Ultramarine Research Articles

Kieslowski, Jarman e Klein: variações em torno do azul

It may happen that the path that departs from interaction towards interiority leads to an urge to encompass the world. Though this experience is impalpable, it has been translated as a colour in cinema and in art.This is the interior movement that informs explorations on the colour blue in three different works: in Krzysztof Kieslowski’s film Bleu, in Derek Jarman’s film Blue and in Yves Klein’s artistic investigation of ultramarine blue. The comparison between them can help elucidate different points: how the colour blue can trigger similar meanings in different contexts; how film and art can engage in a dialogue wherein the singularity of each work helps clarify elements of the other; how an ineffable concept, such as that represented by the blue colour, can fit different artistic languages and different levels of abstraction.

Analysis of mural paintings using in situ non‐invasive XRF, FTIR spectroscopy and optical microscopy

An analytical protocol consisting of X‐ray fluorescence spectroscopy, optical microscopy and Fourier transform infrared spectroscopy was used to study the origin and the nature of the materials (pigments, binders and coating preparation) of the Fundenii Doamnei church mural paint from Bucharest. The main interest of the present study consisted in the original votive paint from narthex, painted in 1757 in a secco technique.During analysis, an unexpected pigment in the votive paint could be detected by the combined analytical techniques: ultramarine blue. Along with this pigment, the presence of gypsum binder based on egg and flax seed oil could also be evidenced. These results demonstrated a secco execution technique of the votive paint and also the presence of a restoration treatment. Moreover, during the present study, the components of the preparation layer and the constitutive pigments from both 1699 and 1757 years mural paints have been analyzed. Hence, the following pigments could be identified: vermilion, azurite, cinnabar, lead white, ochre, natural umber and gold, by using the combination of the analytical techniques.The novelty of our results consists in detecting the composition of the materials used in this church painting (fresco and a secco) during these 254 years since its first restoration.The results of these investigations pointed to the suitability of the non‐destructive and semi‐destructive analytical techniques in the complex characterization of the paints realized in different techniques, at different periods. Copyright © 2013 John Wiley & Sons, Ltd.

KINETIC AND THERMODYNAMIC MODEL FOR THE REMOVAL OF ULTRAMA- RINE BLUE FROM AQUEOUS SOLUTION USING MODIFIED CASSAVA PEELS

This work presents the kinetic and thermodynamic model for the sorption of ultramarine blue on modified cassava peels. The effects of various experimental parameters such as adsorbent dosage, contact time, pH, concentration and temperature were investigated. The extent of ultramarine re- moval increased with increase in adsorbent dosage, contact time, concentration and temperature. The data obtained fitted to the Langmuir isotherm. The Sf value, which is the separation parameter was obtained as 0.633, indicating that the biomass is an excellent adsorbent for ultramarine blue. The Freundlich Model estimated the adsorption intensity (R2) as 0.993. The R2 value and the Line- ar plot obtained showed that the Freundlich isotherms favours the adsorption process. Pseudo-first and pseudo-second order kinetics were used to analyse experimental data and it was found that both models described the data very well. Thermodynamic parameters like free energy (ΔG), en- thalpy (ΔH) and entropy (ΔS) of the system were calculated by Langmuir constant (k) and it was found that the adsorption process was endothermic in nature.

Sorption Model and Kinetic Assessment of Ultramarine Blue Removal using Modified Cassava Peels Biomass

The efficiency of modified cassava peels biomass for the removal of ultramarine blue (UB), has been thoroughly investigated in this study. The effect of changing absorbent concentration, UB concentration, contact time and pH had been studied. Maximum absorption occurred at pH of 10.There was a general increase in UB absorption with increase in absorbent concentration, UB concentration, time and temperature, respectively. The pseudo second order equation with R2 of 0.952, provided a better description of the adsorption process than the first order, showing that adsorption occurred mainly due to intra-particle diffusion. The Freundlich and Langmuir isotherms were applied to the equilibrium data. The adsorption capacity (Qm) obtained from the Langmuir isotherm was 0.952 (mg/g).The separation factor RL was obtained as 0.663 is less than unity, indicating that modified cassava peels biomass is a good absorbent for UB. The assessed thermodynamic parameters showed that the adsorption of UB on modified cassava peels biomass was endothermic.

