Paper Conservation: Decisions & Compromises

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Imaging Characteristics of Graphic Materials with the Minidome (RICH) Lieve Watteeuw | Bruno Vandermeulen | Jan Van der Stock | Pierre Delsaerdt | Stefan Gradmann | Fred Truyen | Marc Proesmans | Wim Moreau | Luc Van Gool KU Leuven, Faculty of Arts; Illuminare, University Library & ESAT-Visics, Department of Electrical Engineering, Leuven, Belgium The RICH project RICH (Reflectance Imaging for Cultural Heritage, KU Leuven, 2012-2015) is creating a digital imaging tool for researching, studying, and exploring material characteristics of library materials. In 2005, the first generation of the module was created for reading cuneiform tablets in the department of Assyriology of the University of Leuven (KU Leuven). With the second generation of the imaging devise, developed in 2013, the visualization of paper and parchment artifacts, paper and wax seals, illumination and bookbinding stamps (gold- and blind tooled, on the back and on the boards of bindings) is in development. The imaging tool can create a sharp and exact image of the surface in 2D+ and proofs to be an accurate documentation tool for monitoring surface characteristics of graphic materials. Infrastructure The digital imaging device, IMROD (Imaging Module for Multi-spectral, Reflectance or 2D+), is digitizing with omnimulti-directional lighting and exports the result to 2D+ (Fig. 1). The technique is based on polynomial texture mapping, also known as Reflectance Transformation Imaging (RTI), a technique of imaging and interactively displaying objects under varying lighting conditions to reveal surface phenomena. The module is a hemi-spherical structure with a single downward looking video camera (28 million pixels). The object to be captured ( maximum 180 to 120 mm) lies in the center and is illuminated from computer-controllable lighting directions, through the subsequent activation of multiple white LEDs. The different angles that illuminate the surface of the artifacts are revealing extreme details. Special attention is taken to produce raking light to provide information on the surface topography. For each illumination an image is taken by the overhead camera, in total 264 images for each object. After processing these 264 images, filters in the visualization system like virtual lighting, shading and sketch are incorporated in the software. The application of these filters allows detailed documentation of surface characteristics, irregularities, undulations, flaking, lacunas and the different levels of loss of the pictorial layers of the researched artifact. After capturing the images, fine details can be highlighted by the use of specific digital filters, bringing out structures that would be less visible Fig. 1: Dome for digitizing with omnimulti-directional lighting and export the result to 2D+. (© ESAT, KU Leuven) Fig. 2: Last folio of a severely damaged 19 th century manuscript on paper, imaged with raking light and adding a shade filter. (© RICH, KU Leuven) ICOM-CC Graphic Documents Working Group Interim Meeting | Vienna 17 – 19 April 2013 140
Fig. 3: 18 th century paper seal, imaged with raking light with IMROD. (© RICH, KU Leuven). Fig. 4: 18 th century paper seal, image with raking light and sketch filter ((© RICH, KU Leuven). under single illumination (like shade, contrast, sharpening and sketch filters) (Fig. 2 - 4). The tool is portable and mobile which makes it possible to examine books and archives in situ. Further development Until 2015 the RICH project will further develop this tool for researching and understanding the material and tactile characteristics of graphic materials. Examination and identification of the production of graphic objects, changes in their structures (the supports) and pictorial layers (paint, inks, drawing- and printing materials, varnish, gilding, retouching, abrasion) could be very accuratly documented during the first stage of the project. Complementary, RICH is useful to monitor the conservation and preservation status of an object before and after treatment, transport or exhibition. The results will be managed and disseminated through a portal and an image database (2014 – 2015). Reference Carlo Vandecasteele, Luc Van Gool, Karel Van Lerberghe, Johan Van Rompay and Patrick Wambacq, Digitising Cuneiform Tablets, in Images and Artefacts of the Ancient World, British Academy, London, 2005 Digital Imaging for Cultural Heritage Preservation, Analyses, restoration and Reconstruction of Ancient Artworks, eds. Filippo Stanco, Sabastiano Battiato and Giovanni Gallo, Boca Raton, London, New York, 2011 Authors Lieve Watteeuw | Bruno Vandermeulen | Jan Van der Stock | Pierre Delsaerdt | Stefan Gradmann | Fred Truyen KU Leuven, Faculty of Arts; Illuminare, Research Centre for Medieval Art, Central Library & Digital Humanities, Blijde Inkomststraat 21, B - 3000 Leuven, Belgium lieve.watteeuw@arts.kuleuven.be; bruno. vandermeulen@arts.kuleuven.be Marc Proesmans | Wim Moreau | Luc Van Gool ESAT-Visics, Department of Electrical Engineering, Kasteelpark Arenberg 10 B-3001 Heverlee, University of Leuven, Belgium ICOM-CC Graphic Documents Working Group Interim Meeting | Vienna 17 – 19 April 2013 141
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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
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Authors Xing Kung Liao Conservator
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Fig. 2: Our Railroad Workers and th
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The Restoration of Cartoons at the
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tation presumes that the works are
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To Remove or Retain? - Extensive In
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Fig. 4 repeated applications until
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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
Page 125 and 126: ing techniques, which build upon fu
Page 127 and 128: Applications of Image Processing So
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
Page 137 and 138: without preliminary consolidation.
Page 139: Fiber Optic Reflectance Spectroscop
Page 143 and 144: Fig. 3 Fig. 4 of responsibilities r
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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