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This study is part of a larger research project at the Image Permanence Institute dedicated to digital print preservation issues – the Digital Print Preservation Portal (DP3). Previous DP3 studies determined that certain digital print types are prone to cracking and/or abrasion, and that factors such as low relative humidity, pollutants, and light increase the brittleness of the ink-receiving layer of some inkjet papers. The purpose of this investigation was to explore if light also increases the propensity of inkjet prints to abrade, and to examine the potential of framing glazings to mitigate light-induced physical damage (cracking and abrasion) by attenuating some portion of the UV spectrum. Inkjet papers and prints were subjected to xenon lighting (to simulate daylight through window glass) without glazing, or in sealed framing packages with plain framing glass (soda-lime) or UV filtering glass. Before and after light exposure, brittleness, and abrasion resistance were evaluated independently using two tests: ISO 18907 (Imaging materials – Photographic films and papers – Wedge test for brittleness) and a rub test utilizing a Sutherland® Rub Tester. In this study, exposure to light increased the cracking and/or abrasion tendency of some specimens. The use of UV filtering glass reduced this light-induced propensity in all cases. Plain glass protected all samples from at least one of these two types of surface damage, but was less effective than UV glass. Light-induced brittleness and sensitivity to abrasion were mostly, though not exclusively, caused by UV radiation. It was also seen that some prints may become brittle and/or prone to abrasion in the absence of image fade. Budgeting the amount of light these objects can be exposed to, protecting them from UV radiation, and handling prints with caution especially after exhibition, is essential in order to limit physical damage. 相似文献
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《文物保护研究》2013,58(4):267-280
AbstractThis project examines the lightfastness of prints created with the most commonly used digital technologies (inkjet, color electrophotography, dye sublimation and digital press) along with prints created using traditional technologies (color photography, black-and-white electrophotography and offset lithography). The inclusion of traditional prints provides benchmarks for collection care professionals to better gauge the significance of the results. In this study, prints were subjected to two types of lighting used independently to simulate daylight through window glass and artificial indoor illumination. Five aspects of light damage were assessed: fade in the mid-tone neutral, fade in the darkest neutral tone, paper yellowing, changes in paper gloss and text readability. In general, digital prints were less sensitive to light than traditional prints; but each digital printing technology produced at least one sample that performed worse than its traditional benchmark in at least one of the aspects of light damage studied. Therefore, it is recommended that cultural heritage institutions strive to provide the most benign environment possible, taking display practices currently in use for traditional prints as a minimum starting point for the care of digital prints. Close monitoring for signs of change is also recommended. 相似文献
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Jane L. Down 《文物保护研究》2016,61(1):26-45
This paper examines the effect of modifiers on the stability of a vinyl acetate/ethylene copolymer dispersion adhesive upon aging. Eighteen common modifiers were added to a well-characterized vinyl acetate/ethylene copolymer dispersion (Dur-O-Set® E-150) in known concentrations and dry-film samples were subjected to 16–17 years of dark aging and seven to eight years of light aging. Yellowing, pH, gloss, swelling, cohesive strength, and flexibility were monitored for changes upon aging. Generally, the neat Dur-O-Set® E-150 (no additives) was found to become acidic on aging, but was fairly resistant to yellowing. It also swelled substantially in toluene, was of high gloss, medium strength, and flexible, and remained so on aging. No modifier was found to improve these properties. Various solvents, wetting agents, and thickeners did not alter the properties by much, while plasticizers, freeze-thaw stabilizer, glycerin, and certain fillers had a more negative effect. 相似文献
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Image and figure quality: A study of Elsevier's Earth and Planetary Sciences electronic journal back file package 总被引：1，自引：0，他引：1
