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LIBRARY

3 Michigan State
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This is to certify that the
thesis entitled

THE INFLUENCE OF PAPER ON THE COLOR OF INK USING
MICROSPECTROPHOTOMETRY

presented by

Roxanne Elaine Smith

has been accepted towards fulfillment
of the requirements for the

Master of degree in Forensic Science
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am

THE INFLUENCE OF PAPER ON THE COLOR OF INK USING
MICROSPECTROPHOTOMETRY

By

Roxanne Elaine Smith

A THESIS
Submitted to
Michigan State University
in partial fulfillment of the requirements
for the degree of
MASTER OF SCIENCE
Department of Criminal Justice

2005

ABSTRACT

THE INFLUENCE OF PAPER ON THE COLOR OF INK USING
MICROSPECTROPHOTOMETRY

By

Roxanne Elaine Smith

Microspectrophotometry is a tool used in questioned document analysis. Previous
research has shown that different inks can be distinguished using this technique.
However, little work has been done to determine if the paper influences the color of the
ink.

This project addresses this issue by applying blue, black, and red ballpoint ink to
50 sheets of white paper of various types. The color of the ink was determined by using
the S.E.E. 2100 Microspectrophotometer in the reflectance mode. The ultraviolet and
visible/near-infrared regions were explored. It was discovered that paper type does not
influence the color of ink in the visible/near-infrared region, but difl'erent papers do give

different spectra for the same ink in the ultraviolet region.

This thesis is dedicated to my family;
because of their love and support, I am the person I am today.

iii

ACKNOWLEDGEMENTS

I would like to thank the Michigan State Police for allowing me to use the S.E.E.
2100 Microspectrophotometer along with their other resources. A special thanks to D/Lt.
Thomas Riley and the rest of the Michigan State Police Questioned Document Unit for

their encouragement with this project.

iv

TABLE OF CONTENTS

LIST OF TABLES
LIST OF FIGURES

INTRODUCTION
Backgron
Pre-l970’s Spectroscopic Techniques
Advances in Infrared Techniques
Advances in Video Techniques
Microspectrophotometry
Ballpoint Pen Ink
Paper

EXPERIMENTAL
Materials
Sample Preparation
Microspectrophotometer Analysis of Ink on Paper
Discussion
Conclusion
Forensic Applications and Further Study

APPENDICES
Appendix A
Appendix B
Appendix C
Appendix D

REFERENCES

S.

E

OONG-bWNt-‘F‘

25
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112

LIST OF TABLES

Table 1. Paper Types

Table 2. Instrument Settings for Black Ink Samples in UV Region.

Table 3. Instrument Settings for Black Ink Samples in Visible/NIR Region.

Table 4. Instrument Settings for Blue Ink Samples in UV Region.

Table 5. Instrument Settings for Blue Ink Samples in Visible/NIR Region.
Table 6. Instrument Settings for Red Ink Samples in UV Region.

Table 7. Instrument Settings for Red Ink Samples in Visible/NIR Region.
Table 8. Recycled Paper Samples.

Table 9. Acid Free Paper Samples.

Table 10. Cotton Paper Samples.

Table 1 1. Sulfite Paper Samples.

26

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33

35

37

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91

98

LIST OF FIGURES

Figure 1. Red Ink-Paper] Visible/NIR Region
Figure 2. Blue Ink-Paper 1 Ultraviolet Region.
Figure 3. Black Ink-Paper 10 Visible/NIR Region.
Figure 4. Red Ink-Paper 10 Ultraviolet Region.
Figure 5. Blue Ink-Paper 13 Visible/NIR Region.
Figure 6. Black Ink-Paper 13 Ultraviolet Region.
Figure 7. Red Ink-Paper 35 Visible/NIR Region.
Figure 8. Blue Ink-Paper 35 Ultraviolet Region.
Figure 9. Black Ink-Paper 45 Visible/NIR Region.
Figure 10. Red Ink-Paper 45 Ultraviolet Region.
Figure 11. Red Ballpoint Ink Visible/NIR Region.
Figure 12. Blue Ballpoint Ink Visible/NIR Region.
Figure 13. Black Ballpoint Ink Visible/N IR Region.
Figure 14. Red Ballpoint Ink Ultraviolet Region.
Figure 15. Blue Ballpoint Ink Ultraviolet Region.
Figure 16. Black Ballpoint Ink Ultraviolet Region.
Figure 17. Background-Visible/NIR Region Red Ink Paper 1.

Figure 18. Backgrormd—UV Region Blue Ink Paper 1.

Figure 19. Background-Visible/NIR Region Black Ink Paper 10.

Figure 20. Background-UV Region Red Ink Paper 10.

Figure 21. Background-Visible/NIR Region Blue Ink Paper 13.

vii

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50

51

52

53

54

55

56

57

59

60

61

62

63

LIST OF FIGURES

Figure 1. Red Ink-Paper] Visible/NIR Region
Figure 2. Blue Ink-Paper l Ultraviolet Region.
Figure 3. Black Ink-Paper 10 Visible/NIR Region.
Figure 4. Red Ink-Paper 10 Ultraviolet Region.
Figure 5. Blue Ink-Paper 13 Visible/NIR Region.
Figure 6. Black Ink-Paper 13 Ultraviolet Region.
Figure 7. Red Ink-Paper 35 Visible/NIR Region.
Figure 8. Blue Ink-Paper 35 Ultraviolet Region.
Figure 9. Black Ink-Paper 45 Visible/NIR Region.
Figure 10. Red Ink-Paper 45 Ultraviolet Region.
Figure 11. Red Ballpoint Ink Visible/NIR Region.
Figure 12. Blue Ballpoint Ink Visible/NIR Region.
Figure 13. Black Ballpoint Ink Visible/NIR Region.
Figure 14. Red Ballpoint Ink Ultraviolet Region.
Figure 15. Blue Ballpoint Ink Ultraviolet Region.
Figure 16. Black Ballpoint Ink Ultraviolet Region.
Figure 17. Backgrormd-Visible/NIR Region Red Ink Paper 1.

Figure 18. Background-UV Region Blue Ink Paper 1.

Figure 19. Background-Visible/NR Region Black Ink Paper 10.

Figure 20. Background-UV Region Red Ink Paper 10.

Figure 21. Background-Visible/NIR Region Blue Ink Paper 13.

vii

42

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44

45

46

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49

50

51

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53

54

55

56

57

59

61

62

63

LIST OF FIGURES

Figure 22. Background-UV Region Black Ink Paper 13.

Figure 23. Background-Visible/NIR Region Red Ink Paper 35.
Figure 24. Background-UV Region Blue Ink Paper 35.

Figure 25. Background-Visible/NIR Region Black Ink Paper 45.
Figure 26. Background-UV Region Red Ink Paper 45.

Figure 27. Background-Visible/NIR Region Red Ballpoint Ink.

Figure 28. Background-Visible/N IR Region Black Ballpoint Ink.

Figure 29. Background-UV Region Red Ballpoint Ink.
Figure 30. Background-UV Region Blue Ballpoint Ink.
Figure 31. Background-UV Region Black Ballpoint Ink.
Figure 32. Recycled Papers-Visible/NIR Region Black Ink.
Figure 33. Recycled Papers- Visible/NIR Region Blue Ink.
Figure 34. Recycled Papers- Visible/NIR Region Red Ink.
Figure 35. Recycled Papers- Ultraviolet Region Black Ink.
Figure 36. Recycled Papers— Ultraviolet Region Blue Ink.
Figure 37. Recycled Papers- Ultraviolet Region Red Ink.
Figure 38. Acid Free Papers- Visible/NIR Region Black Ink.
Figure 39. Acid Free Papers- Visible/NIR Region Blue Ink.
Figure 40. Acid Free Papers- Visible/NIR Region Red Ink.