Thermal analysis of the interaction of inorganic pigments with p(nBA/MMA) acrylic emulsion before and after UV ageing

Differential scanning calorimetry (DSC) and thermogravimetry (TG) analyses were used to investigate the influence of inorganic pigments on the photo-oxidative stability of an acrylic emulsion binding medium. For this purpose, three different types of inorganic pigments such as ultramarine blue, cadmium red and hydrated chromium oxide green were selected and mixed with an acrylic emulsion binding medium of poly(n-butyl acrylate/methyl methacrylate). These laboratory mixed paints were analysed before and after UV exposure for different periods of time. In addition, three acrylic commercial paints such as ultramarine blue, cadmium red and chromium oxide green from Liquitex® and Rembrandt® companies were also analysed. The results obtained with both thermal techniques suggested that ultramarine blue has the strongest influence on the photo-oxidative stability of the binding medium. A higher increase of the glass transition temperature Tg was observed by DSC analysis on the UV aged binder mixed with ultramarine blue. This result was confirmed by the TG investigations that showed a gradual decrease of the initial temperature of degradation as well as the strongest decrease of the final mass% of the organic compounds. Similar results were measured from the Liquitex® and Rembrandt® blue paints.

Synthetic organic pigments in contemporary Balinese painting: a Raman microscopy study

The colour palette from two 20th century and one 21st century Indonesian paintings from the island of Bali was determined by Raman microscopy. There is very little information concerning the artistic techniques from this region of the world and the influences in materials introduced by western artists. The most interesting finding of our study was the increasing substitution of natural pigments by modern synthetic organic pigments. The findings were also compared with samples of representative pigments commonly used by Bali artists, donated by a renowned Balinese painter. Raman microscopy, combined with Fourier transform infrared spectroscopy, high‐performance liquid chromatography and μ‐EDXRF, was able to separate the different components on several colours, and to identify both synthetic organic pigments and inorganic components. Three azo pigments from the diarylide subclass, PY 83, PY 55 and PO 16, were identified on the yellow, brown, red and orange colours. A copper phthalocyanine blue PB 15:x and a basic dye BB 26 were responsible for the blue colours, the former admixed with ultramarine blue. Goethite was sometimes introduced to create the green colour. Two other basic dyes, BY2 and PG 4, were the main chromophores of the yellow and green samples of local pigments. The inorganic pigments comprised bone white, bone black, carbon‐based black pigment, haematite, goethite, vermilion, ultramarine blue and anatase. Finally, the ground layer of all the paintings was identified as rice starch, with a double function of a white pigment. Copyright © 2012 John Wiley & Sons, Ltd.

A Golden Landscape in an Ultramarine Sea

A Golden Landscape in an Ultramarine Sea

First analytical evidences of precious colourants on Mediterranean illuminated manuscripts

Two Byzantine VI century manuscripts known as Vienna Dioskurides and Vienna Genesis, held in the Austrian National Library at Vienna, were analysed with in situ non-invasive techniques. Raman spectroscopy, UV–Vis diffuse reflectance spectrophotometry with optic fibres and X-ray fluorescence spectrometry were used to characterise the palette of these early Middle Ages manuscripts. The analytical study was performed to have a better knowledge on the colourants used by ancient miniature painters, a subject known more on the basis of traditional sources (i.e. medieval treatises) than of analytical evidences. Indeed these illuminated manuscripts are, to the authors’ knowledge, among the oldest ever being analysed, so that the colourants found in them can be considered among the oldest evidences of their use. The main feature of Vienna Dioskurides and Vienna Genesis palettes is their richness, exemplified by the simultaneous presence of gold and ultramarine blue; in Vienna Dioskurides cinnabar is also present. Information regarding ultramarine blue is surprising, being the analytical evidence of the use of this precious pigment at least three centuries before its use in Western manuscripts, a feature justified by the fact that the Byzantine Empire was the dominant culture in early Middle Ages in the Mediterranean World. Other colourants include azurite and indigo, red lead, orpiment, red and yellow ochres, while a mixture of blue and yellow colourants, known as vergaut, was used to render green hues. Organic colourants were also used, such as madder and Tyrian purple, the latter employed to dye the parchment of Vienna Genesis.