After purchasing Elsevier's Earth and Planetary Sciences electronic journal back file package, problems with image and figure quality in articles became evident. Personnel at Elsevier verbally committed to rescanning any issues having at least one image or figure of unacceptable quality, if staff at University of Illinois at Urbana-Champaign would identify the problem issues. A study of 35 titles in the Earth and Planetary Sciences back file package revealed that, of the 6038 issues published before digital format was available, 73.6% had at least one image with unacceptable quality. The implications of poor image quality in electronic journals should be considered when libraries are deciding whether to discard print copies. Publishers and librarians should work together to ensure that print journals converted to digital format are of acceptable quality. 相似文献
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《文物保护研究》2013,58(4):156-158
AbstractFramed and glazed prints have been found to yellow rapidly when on exhibition. It was found that the frames all contained the fungicide thymol. Experimental work has shown that the discoloration is caused by photoxidation. The discoloration was present in the paper and in the polymethyl methacrylate glazing. Mass spectroscopy has revealed the presence of a polymer of thymol; there was no evidence for the expected oxidation products. 相似文献
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《文物保护研究》2013,58(1):15-32
AbstractAn investigation for light exposure on pigments in low-oxygen environments (in the range 0–5% oxygen) was conducted using a purpose-built automated microfadometer for a large sample set including multiple samples of traditional watercolour pigments from nineteenth-century and twentieth-century sources, selected for concerns over their stability in anoxia. The pigments were prepared for usage in watercolour painting: ground and mixed in gum Arabic and applied to historically accurate gelatine glue-sized cotton and linen-based papers. Anoxia benefited many colorants and no colorant fared worse in anoxia than in air, with the exception of Prussian blue and Prussian green (which contains Prussian blue). A Prussian blue sampled from the studio materials of J.M.W. Turner (1775 ? 1851) was microfaded in different environments (normal air (20.9% oxygen) 0, 1, 2, 3.5, or 5% oxygen in nitrogen) and the subsequent dark behaviour was measured. The behaviour of the sample (in normal air, anoxia, and 5% oxygen in nitrogen) proved to be consistent with the 55 separately sourced Prussian blue samples. When exposed to light in 5% oxygen in nitrogen, Prussian blue demonstrated the same light stability as in air (at approximately 21°C and 1 atmosphere). Storage in 5% oxygen is proposed for ‘anoxic’ display of paper-based artworks that might contain Prussian blue, to protect this material while reducing light-induced damage to other components of a watercolour, including organic colorants and the paper support. 相似文献
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《文物保护研究》2013,58(4):257-266
AbstractA study of the accelerated light fading behavior of face-mounted color photographic materials has shown that alterations on the surface of the materials influence their fading characteristics. With the help of spectral density measurements it became apparent that the application of materials such as silicone rubber, adhesive film and acrylic sheeting, but also laminating films, onto the surface of the prints accelerated the degradation of the colorants, especially the yellow dye, in chromogenic materials. In the case of silver dye bleach materials, however, the opposite effect was observed. The influence of the material combination on the stability of face mounted color photographic prints was demonstrated to vary considerably. In order to better assess the inherent damage potential of the materials themselves, these were examined by means of instrumental analysis and measurements of pollutant gasses. Besides off-gassing compounds such as acetic acid and changes in pH caused by aging of the adhesive, face-mounting with a rigid plastic sheet (acrylic glazing) also affected the respective fading behavior of the various materials that were tested. 相似文献
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《文物保护研究》2013,58(3):186-203
AbstractSafflower red was prepared by extracting safflower petals (carthamus tinctorius L.) at alkaline pH, after the preliminary removal of water-soluble safflower yellow. Alkaline extracts were used to prepare dyed silk, wool, cotton and paper, to precipitate the pigment, to prepare paint and to produce the antique Chinese cosmetic rouge. All reference samples were analyzed with high-performance liquid chromatography–photodiode array–mass spectrometric detection (HPLC-PDA-MS) after colorant was removed from its substrate by both a harsh and mild acid hydrolysis method. In addition to the red colorant carthamin, four colorless components are markers for safflower. These components were characterized by their retention times, ultraviolet–visible (UV-Vis) spectra and mass spectra and were given the codes Ct1, Ct2, Ct3 and Ct4. Experiments on references clearly indicated that these Ct components, unlike carthamin, withstood harsh acid hydrolysis as well as light-induced accelerated ageing, and that they could be found even in a completely faded wool sample. This made them excellent markers to identify safflower red, even in discolored historical samples or in samples that must be treated in a way that destroys carthamin. These findings may contribute to a better understanding of the manufacturing technology and to better conservation of objects that have already undergone considerable light-induced ageing. 相似文献