Figure 41. Acid Free Papers- Ultraviolet Region Black Ink.

viii

65

66

67

68

69

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71

72

73

77

78

79

80

81

82

85

86

87

88

LIST OF FIGURES

Figure 42. Acid Free Papers- Ultraviolet Region Blue Ink.
Figure 43. Acid Free Papers- Ultraviolet Region Red Ink.
Figure 44. Cotton Papers- Visible/NIR Region Black Ink.
Figure 45. Cotton Papers- Visible/NIR Region Blue Ink.
Figure 46. Cotton Papers- Visible/NIR Region Red Ink.
Figure 47. Cotton Papers- Ultraviolet Region Black Ink.
Figure 48. Cotton Papers- Ultraviolet Region Blue Ink.
Figure 49. Cotton Papers- Ultraviolet Region Red Ink.
Figure 50. Sulfite Papers- Visible/NIR Region Black Ink.
Figure 51. Sulfite Papers- Visible/NIR Region Blue Ink.
Figure 52. Sulfite Papers- Visible/N IR Region Red Ink.
Figure 53. Sulfite Papers- Ultraviolet Region Black Ink.
Figure 54. Sulfite Papers- Ultraviolet Region Blue Ink.

Figure 55. Sulfite Papers- Ultraviolet Region Red Ink.

Figure 56. Papers 7a and 7b- Visible/NIR Region Black Ink.

Figure 57. Papers 7a and 7b- Visible/NIR Region Blue Ink.
Figure 58. Papers 7a and 7b- Visible/NIR Region Red Ink.
Figure 59. Papers 7a and 7b- Ultraviolet Region Black Ink.
Figure 60. Papers 7a and 7b- Ultraviolet Region Blue Ink.

Figure 61. Papers 7a and 7b- Ultraviolet Region Red Ink.

ix

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92
93
94
95
96

97

100
101
102
103
104
105
106
107
108
109

110

LIST OF FIGURES

Figure 42. Acid Free Papers- Ultraviolet Region Blue Ink.
Figure 43. Acid Free Papers- Ultraviolet Region Red Ink.
Figure 44. Cotton Papers- Visible/NIR Region Black Ink.
Figure 45. Cotton Papers— Visible/NIR Region Blue Ink.
Figure 46. Cotton Papers- Visible/N IR Region Red Ink.
Figure 47. Cotton Papers- Ultraviolet Region Black Ink.
Figure 48. Cotton Papers- Ultraviolet Region Blue Ink.
Figure 49. Cotton Papers- Ultraviolet Region Red Ink.
Figure 50. Sulfite Papers- Visible/NIR Region Black Ink.
Figure 51. Sulfite Papers- Visible/NIR Region Blue Ink.
Figure 52. Sulfite Papers- Visible/NIR Region Red Ink.
Figure 53. Sulfite Papers- Ultraviolet Region Black Ink.
Figure 54. Sulfite Papers- Ultraviolet Region Blue Ink.

Figure 55. Sulfite Papers- Ultraviolet Region Red Ink.

Figure 56. Papers 7a and 7b- Visible/NIR Region Black Ink.

Figure 57. Papers 7a and 7b- Visible/NIR Region Blue Ink.
Figure 58. Papers 7a and 7b- Visible/NIR Region Red Ink.
Figure 59. Papers 7a and 7b- Ultraviolet Region Black Ink.
Figure 60. Papers 7a and 7b- Ultraviolet Region Blue Ink.

Figure 61. Papers 7a and 7b- Ultraviolet Region Red Ink.

ix

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110

INTRODUCTION
Background

When someone not versed in the forensic sciences thinks of a questioned
document case, the immediate thought is handwriting analysis, or comparing an unknown
sample of handwriting to a known or exemplar. The reality is, however, that questioned
document examinations cover a much wider scope. It encompasses areas such as
typewriter print, typewriter ribbon, indentations, alterations, obliterations, charred
documents, watermarks, printers and copy machines. Techniques include analysis,
comparison and dating methods of ink, paper and any other media used to create a
document (i.e. toners, pencils, crayon, etc.).

A common question posed to document examiners is whether or not a document
is fraudulent or a forgery. There are many techniques available to address these
question(s). One way to address the forgery question is to examine the ink on the
document. There are difl'erent components (pigments, dyes, solvents) that make up ink.
Analysis can be done by chemical analysis, chromatography, optical, and spectroscopic
techniques.

Optical and spectroscopic techniques are mostly non-destructive. It is always
important to consume as little evidence as possible. According to the “Best Evidence
Rule” the original document is to be presented as evidence when available, which is why
a document examiner would want to keep it intact as much as possible.

Spectroscopy exposes the electromagnetic spectrum to a sample; the results of the
exposure produce a spectrum. The energy that is absorbed or transmitted at certain
wavelengths makes it possible to measure differences, if any, in inks. The

electromagnetic specn'um is a range of wavelengths where gamma rays are the shortest

(as small as 10 (’nanometers) and radio waves are the longest (up to kilometers in
length). Part of the electromagnetic spectrum is called the infrared (IR) region. The IR
region is furtherbrokendown intothe farIR,mid IR,andnearIR. Inthispaperthenear
infrared (NIR), visible, and ultraviolet (UV) regions will be used to characterize inks.
The IR range is fi'om approximately 2500nm to 760nm, visible range is fi'om
approximately 760nm to 360nm, and the UV range is from approximately 360nm

tolOnm.L2

Pro-1970’s Spectroscopic Techniques

Prior to the 197 Os, the technique most commonly used for showing differences
between inks was by utilizing photographic effects. In one photographic technique,
reflected photography, UV and IR filters are separately put over the lens of the camera
and pictures are taken of the questioned document. The document, ink and paper will
reflect or absorb different wavelengths of light. The reflected light will bounce back
towards the camera and the filter over the lens will transmit certain wavelengths.

UV fluorescence and IR luminescence photography employ both excitation and
barrier filters. An excitation filter placed over the light source allows only certain
wavelengths of light to illuminate the sample and the barrier filter functions the same as
in reflected photography. Unlike with reflected photography, however, the images
appear to “glow” in the photograph.

The use of UV and IR photography was a very tedious endeavor. A document
would need to be photographed many times. Depending on the analyses the examiner

was performing, he would have to photograph the document at different exposure times

(the amormt of time the shutter was open on the camera in order to see the effect) and
light intensities. The examiner would then have to change the filters on the camera
and/or the light source and re-photograph the document. After the photos were taken,
they would need to be developed which added on even more tithe. The whole

photography procedure would take days, if not weeks, depending on the case.

Advances in Infrared Techniques

Although photography proved useful cases were being cleared slowly, because it
took a long time. Scientists searched for new and improved more efficient techniques
timing the 19708. Two areas showed promise: video analyzers and IR microscopy.

A Fourier transform infiared (FT -IR) spectrophotometer was coupled with a
microscope. The theory was if a document was put on under a FT—IR microscope, then it
would be possible to focus on the area in question and gather an IR spectrum of the ink.

Since inks are made up of various pigments, dyes, and solvents, they are thought
to have different IR spectra. With handwritten documents, however, this was not exactly
thecase. Theinkabsorbed intothepaper,thuswhentheinksamplewasanalyzedthe
paper created interferences, so a useful spectrum could not be attained.3

Even though FT-IR microscopy was not successful for ink analysis, a microscope
was developed which built upon the principles of IR photography. Essentially, a low
power microscope was fitted with an image converter tube, which changed the 1R light to
a blue-green image on a phosphor screen.‘1 The light source had filters which prevented
any light except near-IR light to illuminate the document. For IR fluorescence studies,

only visible light was allowed to illuminate the document and IR filters were placed over

the objectives, so only IR light could pass. An advantage to this system over the older
photography method is that real-time photographs could be taken, instead of waiting for
various exposure times.