In situ noninvasive Raman microspectroscopic investigation of polychrome plasterworks in the Alhambra

A totally non-invasive in situ investigation in one of the main halls of the Palace of the Lions in the Alhambra (Granada, Spain) has been carried out. Analyses were made with a fiber-optic portable Raman microspectrometer placed on scaffolding platforms at a height of ca. 12 m above the ground level during the period of conservation works. The objects of this study are the decorated plasterworks in the seven vaults of the Hall of the Kings. Together with the results, the different practical problems related to the positioning of the instrumental setup and the influence of the local environment during the analysis are discussed. In general, high quality spectra were obtained despite difficulties for micro-probe head positioning and sometimes the vibrations of the corresponding scaffold. Different typical antiquity pigments have been identified: cinnabar, minium, carbon black and lapis lazuli. Furthermore, the luminescence pattern from lapis lazuli found in most blue decorations has allowed the establishment of the natural origin and provenance of the pigment. Apart from this natural lapis lazuli, synthetic ultramarine blue was also found in one of the vaults showing up a recent restoration. In addition, some degradation products of cinnabar and minium were identified, with the major advantage of providing real-time information to the conservators during their work.

Enhancement of Acid Resistance for Ultramarine Blue by Silica Coatings

The acid resistance of ultramarine blue was greatly enhanced by silica coatings. Sodium metasilicate nonahydrate was used as silica precursor and ammonium chloride was used to react with it. Fourier transform infrared (FT-IR) spectroscopy was used to characterize surface structure on the coating layer. The effects of coating conditions on acid resistances of the coated ultramarine blue were investigated. The acid resistance was evaluated by immersing the pigment in 10 wt% hydrochloric acid. The results showed the optimal mass ratio of silicate to ultramarine was 3.75 and the proper solid content was 60 g/L. Under above conditions, the silica coated ultramarine blue exhibited an acid resistance of 8, while the uncoated ultramarine blue only showed an acid resistance of 1.

Determination of detection limits for SEM-EDS and m-FTIR analysis of artwork

Scanning electron microscopy and energy-dispersive X-ray spectroscopy (SEM-EDS) and micro-Fourier transform infrared (m-FTIR) spectroscopy are two of the primary analytical techniques used for the characterisation of artwork (Casadio and Toniolo, J. Cult. Herit. 2:71-78, 2001; Bruni et al., Vibr. Spectrosc. 20:15-25, 1999; Bouchard et al., e-Preserv. Sci. 6:27-37, 2009). Despite wide application of these techniques, no studies have been performed to evaluate their detection limits for this type of analysis. The characterisation of minor components used in a piece of art is important because these components may provide key information about the process of creation and answer questions regarding conservation and restoration (Casadio and Toniolo, J. Cult. Herit. 2:71-78, 2001; Bicchieri et al., Spectrochim. Acta B At. Spectrosc. 56:915-922, 2001). This study focused on easel paintings. Several mock-ups were prepared, and the painting layers were created with binary mixtures of three different blues (Prussian blue, phthalocyanine blue and ultramarine blue). Blue pigments have been used extensively in many art pieces and several studies have described problems related to their determination in low concentrations (Bouchard et al., e-Preserv. Sci. 6:27-37, 2009; Bicchieri et al., Spectrochim. Acta B At. Spectrosc. 56:915-922, 2001; Osticiolia et al., Spectrochim. Acta A Mol. Biomol. Spectrosc. 73:525-531, 2009; Giaccai, Mater. Res. Soc. Symp. Proc. 1047:233-242, 2008; Lutzenberger and Stege, e-Preserv. Sci. 6:89-100, 2009). This study indicated that the minimum concentrations at which the presence of the minor pigment is detected in at least half of the determinations performed are between 0.9% and 1.5% for phthalocyanine blue, between 0.8% and 1.3% for Prussian blue and between 0.3% and 1% for ultramarine blue with SEM-EDS; with m-FTIR spectroscopy, the minimum concentrations are between 0.9% and 1.5% for phthalocyanine blue, 2.4% or more for Prussian blue and 19% or more for ultramarine blue. The concentrations measured for some pigments were high and may result in errors in the description of the composition of a piece of art. The use of complementary techniques may address this limitation. On the basis of these results, the application of analytical procedures that include replicate determinations and analyses of areas of 100 × 100 μm(2) or greater and exclude single determinations are recommended to more accurately describe the material composition of a work of art.

