Distinction by Micro-Raman Spectroscopy and Chemometrical Analysis of Copper Phthalocyanine Blue Polymorphs in Oil-Based and Acrylic Paint Samples

Defeyt, Catherine; Pevenage, Jolien Van; Vandenabeele, Peter; Learner, Tom; Strivay, David

doi:10.1007/978-3-319-10100-2_6

Cited by 5 publications

(1 citation statement)

References 15 publications

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“…The blue (AFC110 and AFC154) and green (AFC 264) inks were found to contain PB15:3, a blue copper phthalocyanine (CuPc). Its identification was possible taking care to use a constant Raman setting in order to allow for comparison with reference pigments [55]. The spectra of the PB15:3 standard and AFC110 show several characteristic bands: a very intense band at 1530 cm -1 allowing for the β-polymorph (PB15:3) discrimination, and others at 1338, 680 [56], and 230 cm -1 .…”

Section: Pigments and Dyesmentioning

confidence: 99%

Chemical composition of felt-tip pen inks

et al. 2017

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Felt-tip pens are frequently used for the realization of sketches, drawings, architectural projects, and other technical designs. The formulations of these inks are usually rather complex and may be associated to those of modern paint materials where, next to the binding medium and pigments/dyes, solvents, fillers, emulsifiers, antioxidants, plasticizers, light stabilizers, biocides, and so on are commonly added. Felt-tip pen inks are extremely sensitive to degradation and especially exposure to light may cause chromatic changes and fading. In this study, we report on the complete chemical characterization of modern felt-tip pen inks that are commercially available and commonly used for the realization of artworks. Three brands of felt-tip pens (Faber-Castell, Edding, and Stabilo) were investigated with complementary analytical techniques such as thin-layer chromatography (TLC), VIS-reflectance spectroscopy, μ-Raman spectroscopy, surface-enhanced Raman spectroscopy (SERS), pyrolysis-gas chromatography-mass spectrometry (Py-GC-MS), GC-MS, and Fourier transform infrared (FTIR) spectroscopy. The use of TLC proved to be very powerful in the study of complex mixtures of synthetic dyes. First derivatives of the reflectance spectra acquired on the TLC spots were useful in the preliminary identification of the dye, followed by Raman spectroscopy and SERS, which allowed for the unambiguous determination of the chemical composition of the pigments (phthalocyanines, dioxazines, and azo pigments) and dyes (azo dyes, triarylmethanes, xanthenes). FTIR spectroscopy was used especially for the detection of additives, as well as for confirming the nature of solvents and dyes/pigments. Finally, (Py-)GC-MS data provided information on the binders (styrene-acrylic resins, plant gums), solvents, and additives, as well as on pigments and dyes.

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Section: Pigments and Dyesmentioning

confidence: 99%

Chemical composition of felt-tip pen inks

et al. 2017

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Analysis of green pigments: The case of Almada Negreiros maritime station murals in Lisbon (Portugal)

Valadas,

Vandenabeele,

Gil

et al. 2024

J Raman Spectroscopy

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In 1949, Almada Negreiros painted at the maritime station of Rocha do Conde de Óbidos, in Lisbon, six monumental mural paintings, which are considered as his highest artistic achievement. On these paintings, he resorted to a bright colourful palette, which needs to be studied to support conservation and preservation of these artworks for future generations. Among the pigments under study within project ALMADA, the identification of the green samples is the most challenging, as Almada Negreiros seems to have explored different hues by using simultaneously inorganic (e.g., emerald green, Scheele's green and viridian) as well as organo‐synthetic pigments that were rather unusual when employing a traditional mural painting technique (e.g., PG7 and PG8). Moreover, he seems to have admixed white (e.g., titanium white) or blue pigments (e.g., ultramarine) to modify the hues. The different colourants found, as well as the use of mixtures of pigments, hints that Almada Negreiros was keen on experimenting and applying relatively novel painting materials. Raman spectroscopy, given its ability to identify inorganic as well as organic components, is a key analytical tool to discriminate between all these compounds. The findings were also supported by complimentary analytical techniques, including colourimetry, handheld X‐ray fluorescence spectroscopy (h‐XRF) and micro‐Fourier‐transform infrared spectroscopy (μ‐FT‐IR). Identification of the green pigments by Raman spectroscopy is, however, not always straightforward, and it is demonstrated how changes in relative band intensities and band broadening can point to mixtures, where the Raman spectral features of some compounds can easily be overseen in the spectrum.

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