The next big development was the infrared video analyzer. This system, as its
name implies, employed the use of a video camera, with a Silicon Vidicon camera tube,
and a closed circuit display. The Silicon Vidicon tube was more sensitive than other
camera tubes and very responsive to the IR light out to about 1150nm.5 The documents
were subjected to the same analyses as before, but it was possible to view the results
immediately. There was no waiting for picture development. The “Doya Infi'ared Video
Analyzer” 6 (Doya system), used a filterwheel with six different filters that divided the IR
region with different sources of excitation. As with the IR microscope, the images on the
document could be viewed in real-time. Limitations to this system included that the work
had to be done in the dark and photographs of the item had to be taken fi'om the monitor.
In other words, a photograph was taken of the monitor while the item was on the screen.
This was a cumbersome task at times, since a photography system had to be set up with

proper exposure times in order not to distort the image.

Advances in Video Techniques

Beginning in the mid-19808, Foster & Freeman, LTD began to market an
instrument called the vsc, or Video spectral Comparator. 7 The vsc, based on infrared
video analyzers, increased the number of excitation/barrier filter combinations, allowing
for a larger number of comparisons; a document compartment eliminating the need to

perform examinations in the dark; and the ability to digitally save and print out images.

With these improvements, the VSC replaced infi'ared video analyzers, such as the Doya
system. One drawback to the early VSC instrument, however, was that each
excitation/barrier filter combination had to be used manually.

In the late-1990s, Foster & Freeman introduced the VSC 2000 and VSC2000/HR
These systems automated some applications by allowing more than one area to be
examined simultaneously. They employed the use of two apertures for comparison
purposes and automatically screened through the different wavelengths. However, they
were not infallible and some manual screening was necessary. These systems were much
quicker than the previous models of the VSC. The “HR” stands for high resolution; with
this feature, it is possible to get clearer and more accurate images from the document.
The VSC-ZOOO/HR has microspectroscopy functions as well. It is possible to analyze the
ink sample by taking an absorption spectrum over many different wavelengths, usually in
the visible range. The amount of light absorbed by the ink sample at a particular
wavelength is recorded. It is then possible to compare spectra from different ink samples.
Ink samples could have arisen from the same source if the absorption patterns are the
same.

Tanaka investigated the VSC 2000’s ability to provide useful spectra in order to
discriminate between ink samples.8 He used 33 pens, three different colors of ink, and
one paper type. The samples were analyzed in the visible to near IR range (400-
1000nm).9 He observed that discrimination was possible between inks, but the
application was limited due to instrument problems, such as the age of the IR light

source, and the lower sensitivity of the camera in the ranges 400-500nm and 800-

lOOOnm;lo he also suggested that external factors, such as paper type“, could have

caused errors in measurement.

In order to eliminate the factor of paper type, a follow up Study was done by
Mohammed et a1. Using the VSC 2000, four different types of white paper, four types of
colored paper fiom the same manufacturer, and many different types and colors of inks
were tested.12 The results fiom this study showed that the amount of variation was
negligible among the different type of white paper and colored paper. Although this
experiment also analyzed the inks between 400 and 1000nm, limitations of the camera,

precluded using data outside the 450-950nm range.l3

Microspectrophotometry

Microspectrophotometry is a one of the newest tools available to questioned
document examiners. The microspectrophotometer does just what it name implies. It is a
microscope, so it is possible to magnify the sample; it has a camera attached to it, so the
ability to take a picture is available; it has a spectrometer attached to it in order to gather
data over a range of wavelengths of light. A sample is placed on the stage of the
microscope and light is either transmitted through or reflected off of the sample. The
light not absorbed by the sample will then pass through a difli'action grating in order
separate the wavelengths of light, which then move on to the detector.”

The microspectrophotometer has shown successiin paint and fiber analysis, so in
theory it may just a useful for ink analysis. Research began as early as the 1960s to
develop methods in which the microspectrophotometers could be used to determine ink

color. Finding a reliable method would allow examiners to determine whether a check

hadbeenalteredoracertificatewas fi'audulent. Inordertodetermine ifa
microspectrophotometer could differentiate similar inks, in the early 19803, Pfefferli used
a Nanospec lOS microspectrophotometer to examine similar colored inks. He concluded

that this technique was useful in ink discrimination.ls

Ballpoint Pen Ink

There are many different types of ink used in documents. The most popular
instrument used in modern handwritten documents is the ballpoint pen.

A ballpoint pen is made up of an ink reservoir, which holds the ink, a ball bearing,
and a socket in which the ball bearing sits. The ball acts as the applicator and protects the
ink inside of the reservoir from drying up. When the ball rolls across paper gravity
causes the ink to flow through the reservoir onto the ball bearing and the ink is then
applied to the paper.16

The optimal ballpoint pen ink is quick drying, viscous, but thin enough to be
applied smoothly through an opening roughly the size of a pinhead. Ballpoint pen ink
consists of solvents, dyes, and sometimes pigments in suspension. The solvent acts as a
vehicle for the dyes and pigments; when the ink is applied to the paper, the vehicle will
evaporate leaving the dyes and pigments. Modern ball point pens utilize glycol or benzyl
alcohol based solvents as the vehicle in ink. Additives are added to the formulation to
alter the characteristics of the ink. These may include fatty acids for lubricating the ball
and socket, resins to be used as viscosity adjustors and/or lubricators, and other additives
employed in a capacity such as corrosion inhibitors.l7 Dyes can make up to

approximately half of the ink formulation resulting in a very viscous ink.18 The dyes

most commonly used in ball point inks are metallized chelated dyes, which can vary in

color and are stable when exposed to light.19

Paper

Most paper produced in the United States originates from wood. Other natural
sources for papermaking include, but are not limited to cotton, flax, and straw. Cellulose,
a polymer of straight chain glucose molecules, makes up the fibrous portion of plants.
Cellulose is hydrophilic, which serves to increase the bonding strength of the fibers.20
Paper is a flat sheet material made out of a collection of these fibers bonded together.
Plant materials also contain lignins which hold the fibers together and give the plant its
strength. Lignins are hydrophobic and decrease the stability of paper.21 Fibers need to be
separated from the lignins, which is done by a process called pulping.

There are two forms of pulping: mechanical and chemical. In mechanical or
groundwood pulping, as the name implies, the plant material is ground up. Nothing is
lost in this pulping process, including lignins. Papers made through the mechanical
pulping process are used in newsprint and paperback books, where longevity of the paper
is not immrtant. Groundwood pulps can be brightened through the use of peroxides.22

With chemical pulping, the fibers are not only separated, but also purified.
Different chemical pulping methods are used, including sulfite, soda, and sulfate (also
know as kraft). These methods leave small amounts of lignins behind. The resulting
pulps are red to brown in color; therefore further bleaching of the pulp is needed, which
also assists in the removal of residual lignins and other noncellulosic material. The result

is purified pulp and whitened fibers. Bleaching agents can be either oxidizers, such as

chlorine or hydrogen peroxide; or reducers, such as sulfur dioxide. Since there is loss of
ligneous and noncellulosic material, bleaching differs from the brightening technique
used for the groundwood pulps where there is no loss of ligneousmaterial. Sulfite papers
were once produced using an acid digestion utilizing calcium bisulfate and sulfuric acid.
The process has since been modified to either neutralize the pulp during the cooking
process with a combination of bisulfite and magnesium, or processing the pulp utilizing a
slightly basic (pH 8-9) soda base. However, the term sulfite paper now refers to any
paper meeting certain physical specifications which has been processed via chemical
pulping and bleaching.”