착색안료를 이용한 보령머드축제용 유색머드의 개발

This study was performed about color-contained mud to provide fun and diversity for the event of mud self massage as a core program of Boryeong Mud Festival which has become one of representative festivals in Korea. Adjusting its own lower brightness of mud and based on the primary study performed about the expressivity of yellowish colors, inorganic colors (oxidized steel in red, ultra marine pink, ultra marine blue, chrome oxide green) were added for the development of colored mud in diverse colors on the basis of Korean traditional colors. It had been judged about each expressivity of color by methods of colormeter, naked eyes inspection and feeling of usage, etc. For the color decided, it had been examined about the coloring when it got wet with the cleaning condition so that it can be used for the event of mud self massage as a program of Boryeong Mud Festival to increase diversity of the Festival and also attempted to develope colored mud to show Korean traditional colors.

TRABALHO E VIDA EM TERRA ESTRANGEIRA: O CASO DOS IMIGRANTES BRASILEIROS NA GUIANA FRANCESA

Although the migrations between the frontier countries of the Amazon related to the Pre-Colonial period, about which there are information on Indigenous displacements, contemporaneously they have adquired a new perspective. Influenced by issues of socioeconomic nature, a migratory flux from Brasil to French Guyana has persisted since the years of 1960, in a way that the states of the Brazilian North region - particularly Para e Amapa - are the ones that send away labor, in general with low specialization, to work in this French Ultramarine Departament. Based in bibliographic material, data and doccuments produced in the field, this work has the aim to build undestandings about the Brazilian exodus to French Guyana, though they have to face adverse situations marked by discriminatory processes, diverse violences and desillusions. In spite of this, it can be verified that the dream of a better life will continue to inspire the emmigration in this part of the Amazon, even that the French authorities intensify the restrictions to this sociospatial movement in the future. Key words: Migration, work, Brazil, French Guyana.

What Is the Best Method for Removal of This Blue Tattoo

There is a wide variety of means by which tattoo ink can be injected into the skin. However, the one thing all tattoo techniques have in common is the depth of pigment placement; for the ink to become permanent it must be placed in the dermis.(2) Composition of blue tattoo pigments is almost included: Azure Blue, Cobalt Blue, Copper pthalocyanine and Cobalt aluminate. Blue pigments from minerals include copper carbonate, sodium aluminum silicate (lapis lazuli), calcium copper silicate (Egyptian Blue), other cobalt aluminum oxides and chromium oxides. The blues and greens least likely to cause allergic reaction are copper pthalocyanine pigments which are more stable than cobalt or ultra marine pigments. Copper pthalocyanine pigments have FDA approval for use in contact lenses and infant toys and furniture.(3) JLMS 2010; 1:39-41

Characterization of Japanese color sticks by energy dispersive X-ray fluorescence, X-ray diffraction and Fourier transform infrared analysis

This work comprises the use of energy dispersive X-ray fluorescence (EDXRF), X-ray diffraction (XRD) and Fourier transformed infrared (FTIR) techniques for the study of the composition of twentieth century traditional Japanese color sticks. By using the combination of analytical techniques it was possible to obtain information on inorganic and organic pigments, binders and fillers present in the sticks. The colorant materials identified in the sticks were zinc and titanium white, chrome yellow, yellow and red ochre, vermillion, alizarin, indigo, Prussian and synthetic ultramarine blue. The results also showed that calcite and barite were used as inorganic mineral fillers while Arabic gum was the medium used. EDXRF offered great potential for such investigations since it allowed the identification of the elements present in the sample preserving its integrity. However, this information alone was not enough to clearly identify some of the materials in study and therefore it was necessary to use XRD and FTIR techniques.

