.O. Box 37012, MRC 707 Washington, DC 20013-7012 jang@si.edu Xiangmei Gu Smithsonian Institution Freer Gallery of Art and Arthur M. Sackler Gallery Department of Conservation and Scientific Research P.O. Box 37012, MRC 707 Washington, DC 20013-7012 Fax 202.633.0391 guxi@si.edu ICOM-CC Graphic Documents Working Group Interim Meeting | Vienna 17 – 19 April 2013 126
Applications of Image Processing Software to Archival Material Christina Duffy The British Library, London, UK Introduction Images of archival material are useful to both conservators for monitoring changes and to researchers for detailed analysis and permanent access to collection items. Digitisation projects generate huge volumes of image data. Images can be enhanced and manipulated with image processing software to suit the specific needs of the user. This allows historical documents and other collection items to be studied without the risk of damage to the primary source. ImageJ is a powerful public domain Java-based image processing package. The nature of open source software allows for the constant update and availability of new plugins and recordable macros designed for specific tasks. ImageJ’s built-in editor and a Java compiler allow for the development of custom acquisition, analysis and processing plugins. In this study the applications of image processing software to archival material are described highlighting the wealth of information that can be obtained from images. ImageJ ImageJ was originally designed for the purpose of medical imaging by the National Institutes for Health by Wayne Rasband, but has since found applications in many fields. It can be run on any computer with a Java 5 or later virtual machine, as an online applet or as a downloadable application (Microsoft Windows, Mac OS, Mac OSX, Linux, Sharp Zaurus PDA). ImageJ offers features similar to commercially available image processing software packages such as brightness/contrast adjustment, frequency domain filtering, binarisation and particle analysis. ImageJ Applications to Cultural Heritage 1.Image File Distribution File Format Conversions: The sharing and distribution of large image files generated by digitisation projects is often hampered by both the sender and recipient’s ability to convert between file formats. ImageJ is a versatile image processing program which can open and convert between TIFF, GIF, JPEG, PNG, DICOM, BMP, PGM and FITS images. Plugins can be installed to allow RAW image files, images in ASCII format and images which are loaded over the network using an URL to be opened and manipulated. This versatility allows any image format to be converted into the users preferred format for storage and archival purposes. 2. Digital Image Enhancement Brightness/Contrast Adjustment: Important features in a collection item are often obscured due to poor environment lighting during image capture. ImageJ supports 8-bit, 16-bit and 32-bit grayscale images, and 8-bit and 32-bit colour images. The brightness and contrast of an image can be interactively altered serving to optimise features and enhance regions which are shrouded in darkness (Fig. 1). However, when the brightness and contrast of the original image is altered, information is lost; the modified image has a reduced greyscale range. Therefore although the modified image appears more pleasing to the human eye (i.e. the differences between foreground and background seem more evident), the original actually contains more information and is of a higher quality (Faigenbaum et al. 2012). Fig. 1 3. Metadata Generation Set and apply scale: Accurately recording the size of a collection item is an important part of metadata documentation. ImageJ can be used to ICOM-CC Graphic Documents Working Group Interim Meeting | Vienna 17 – 19 April 2013 127
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Paper Conservation: Decisions & Com
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Content Lieve Watteeuw Introduction
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Michael Wheeler | Nicholas Barnard
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New Trends in Preservation in the D
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and monitoring against adverse envi
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Steve Hobaica, Patrick Loughney, Ma
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The Albums of Duke Charles de Croÿ
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Fig. 4: turning the supporting pape
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Fig. 2: Close-up of some of the los
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manuscript paper, the binding would
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Figure 2 partial sewing: the blue d
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Books in Exhibitions: History and A
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Fig. 4 Museum in London and the pre
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Risk and Safety of Illuminated Manu
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Fig. 2 Atlas, the Crown papers are
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Acknowledgments The authors would l
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Verdigris I: Compromises in Conserv
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Verdigris 2: Wet Chemical Treatment
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Integrated Modelling: The Demograph
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Fig. 3: The consequence of 50 insta
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Characterisation of Historical Pape
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pling is required, tide-lines are c
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Study of Phytate Chelating Treatmen
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Evaluation of stochiometric effects
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Practice and Progress in the Conser
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Fig. 1 Fig. 2 plex picture and prov
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Fig. 2: Coloured paper strips place
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the fire (on the other hand paper,
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inform decisions on conservation tr
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This paper summarizes what is known
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2. Methods An interdisciplinary met
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Fig. 4: Dyed endpaper pasted at the
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Preservation of Architectural Drawi
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Notes 1 According Salvador Muñoz V
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course of time under the influence
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the curators in review of the treat
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cellulose powders with cellulose et
Page 76 and 77: Authors Xing Kung Liao Conservator
Page 78 and 79: Fig. 2: Our Railroad Workers and th
Page 80 and 81: The Restoration of Cartoons at the
Page 82 and 83: tation presumes that the works are
Page 84 and 85: To Remove or Retain? - Extensive In
Page 86 and 87: Fig. 4 repeated applications until
Page 88 and 89: The Migration of Hydroxy Propyl Cel
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Page 93 and 94: Ethical Considerations Concerning t
Page 95 and 96: emoved with damp cotton swab. Then
Page 97 and 98: Conservation of a Book of Hours fro
Page 99 and 100: Fig. 4: Pigments movement and conse
Page 101 and 102: Notes 1 Brazilwood lake, lapis lazu
Page 103 and 104: pages, which would easily have torn
Page 105 and 106: The Microflora Inhabiting Leonardo
Page 107 and 108: Acknowledgments The authors would l
Page 109 and 110: Microorganisms in Books - First Res
Page 111 and 112: hyaline white mycelia on and in the
Page 113 and 114: Deconstructing the Reconstruction E
Page 115 and 116: Fig. 3: Poster after 2012 conservat
Page 117 and 118: Conservators’ Investigation of Ch
Page 119 and 120: had been used, may be false-positiv
Page 121 and 122: function will provide a holistic pi
Page 123 and 124: Fig. 2: Patriarchs of Chan Buddhism
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Page 129 and 130: Fig. 3 Fig. 4 images in a single wi
Page 131 and 132: Analysing Deterioration Artifacts i
Page 133 and 134: Fig. 3 similarity maps. Similarity
Page 135 and 136: Strategy in the Case of a Wrecked P
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Page 139 and 140: Fiber Optic Reflectance Spectroscop
Page 141 and 142: Fig. 3: 18 th century paper seal, i
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Page 145 and 146: Characterising the Origin of Carbon
Page 147: Fig. 3: Sampling depth for ATR spec
Page 150 and 151: Fig. 2: Filmoplast® tape attached
Page 152 and 153: Pluchart, F. 1971. Pop Art Et Cie.
Page 154 and 155: Fig. 3: The reverse of left screen
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Paper Conservation: Decisions & Compromises

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