Cotton fibers have the highest cellulose content of any plant. Cotton fibers are
isolated through an alkaline cook with soda ash and/or lime followed by bleaching.”
Cotton fiber papers are the most durable and more expensive than wood pulp papers.
Cotton fibers can be blended with purified wood pulp to enhance the properties of the
paper.

With dwindling natural resources, it has become important to turn to alternate
sources for papermaking. The most papillar is recycled paper. Previously used paper is
subjected to a pulping process to recover fibers from the rest of the paper. This usually is
a mechanical process utilizing water and steam, but may also employ surfactants or other
solvents. This will help remove ink fi'om papers previously printed on and fibers too
small for further paper production. The recovered fibers will then be mixed with virgin
pulp for a future paper product.”

During the papermaking process, a variety of chemical additives, not associated

with the pulping process, are introduced to increase the versatility of paper. As expected,

the chemical additives are usually nonfibrous and alter the chemistry of the paper. Sizers,
fillers, dyes, pigments, and binders are examples of these additives.

There are two types of sizing additives: internal and surface. Internal sizers are
added to the paper pro-sheet formation and throughout the paper. Internal sizers control
feathering of inks and other liquids by controlling liquid penetration. Rosin is the most
common internal sizer and is applied through an alkaline paste; the rosin is then
precipitated out when acidic alum is added.“5 The rosin then adheres to the cellulose
fibers. A drawback to this application is that the pH of the paper is 4.5 to 5.5, which is
too acidic for long term storage of documents. Alkaline materials are often added in
order to neutralize the paper. Newer internal sizing agents can be applied under neutral
or slightly alkaline conditions.”

Surface sizers are applied to the paper post-sheet formation. These are typically
found near the surface of the paper and include additives such as glue, gelatin or starch.
Surface sizers are utilized in order to improve surface properties, for example water
resistance, smoothness, and printability.28 Surface sizers are commonly used in the
production of bond and writing papers.

Fillers affect the opacity and smoothness of paper. Fillers are ground minerals
and consist of clay, calcium carbonate, and titanium dioxide. Calcium carbonate, in the
form of ground limestone or chalk, is employed in alkaline papers. Titanium dioxide is
highly effective in improving brightness and opacity, however, it is also the most
expensive of the filler additives.29 Filler additives have a low affinity for cellulose and if
too much is used, then the result is a weakening of the paper. Pigments used to color

paper are also considered filler additives since they are solid particles.

10

Synthetic, organic or water-soluble paper dyes fall into three categories. The first
is direct dyes; these dyes have a strong affinity for cellulose and are most commonly
used. The second category is basic dyes; these are most commonly used with
groundwood papers due to their high affinity for fibers with lignin. Also, non-bleached
paper can utilize basic dyes. The third category is acid dyes. They have little to no
affinity for cellulose and are applied in the same manner as internal sizers. 3°

It is important to note that almost all paper is colored, even white paper. Blue dye
or pigment is added to the paper to make it look whiter or increase the brighmess. By
changing the brightness, properties such as legibility and printing contrast are affected.”
Increasing the brightness of a paper actually decreases the yellow hue of the paper or
pulp. Light is absorbed by the paper in the ultraviolet region of the spectrum and
remitted in the blue portion of the visible spectrum.32 A value of 100 is the highest
brightness level given to paper. Since brighteners are absorbed in the UV region of the
spectrum, this can cause interference with the reflectance of ink in this region. The dyes
used for this are said to be fluorescent dyes, since they absorb in the UV region and remit
in the visible region; in other words, the dyes fluoresce since it takes high energy and
emits lower energy. Fluorescent paper uses fluorescent dyes and has a measured

brightness in the mid-90s.33

ll

EXPERIMENTAL

This study originated from an evaluation done on document sampling techniques
to be used for microspectrophotometer analysis at the Michigan State Police Forensic
Laboratory.34 Spectra obtained fiom preliminary work done in the UV region showed
deviation. This introduced the question of whether paper affects the spectra in the UV
and Visible/NIR regions.

If ink contains dyes that are sensitive to pH differences the color may change.
Coatings and bindings used on paper may also affect the color of the ink, if the dyes of
the ink are chemically modified by these factors. The purpose of this study is to

determine whether or not paper significantly influences the color of ink.

Materials

S.E.E. 2100 Microspectrophotometer
—Light source 75 watt xenon lamp with stabilized power supply
-15x objective
-UV region 220-499nm; Vis/NIR region 370-1000nm

Paper samples (Appendix A, Table l)

Ballpoint ink pens
-Blue Ballpoint Ink: Papermate Comfort Mate, Fine, 0.8mm
-Black Ballpoint Ink: Papermate Comfort Mate, Fine, 0.8mm
-Red Ballpoint Ink: Pilot Better Grip, Medium

Microscope slides, cover slips, cellophane tape, metal washer

12

Sample Preparation

49 papers were selected for analysis. One of these papers, Weyerhauser First
Choice Premium Multiuse Paper, had a coated and uncoated side, with the uncoated side
tinted blue; this was the only paper in which both sides of the paper were examined
(Papers 7a and 7b), bringing the total number of paper samples up to 50. I

Straight lines on each paper were drawn using three ballpoint pens, red, blue, and
black in color. Pen pressure and speed were kept constant. For each ink color and paper
sample, incisions were made in the paper using a scalpel; the top layer of paper was
carefully teased fi'om the rest of the paper in order to remove the inked sections of paper
(some of the paper samples needed to be scraped in order to remove addition paper
fibers). The sections of paper containing ink were placed on a microscope slides. A
paper and ink sample was seemed to the microscope slide by placing a cover slip over the
paper. Clear tape was used to fasten the coverslip to the microscope slide. The ink from
each ballpoint pen was placed on a microscope slide by writing directly on the slide and
covered in the same manner as the paper samples.

One of the slides containing a paper and ink sample was placed on the stage of the
S.E.E. 2100 Microspectrophotometer. The instmment was set to obtain transmission
spectra; however the paper sample was too thick for light to pass through. The S.E.E.
2100 was then changed to reflectance spectroscopy. Unfortunately, the paper sample was
too thin for light to reflect properly. The coverslips were removed from the slides
containing only the ballpoint ink and transmission spectra were obtained for each of these

samples.

13

Since the mounted paper and ink samples were not usable, the original, uncut
inked paper samples were used. The paper samples were placed on the stage of the
S.E.E. 2100 and kept in place with a metal washer. Reflectance spectra were obtained.

Images in this thesis are presented in color.

Microspectrophotometer Analysis of Ink on Paper

Before collecting data with S.E.E. 2100 Microspectrophotometer, the instrument
was calibrated, in the visible/near-infi'ared (V is/NIR) and ultraviolet (UV) regions, using
NTST traceable filters. Since data for each paper/ink combination was collected in one
region on a given day, the instrument was only calibrated in the region the data was being
collected. In other words, the instrument was not calibrated for both the Vis/N IR and UV
regions on the same day.

Once the instrument was calibrated, data was collected for each of the paper/ink
combinations by placing a paper on the stage of the S.E.E. 2100 and securing it with the
metal washer. The microspectrophotometer was optimized for each sample of paper;
Appendix A, Tables 2-7 contains instrumental conditions. A background scan was then
taken of the paper; in order to represent the matrix in the best possible way, the
background sample was a section of the paper as close to the ink line as possible. Once
the background scan was taken, absorbance spectra of three sections of the ink line, as
close to the backgmlmd sample as possible, were obtained. This procedure was repeated
twice more for each paper/ink combination. For the ballpoint ink samples, the same

procedme was used as with the paper/ink samples, but the background was the

14

microscope slide. A total of three background spectra and nine ink spectra were collected
for each paper/ink combination and ballpoint ink, in both the Vis/NIR and UV regions.