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《文物保护研究》2013,58(3):162-168
AbstractAs the great majority of photographic prints have a paper support, their conservation has been based on conservation treatments traditionally used by paper conservators. It cannot be assumed, however, that these standard treatments, that are employed on paper without any problem, will give comparable results on photographic prints. The effects of mechanical cleaning, solvent cleaning, wet cleaning, bleaching and deacidification on salted papers, cyanotypes and platinotypes are investigated and discussed. The treatments were separated into those that gave clearly negative results and should be rejected, and those that should be studied in depth before accepting them as suitable. It was shown that the use of some types of bleaching and deacidification agents can be very dangerous in the case of plain paper prints. Cyanotypes proved to be the most sensitive to any treatment method and platinotypes the most resistant. 相似文献
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庞蓓 《现代图书情报技术》2005,21(5):15-19
在对E-prints和数字注册进行简要介绍的基础上，介绍了数字注册在E-prints中的应用，并分别对E-prints采用MARC和DC这两种不同的方式进行数字注册所产生的效果进行了探讨，最后笔者提出了对E-prints数字注册方式的选择、质量控制、数字注册信息的维护三方面问题的看法。 相似文献
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There is a strong history of social science research within Latin America, but its visibility (both within and outside the region) has been low for reasons of language and print distribution. The introduction of the Internet and online publication makes this information potentially more visible to the global research community, and within Latin America several organizations have undertaken to exploit this opportunity. The approaches taken show how collaboration between countries, and particularly between librarians and publishers, can provide innovative solutions. The CLACSO project uses a digital library model as a publishing platform for its member journals and this has provided a successful – and hopefully sustainable – model. 相似文献
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数字印刷质量的噪声评价 总被引：1，自引：0，他引：1
数字印刷相比传统印刷而言更容易产生噪声感图像,为此有必要测量和评价数字印刷品的噪声特性。本文在分析ISO13660标准定义的颗粒度和斑点测量方法的基础上,说明采用L测量数据计算噪声的必要性,并建议选择基于视觉滤波的测量系统。 相似文献
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David NICHOLAS Anthony WATKINSON Hamid R. JAMALI Eti HERMAN Carol TENOPIR Rachel VOLENTINE Suzie ALLARD Kenneth LEVINE 《Learned Publishing》2015,28(1):15-21
The article presents one of the main findings of an international study of 4,000 academic researchers that examined how trustworthiness is determined in the digital environment when it comes to scholarly reading, citing, and publishing. The study shows that peer review is still the most trustworthy characteristic of all. There is, though, a common perception that open access journals are not peer reviewed or do not have proper peer‐review systems. Researchers appear to have moved inexorably from a print‐based system to a digital system, but it has not significantly changed the way they decide what to trust. They do not trust social media. Only a minority – although significantly mostly young and early career researchers – thought that social media are anything other than more appropriate to personal interactions and peripheral to their professional/academic lives. There are other significant differences, according to the age of the researcher. Thus, in regard to choosing an outlet for publication of their work, young researchers are much less concerned with the fact that it is peer reviewed. 相似文献
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[目的/意义] 电子绘本种类繁多,交互丰富,对学龄前儿童吸引力强。相比阅读传统纸质绘本,学龄前儿童在阅读电子绘本时与父母的交流少。本文对这一现象进行深入分析,并解释以下两个研究问题:其一,当把交互功能降到最低时,父母和儿童之间的交流是否会增多;其二,在阅读传统纸质绘本时亲子交流的内容和行为。[方法/过程] 研究针对5-6岁的学龄前儿童以及其家长设计了实验,实验过程中,采用观察记录和录音两种方法收集数据,并采用扎根理论对数据进行分析。[结果/结论] 实验结果表明,去除大部分交互功能之后,在阅读电子绘本时父母和儿童之间的交流仍然很少。在阅读纸质绘本的过程中,儿童会通过提问和强化故事内容的方式来表达理解故事的需求,而父母不仅关注儿童对故事的理解程度,还关注儿童的阅读能力和阅读习惯。据此,提出一些针对电子绘本阅读和交互功能的设计建议及亲子阅读建议。 相似文献
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Bodour Al Qasimi 《Publishing Research Quarterly》2011,27(4):338-344
The Arab print publishing industry is characterized by variety and complexity due to a combination of geographical and cultural
diversity. This has resulted in Arab publishers facing a number of challenges, and this article aims to shed light on some
of the most common problems faced by the industry—distribution, censorship and piracy—as well as examining the impact of digital
books on this fledgling industry and how digital publishing can be used to overcome some of these problems. 相似文献