Effect of additives on distributions of lamellar structures in sheared polymer: a study of synchrotron small-angle x-ray scattering

The effects of additives on the distributions of lamellar morphology and orientation in sheared isotactic polypropylene were investigated using the small beam of synchrotron small-angle x-ray scattering. The Cu-phthalocyanine can template the lamellar orientation even under low shear rates, whereas the ultramarine blue cannot. The surface contact is suggested to play a role in stabilizing the formation of oriented nuclei which subsequently direct the growth of oriented lamellae. The additives have no notable effects on the long spacing in the shear region. However, at high shear rates, they decrease the thickness of crystalline lamellae or increase the thickness of amorphous lamellae. Since the additives increase the degree of volume crystalline in the shear region, the number of crystalline lamellae should be increased. The results are helpful in designing and selecting suitable additives for controlling lamellar morphology and orientation.

Raman spectroscopy for the identification of pigments and color measurement in Dugès watercolors

Spectroscopic and colorimetric analysis of a representative set of Dugès watercolor paintings was performed. These paintings were the result of scientific studies carried out by the zoologist Alfredo Dugès, who recorded the fauna of the Mexican Republic between 1853 and 1910. Micro-Raman spectroscopy, with an excitation wavelength of 830 nm, and colorimetric techniques were employed in order to understand if different colors with the same hue were reproduced using the same pigments. The color coordinates of the measured areas were obtained in the CIE L* a* b* color space. Raman analysis showed that, in some cases, to reproduce colors with the same hue the pigment employed was not the same. Pigments identified in the watercolors were vermilion, carbon-based black, lead white, gamboge and chrome yellow, Prussian and ultramarine blue. Some of these pigments have been used since ancient times, others as Prussian blue, chrome yellow and synthetic ultramarine blue arrived to the market at the beginning of the 18th and 19th centuries, respectively. Furthermore, regarding the white color, instead of left the paper unpainted, lead white was detected in the eye of a bird. The green color was obtained by mixing Prussian blue with chrome yellow. The results of this work show the suitability of using Raman spectroscopy for watercolor pigment analysis and colorimetric techniques to measure the color of small areas (246 μm × 246 μm) that was the case for the lead white pigment.

New and improved Ultramarine Blue

New and improved Ultramarine Blue

Effects of different colorants on morphological development of sheared isotactic polypropylene: A study using synchrotron wide-angle x-ray scattering

Sheared isotactic polypropylene (iPP) forms a special crystalline assembly called branched shish kebab. The effects of two colorants, Cu-phthalocyanine and ultramarine blue, on the branched shish-kebab structure have been investigated by using synchrotron wide-angle x-ray scattering. The effects of the colorants on the morphological distributions of iPP are well constructed through the shear field or temperature gradient, including crystallinity, molecular orientation, fraction of lamellae, and thickness of crystalline lamellae. It is found that the Cu-phthalocyanine can significantly affect the morphological development of sheared iPP but the ultramarine blue cannot. In the presence of Cu-phthalocyanine, the degree of crystallinity is increased, the molecular orientation is enhanced, the more a∗-axis-oriented components form, and the crystalline lamellae are thickened.

The invention of blue and purple pigments in ancient times

This tutorial review examines manmade blue and purple pigments appearing in antiquity. They were obtained by chemical synthesis from mineral starting materials and refer to chemical compounds: Egyptian Blue (CaCuSi4O10), Han Blue (BaCuSi4O10) and Han Purple (BaCuSi2O6), Maya Blue (x.indigo.(Mg,Al)4Si8(O,OH,H2O)24) and Ultramarine Blue (Na,Ca)8(AlSiO12)(S, SO4,Cl). The Egyptian and Chinese copper-based pigments are assumed to have been developed independently and are presumably an outcome of the historical developments in glazing techniques. A technology transfer from Egypt into China cannot be fully excluded but, based on the facts acquired up to now, looks less probable.