Using GRAMS/32 software, mean and standard deviation, spectra for each of the
paper/ink combinations, in both regions, were calculated (Appendix B, Figures 1-16).
Oncethemeanandsmndarddeviafionspecnawemcalculateithemeanspecnawem
used to compare the different paper types. The three background scans for each

paper/ink combination were also examined (Appendix C, Figures 17-31).

Discussion

A total of 150 paper/ink combinations (50 paper samples multiplied by 3 ink
samples) were analyzed in both the Vis/NIR and UV regions, for a total of 300 sets of
spectra. The relative peaks of the paper/ink combinations were compared. The
intensities were not a factor in this study, since the intensities change depending on the
concentration ofthe inks in different samplings.

It has been shown through past experiments with FT -IR microscopy and
microspectrophotometry that paper could absorb some of the light when reflectance
spectroscopy was used Since paper is not a consistent matrix, it is thought to be possible
thatthebackgroundcouldaffectthespectrumoftheink. Whenaspectrumofinkwas
taken, the instrument’s software corrected the spectrum based on its corresponding
background If the spectra of the ballpoint inks are compared to the spectra of any of the
ink/paper combinations, it is obvious that paper does affect the color of the ink.

Since paper does affect the color of the ballpoint pen ink, it is important to

determine whether or not the paper consistently affects the color of ink the same way.

15

Paper is made up of a myriad of things (fibers, fillers, sizers, etc.). The matrix of paper is
inconsistent. This inconsistency could interfere with the consistency of the ink spectra
across a sheet of paper. To address this issue, the mean and standard deviation for each
set of background spectra were calculated. Due to the 150 paper/ink combinations
analyzedinboththeVis/NIRandUVregions,therewereatotal of300setsof
background spectra. The background spectra for a particular sheet of paper were
consistent. Any interference would affect the whole sheet of paper. The color of the ink
would be consistent on a particular sheet of paper.

The consistency of ink color on a particular sheet of paper was also determined by
looking at the mean and standard deviation of the original nine ink spectra. The relative
peak heights of the nine original spectra were consistent. With the ink spectra taken in
the Vis/NIR region, the standard deviations were quite small. In the UV region, the
standarddeviationwasnotassmall, butthe maximumdifferencewasno greaterthan
0.25 (Paper #35, Blue Ink, 280—350nm). This, with the uniformity of the background
spectra, confirms that the color of ink is consistent on a particular sheet of paper when
examined in the Vis/NIR and UV regions.

Instnunental limitations restricted the wavelength ranges in each region. There is
overlapping between the UV and Vis/NIR regions due to pre-set instrumental parameters.
For the UV region, the range was 280-499 nm; for the Vis/NIR region for the blue and
black ballpoint inks, the range was 450-800 nm and for the red ballpoint ink, the range
was 400-800nm. Between 800-1000nm, interferences from the paper caused spectra in

this region to be unusable.

l6

The different types of papers explored in this study were Recycled, Acid Free,
Cotton Fiber, Sulfite, and both sides of the Weyerhauser First Choice Premium Multiuse
Paper. For each of the different types of paper, mean spectra were selected and compared
within each ink color. The papers types were not mutually exclusive. Some of the paper
samples were more than one type (i.e. acid fiee and sulfite), so direct comparisons were
not made between paper types (i.e. recycled papers versus acid fiee papers). By taking
spectra fi'om each group, the multiple paper types were compared (Appendix D, Tables 8-
11, Figures 32-61).

By comparing selected spectra for each paper type in the Visible/NIR region, no
significant differences were noted in the relative peak heights of the spectra. The
ballpoint ink spectra fiem each of the papers were almost identical. The paper could be
acid free, recycled, sulfite or cotton bond and the ink spectra would be practically the
same. Paper type, or the chemistry of the paper, does not affect the color of ink in the
Visible/N IR region.

In the UV region however, there were significant spectral differences; there were
differences in the relative peak heights. Some of the paper types showed larger
differences in the ink spectra than other paper types. The blue ballpoint ink showed more
differences between the spectra and the black ballpoint ink showed the least amount of
differences between the spectra.

The recycled papers which were compared contained 30% recycled material
except for paper 14 which was 10% recycled material. The recycled content of these
papers were exposed to surfactants and solvents which could have carried over into the

finished product. Depending on the type of surfactant/solvent and amount of carry over

17

present, this could affect the interaction of the ink with the paper, resulting in variation of
the spectra. By looking at the comparison of the spectra for each of the ballpoint inks,
the difi‘erences in the relative intensities are obvious. The spectrum for paper 14 was
different fiem the rest of the spectra. This was the only paper that had a gloss finish.
Gloss finishes on paper are usually due to the application of clay filler. These fillers can
alter the pH and reflective properties of the paper. Papers 3 and 11 had similar spectra.
These papers were produced by the same manufacturer, but paper 11 had a blue-white
shade to it. This dyeing effect probably resulted in the differences of the spectra on this
paper with respect to spectra on other papers. Papers 19 and 21 had similar spectrato one
another. These papers were produced by the same manufacturer, both had a
manufacturer described “natural” color. Paper 21 was acid fiee and paper 19 had an
opacity value of 92. The higher the opacity value, less printing will show through on the
opposite side of the paper. Fillers, which are commonly alkaline in nature, are used to
increase the opacity. The differences in the pHs of the papers could have affected the ink
resulting in the different specua.

For the blue ballpoint ink, papers 27 and 30, each produced by the same
manufacturer, had similar spectra in the 425-499nm region. These papers did not have a
brightness value and had a manufacturer described “warm white” color. Since these
papers did not have a brightness value, it is probable these were not treated with dyes, but
could have been bleached. Papers 43 and 48 had similar spectra. Papers 43 and 48 are
produced by the same manufacturer and have a brightness of 98. When the brightness of
a paper reaches the mid-high 90s, the paper usually has been treated with a fluorescent

dye. The fluorescent dyes absorb in the UV region and emit in the visible region, these

18

dyes could interfere with the ink spectrum. This interference will cause the ink spectrum
to be different than other spectra of the same ink on other sheets of paper which do not
used fluorescent dyes.

Acid free papers have a pH of at least 7.0 and is commonly has a pH 8.5-9.0. The
red and black ballpoint ink spectra showed more consistency with the acid free papers,
but there were still notable differences between the spectra. The blue ballpoint ink
spectra from the acid fiee papers showed the most variation. Again, the spectra from
paper 14, for all ballpoint inks, were difl‘erent than the other spectra. For the red and blue
ballpoint inks, the spectra fiem paper 21 were not similar to other spectra. This paper
was 30% recycled material, with no brightness value and a manufacturer described
“natural” color. For the blue ballpoint ink, paper 28 produced a dissimilar spectrum.
This paper was a sulfite sheet with a brightness of 96. A brightness value this high could
be attributed to fluorescent dyes, which was discussed previously. Paper 28 is a sulfite
paper, but since it is considered acid free it can be assumed that it has a pH of a least 7.0.
The difi‘erent spectra resulting from this paper is probably due to the dye used to brighten
it.

Cotton paper is produced in an alkaline environment. The spectra fi'om the red
and black ballpoint inks seemed to produce more similar spectra. For the red ballpoint
ink, papers 34 and 42 produced similar spectra in the 280—350nm region and then
deviated after that. These papers were produced by different manufacturers, but each
contains 25% cotton fiber. The brightness of paper 34 is 98.5 and paper 42 is 93. Since
the brightness value is so high for paper 34, it is possible a fluorescent dye was applied to

the paper. Papers 48 and 49 are produced by the same manufacturer, each have a

19

brighmess of 98, and are manufacturer described as “fluorescent white”. Based on this
information, it can be assumed that these papers have been treated with fluorescent dyes.
Each of the ballpoint ink spectra fiem these papers does not resemble the spectra from
paper 34.

The blue ballpoint ink spectra were very different among the cotton papers. The
spectra for papers 12 and 48 are similar in the 350—400nm region. These papers are not
produced by the same manufacturer, do not have similar brightness, and have different
amounts of cotton content. Paper 42 has a very different spectrum than the rest This
paper has a brightness of 93, is 30% recycled materials, and 25% cotton content.

The sulfite papers examined were acid fiee. This suggests the papers may have
not been produced via an acid process, but instead have specific physical properties.
These papers could have either been bleached and/or brightened. The type of bleach
and/or brightener used could result in different spectra. All of the sulfite papers were
produced by the same manufacturer and resulted in fairly similar spectra for the black and
red ballpoint inks. For the black ballpoint ink, paper 32 produced a spectrum very
different fiem the rest of the papers in the 280-350nm region. Paper 32 has 30% recycled
material and has a brightness of 87. A brightness value at this level suggests that a
fluorescent dye was not used. However, papers 26 and 29 also have the same amount of
recycledmaterialandbrightnessvalueaspaper32,butthespectrafi'omthosepapersare
not the same as the spectrum fiem paper 32. The red and blue ballpoint ink spectra for
paper 32 also varied. Paper 32 also produced different spectra with respect to the red and
blue ballpoint inks. For the blue ballpoint ink, papers 25, 28, and 38 each produced

different spectra. Each paper is acid free and papers 25 and 28 have a brightness of 96

20

and paper 38 has a brightness of 98.5. The high brightness values suggest that a
fluorescent dye was used. It is possible the dye was different enough to cause the
differences in the spectra.

Papers 7a and 7b were fiem the same sheet of paper. Paper 73 was from the
white, coated side of the sheet and paper 7b was from the side which had a blue tint to it.
For each of the ballpoint inks the two sides of the same sheet of paper produced different
spectra. By comparingthese speetratothe spectraofthe ballpointinksonthe
microscope slides, it is hard to distinguish which dye has the greatest affect on the inks.
It is obvious that the fillers and/or dyes used on this paper affected the spectra ofthe ink
in different ways.

TheUVspecuaoftheballpointinksareafi‘ectedbythe chemistryofthepaper.
Although, the papers could be placed into categories, such as recycled, acid free, etc., the
paper types are not mutually exclusive. For example, sulfite papers were all acid fiee,
some had an amount of recycled material, and the brightness values were different
There were not two papers that shared the same combination of qualities. Each paper had
its own unique chemistry. The unique chemistry of each sheet of paper affected the UV
spectra of inks differently. The ballpoint ink type also contributed to the variation of the
spectra. The blue ballpoint ink had the most variation in the UV region whereas the
black ballpoint ink had the least amount of variation. Since the ink formulations are

unknown, it can not be determined which ink property caused the spectra to be different.

21

 

Conclusion

Paper type does not affect the color of ink in the Visible/NIR region, ranging fiem
450-800 nm for the blue and black ballpoint inks and 400-800 nm for the red ballpoint
ink. The different papers did affect the color of the ink in the UV region, ranging from
280—499 nm. The differences were not specific to a certain paper type (i.e. recycled vs.
acid fiee papers). Based on the relative peak heights of the spectra, a pattern was not
recognized in order to assign a specific spectrum to a paper type. The tmique chemistry of
each paper did appear to influence the ballpoint ink spectra differently. The spectra for

the blue ballpoint ink were most influenced by the paper chemistry in the UV region.

Forensic Applications and Future Study

What does this study reveal to questioned document examiners? This study
shows that paper type does not affect the color of the ink in the Visible/N IR region.
Questioned document examiners can reliably use microspectrophotometry to compare ink
samples on different sheets of paper in the Visible/NIR region. However, questioned
document examiners should be cautioned against using this technique in the UV region.
Microspectrophotometry in the UV region has shown to produce unreliable data for the
same ink on different sheets of paper. Although the background of paper was controlled
for, there was still much deviation in the UV spectra. It is possible that the dyes, fillers,
etc. added to some papers either complex with or alter the ink, which results in the
variation of the spectra. It is not even known if two different inks on the same paper can

be distinguished. This is an area which needs further study.

22

It would be wise to do another study, using other types of paper such as paper of
different colors and tissue type papers. Colored papers could be produced using pigments
as filler. The pigments could change the matrix of the paper so it could be diflicult to get
consistent spectra Tissue paper is manufactured using different processing methods than
printing paper; a change in the paper chemistry could result in spectra different than what
has been shown on printing paper. Further work could be done in the UV region in order
to discover why the blue ballpoint ink seemed to have the most spectral variation. Since
ballpoint ink was the only ink type examined, other ink types also need to be explored
like gel-pen inks. Gel-pen inks are water based with insoluble colored pigments as

Opposed to glycol based inks of the ballpoint pens.35

23

APPENDICIES

24

Appendix A

25

Table 1. Paper Types.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Paper Paper Weight
# Brand/Name lightness (lb) Recycle Misc.
Weyerhauser .
l Huskey Offset 84 50 20% Smooth finish
2 Huskey Offset 84 50 20% Vellum finish
Recycled Huskey
3 Offset 84 50 30% Smooth finish
4 Corgg Opaque 94 40 Smooth finish
5 Cougar Opaque 94 4O Vellum finish
First Choice
Premium Multiuse
6 Paper
First Choice
Premium Satin One side Coated, uncoated
7a,7b Coated Inkjet side tinted light blue
International
Paper
Willamsburg Smooth finish/ Blue-white
8 Offest 84 45 shade
Willamsburg Vellum finish/ Blue-white
9 Offest 84 20/50 shade
. Willamsburg Vellum finish/ Blue-white
10 Offest 84 24/60 30% shade
Willamsburg Smooth finish/ Blue-white
11 Recycled Offest 84 20/50 30% shade
Strathmore Bond Acid free/ 25% cotton fiber
12 Opaque 88.5 24 bond/
Xerox
Multipurpose
13 Primary Image 84 20
Wausau
Exact Gloss Gloss/ text/ acid free/ blue-
14 Coated 89 70 10% white shade
Mattel text/ acid free/ blue-
15 Exact Matte 96 70 10% white shade
16 Exact Tag 90 150 30% acid free
17 Exact Index 90 90 30% acid free
18 Vellum Bristol 90 80 acid fiee
"natural" color / opacity =
19 Offset Opaque n/a 70 30% 92

 

 

 

 

 

 

26

 

 

 

 

 

 

 

 

 

 

 

 

25

 

26
27

28

i
L1

&

 

Table 1(cont . Paper T

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Paper Paper Weight
# Brand/Name Brightness (lb) Recycle Misc.
20 Multipurpose 88 20/50 "white" color / acid free
21 Multipurpose n/a 20/50 30% "natural" color / acid free
22 Royal Silk 94 24 acid free
23 Royal Linen 92 24 30%
24 Exact Color Copy 96 24 acid free
Fox River Paper
Co.
Howard Linen
"Bright white"/ acid free/
25 Writing Paper 96 24 sulphite sheet
"White"/ acid free/
26 Writing Paper 87 24 30% sulphite sheet
"Warm white"/ acid free/
27 Writing Paper n/a 24 30% sulphite sheet
"Bright white"/ acid free/
28 Text Paper 96 70 sulphite sheet
"White"/ acid free/
29 Text Paper 87 70 30% sulphite sheet
"Warm white"/ acid free/
30 Text Paper n/a 70 30% sulphite sheet
"Bright white"/ acid free/
31 Cover Paper 96 80 sulphite sheet
"White"/ acid free/
32 Cover Paper 87 65 30% sulphite sheet
"Warm white"/ acid free/
33 Cover Paper n/a 80 30% sulphite sheet
Fox River Select
25% Cotton/ acid free/
34 25 Cotton 98.5 24 bright white
25% Cotton/ acid free/
35 25 Cotton 92 24 artic white
100% Cotton! acid free/
36 100 Cotton 92 24 artic white
Artic white/ premium
37 Circa Script 92 24 sulphite sheet/ acid free
Bright white/ premium
38 Circa Script 98.5 24 sulphite sheet/ acid free

 

 

27

 

Table 1(cont). Paper Types.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Paper Weight
Paper # Brand/Name Brightness (lb) Recycle Misc.
Starwhite
(Vicksburg)
39 writing 96.5 24 Color = “tiara” / smooth
White/ alkaline/ 25%
40 Capitol Bond 91 24 cotton
41 Rubicon Writiiig n/a 24 [flirt white / smooth
Gilbert Paper
mead)
25% Cotton/ white/ wove/
42 Neutech 93 24 30% acid free
60% Recovered materials/
100% virgin fiber / ultra
43 Gilcrest 98 24 30% white/ smooth
Georgia-Pyle
Nekoosa MIRC
44 Bond 83.5 24 1.7pt of Fluorescence
1.7pt of Fluor./ CSS =
Color signal & stain
v (fibers will change color
Nekoosa MIRC when treated with Acetone
45 w/ CSS 83.5 23 or Bleach)
Ashdown MICR
46 Bond 86 21 2.4pt of Fluorescence
Nekoosa MICR
47 Xer w/ CSS 91.6 24 6.3pt of Fluorescence
Crane & Co.
Crane Business
Paper
Fluorescent white/ wove
48 Crane's Crest R 98 24 30% finish/ 100% cotton
. Fluorescent white/ wove
49 Crane's Crest 98 24 finish/ 100% cotton

 

(Paper manufacturers are boldanditalicized)

28

 

Table 2. Instrument Settings for Black Ink Samples in UV Region.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Sample Sample
Black Ink frequency time/scan Max Y # of # of
Paper # (KHz) (msec) Counts Iteration Scans/Ave

l 8.80 227.363 3619.38 2 20
2 10.67 187.478 3777.34 2 20
3 9.59 298.509 3806.39 2 20
4 13.00 153.846 3758.94 1 20
5 11.52 173.675 3748.23 4 20
6 13.00 153.846 3773.04 1 20
73 13.00 153.846 3566.7 1 20
71) 15.30 130.703 3550.41 3 20
8 9.82 203.688 3523.82 2 20
9 11.48 174.173 3699.49 3 20
10 10.10 197.978 3896.49 9 20
1 l 9.67 206.769 3747.93 2 20
12 8.96 223.189 3873.4 2 2O
13 9.43 212.073 3804.58 2 20
14 15.25 131.187 3553.19 3 20
15 10.94 182.752 3829.28 2 20
16 10.03 199.435 3817.91 2 20
17 10.74 186.165 3664.36 2 20
18 11.66 172.435 3675.09 7 20
19 11.52 173.58 3581.51 4 20
20 9.55 209.343 3641.15 2 20
21 9.63 207.75 3543.88 2 20
22 13.00 153.846 3730.38 1 20
23 10.89 183.654 3853.02 2 20
24 13.00 153.846 3571.05 1 20
25 9.84 203.331 3722.73 9 20
26 8.90 224.668 3606.8 2 20
27 8.98 222.631 3817.8 2 20
28 12.19 164.071 3640.12 4 20
29 11.59 172.491 3817.8 8 20
30 9.50 210.526 3613.41 1 20
31 10.02 199.53 3802.23 4 20
32 9.08 220.137 3701.99 2 20
33 9.69 206.402 3614.67 2 20
34 12.22 163.69 3627.09 4 20
35 11.56 173.043 3554.16 4 20

 

29

 

Table 2 (cont). Instrument SeEgs for Black Ink Sammes in UV Region.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Sample Sample
Black Ink frequency time/scan Max Y # of # of
Paper # (KHz) (msec) Counts Iteration Scans/Ave

36 9.75 205.137 3616.83 2 i 20
37 10.39 192.554 3861.22 2 20
38 11.73 170.433 3616.51 2 20
39 15.91 125.723 3534.99 3 20
40 9.81 203.921 3773.93 2 20
41 10.70 186.908 3666.83 2 20
42 11.36 176.038 3887.77 2 20
43 10.95 182.667 3899.72 7 20
44 10.18 196.415 3730.82 2 20
45 8.90 224. 758 3575.59 4 20
46 10.30 194.106 3622.62 2 20
47 10.58 189.037 3851.17 2 20
48 12.49 160.163 3582.58 9 20
49 12.40 161.29 3650.26 1 20

Ballpoint
Ink 28.15 71.059 3637.29 6 20

 

 

 

 

 

 

30

Table 3. Instrument Settings for Black Ink Samples in Visible/N IR Region.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Sample Sample
Black Ink frequency time/scan Max Y # of # of
Paper # (KHz) (msec) Counts Iteration Scans/Ave

l 8 250 3835.84 1 ' 20
2 8 250 3781 .88 1 20
3 7.5 266.667 3820.49 1 20
4 8 250 3529.28 1 20
5 8 250 3733.99 1 20
6 8 250 3556.97 1 20
7a 7.5 266.667 3830.91 1 20
7b 7.35 272.038 3801 .95 3 20
8 5.5 363.636 3756.01 1 20
9 7.5 266.667 3579.19 1 20
10 7.5 266.667 3507.4 1 20
1 l 6.5 307.692 3571.33 1 20
12 7.43 269.163 3679.69 3 20
13 8.5 235.294 3780.78 1 20
14 11.3 176.907 3636.43 3 20
15 8.7 229.89 3601.45 2 20
16 7.5 266.667 3589.66 1 20
17 7.5 266.667 3507.01 1 20
18 6.5 307.692 3704.39 1 20
19 7.48 267.504 3605.7 3 20
20 6.5 307.692 3830.45 1 20
21 6.5 307.692 3795.53 1 20
22 8 250 3718.7 1 20
23 9.04 221.226 3631.36 3 20
24 8.5 235.294 3698.74 1 20
25 8 250 3616.88 1 20
26 6 333. 333 3639.46 1 20
27 6 333.333 3622.97 1 20
28 7 285.714 3897.36 1 20
29 6.5 307.697 3767.74 1 20
30 6.5 307.692 3882.74 1 20
31 7.5 266.667 3581.02 1 20
32 7 285.714 3449.88 1 20
33 6.5 307.692 3717.38 1 20
34 6.5 307.692 3808.47 1 20

 

31

 

Table 3 (cont). Instrument Settings for Black Ink Samples in Visible/NIR Re 'on.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Sample Sample
Black Ink frequency time/scan Max Y # of # of
Paper # (KHz) (msec) Counts Iteration Scans/Ave
35 6.5 307.692 3742.78 1 ' 20
36 7 28.714 3629.08 1 20
37 6 333.333 3572.45 1 20
38 8 250 3514.97 1 20
39 8 250 3837.39 1 20
40 7 285.714 3511.01 1 20
41 8 250 3567.96 1 20
42 6.5 307.692 3740.14 1 20
43 7.5 266.667 3806 1 20
44 7 285.714 3537.22 1 20
45 6.5 307.692 3720.41 1 20
46 7 285.714 3527.96 1 20
47 7 285.714 3564.9 1 20
48 7 285.714 3605.41 1 20
49 7 285.714 3856.38 1 20
Ballpoint
Ink 52.3 38.2409 3749.71 1 20

 

32

 

Ink

 

Sample Sample
Black Ink frequency time/scan Max Y # of # of
# Iteration Scans/Ave

36
38

40
41
42
43
44
45

47
48
49

 

Table 4. Instrument Settings for Blue Ink Samples in UV Region.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Sample Sample
Blue Ink frequency time/scan Max Y # of # of
Paper # (KHz) (msec) Counts Iteration Scans/Ave

1 13.12 152.402 3522.1 2 ' 20
2 9.57 208.984 3615.59 2 20
3 11.2 178.538 3891.8 2 20
4 13 153.846 3686.46 1 20
5 12.85 155.59 3809.45 4 20
6 11 181.866 3761.04 2 20
78 12.66 158.039 3690.46 7 20
7b 12.6 158.73 3747.12 1 20
8 10.43 191.729 3865.08 2 20
9 9.85 202.956 3672.55 2 20
10 9.96 200.903 3749.87 2 20
11 11.58 172.664 3588.52 7 20
12 10.7 186.84 3725.76 12 20
13 8.4 238.152 3824.96 2 20
14 17.02 117.538 3608.3 3 20
15 11.57 172.93 3779.86 2 20
16 9.61 208.19 3705.5 2 20
17 11.17 179.003 3821.37 2 20
18 9 222.222 3867.65 1 20
19 7.86 254.414 3839.37 2 20
20 11.61 172.215 3576.58 4 20
21 8.27 241.838 3567.74 1 20
22 13 153.846 3671.42 1 20
23 13 153.846 3695.05 1 20
24 13 153.846 3741.75 1 20
25 12.62 158.432 3581.97 2 20
26 8.73 229.095 351 1.34 1 20
27 8.95 223.483 3773.71 2 20
28 13.67 146.278 3530.73 3 20
29 10.36 193.014 3623.5 4 20
30 10.3 194.175 3579.44 1 20
31 13.24 151.024 3663.66 3 20
32 8.73 299.199 3812.83 2 20
33 9.64 207.469 3611.41 1 20
34 13 153.846 3847.9 1 20
35 10.01 199.742 3522.49 7 20

 

33

 

Table 4 (cont). Instrument Settingsifor Blue Ink Samples in UV Reg'on. ‘

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Sample Sample

Blue Ink fiequency time/scan Max Y # of # of

Paper # (KHz) (msec) Counts Iteration Scans/Ave
36 8.17 244.938 3834.9 2 ' 20
37 10.77 185.742 3630.31 3 20
38 12.35 161.961 3683.37 2 20
39 13.12 152.481 3586.88 3 20
40 10.5 190.565 3772.66 2 20
41 10.9 183.548 3821.99 3 20
42 10.8 185.185 3873.13 1 20
43 1 1 .08 180.54 3796.46 2 20
44 8.89 225.036 3603.97 4 20
45 8.73 299.212 3521.3 2 20
46 8.63 231.75 3592.5 1 20
47 13 153.846 3507.42 1 20
48 15.19 131.7 3548.58 3 20
49 11.72 170.719 3683.86 2 20

Ballpoint
Ink 33.3 60.0576 3749.97 2 20

 

34

Table 5. Instrument Settings for Blue Ink Samples in Visible/NIR Region.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Sample Sample
Blue Ink fiequency time/scan Max Y # of # of
Paper # (KHz) (msec) Counts Iteration Scans/Ave

l 7.3 273.973 3518.64 1 ' 20
2 7.3 273.973 3634.52 1 20
3 7.3 273.973 3520. 33 1 20
4 9.46 21 1.355 3789.67 3 20
5 9.46 211.416 3543.36 1 20
6 8 250 3527.39 1 20
7a 7.5 266.667 3728.36 1 20
7b 8.45 236.652 3858.77 3 20
8 6.5 307.692 3705.61 1 20
9 7.5 266.667 3642.28 1 20
10 7.5 266.667 3774.91 1 20
1 l 7.5 266.667 3767.26 1 20
12 7.5 266.667 3764.68 1 20
13 6.5 307.692 3717.57 1 20
14 9.27 215.828 3602.69 3 20
l 5 8 250 3718.75 1 20
16 8 250 3706.66 1 20
17 7.5 266.667 3713.39 1 20
18 8.5 235.294 3675.67 1 20
19 7.5 266.667 3564.61 1 20
20 6.5 307.692 3868.57 1 20
21 4.5 444.444 3893.62 1 20
22 8 250 3590.85 1 20
23 9.04 221.249 3564.36 3 20
24 8.5 235.294 3535.76 1 20
25 7.5 266.667 3640.5 1 20
26 6.8 294.118 3530.58 1 20
27 6.5 307.692 3770.9 1 20
28 8 250 3834.16 1 20
29 8 250 3679.08 1 20
30 7 285.714 3652.86 1 20
31 7.8 256.41 3605.48 1 20
32 6.5 307.692 3704.91 1 20
33 6.5 307.692 3528.83 1 20
34 6.5 307.692 3789.76 1 20
35 7.5 266.667 3661 .8 1 20

 

35

 

Table 5 (cont). Instrument Settings for Blue Ink Samples in Visible/NIR Re

 

firm.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Sample Sample
Blue Ink fi'equency time/scan Max Y # of # of
Paper # 41Gb) (msec) Counts Iteration Scans/Ave

36 5.46 366.382 3781.74 3 I 20
37 7 285.714 3625.93 1 20
38 6.5 307.692 3784.41 1 20
39 9 222.048 3597.19 3 20
40 7.5 266.667 3504.4 1 20
41 8 250 3798.61 1 20
42 7.5 266.667 3692.53 1 20
43 8 250 3609.67 1 2O
44 6.5 307.692 3759.13 1 20
45 6.5 307.692 3546.97 1 20
46 6.5 307.692 3891 .33 1 20
47 8 250 351 1.26 1 20
48 8 250 3889.14 1 20
49 8 250 3591.23 1 20

Ballpoint
Ink 52.3944 38.172 3759.77 3 20

 

 

36

Table 6. Instrument Settn’Ygs for Red Ink Samples in UV Region.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Sample Sample
Red Ink frequency time/scan Max Y # of # of
Paper # (KHz) (msec) Counts Iteration Scans/Ave

l 11.99 166.854 3623.28 2 ’ 20
2 8.67 230.71 3731 .03 2 20
3 9.7 206.082 3785.07 4 20
4 13.3 150.376 3614.33 1 20
5 11.68 171.228 3670.66 2 20
6 11.6 172.414 3607.59 1 20
7a 12.17 164.304 3556.26 4 20
7b 14.5 1379.969 3525.44 3 20
8 9.41 212.425 3769.05 2 20
9 9.99 200.2 3643.78 1 20
10 9.96 200.84 3540.98 2 20
l 1 9.95 201.005 3532.06 1 20
12 9.95 201.005 3681.85 1 20
13 8.61 232.301 3507.28 4 20
14 13.6 147.051 3645.48 4 20
15 12.83 155.872 3571.67 4 20
16 11.21 178.4 3858.66 2 20
17 9.8 204.171 3801.75 5 20
18 10.42 192.021 3803.90 2 20
19 9.86 202.779 3711.90 2 20
20 11.04 181.37 3829.37 2 20
21 11.81 169.368 3617.26 9 20
22 11.8 169.491 3735.86 1 20
23 13.06 153.091 3659.49 3 20
24 11.62 172.05 3676.91 2 20
25 13 153.846 3657.29 1 20
26 9.24 216.553 3820.33 2 20
27 12.28 162.879 3533.56 6 20
28 14.36 139.25 3525.09 3 20
29 8.22 243.326 3745.82 2 20
30 9.72 205.718 3693.84 2 20
31 8.62 232.018 3615.16 1 20
32 8.16 244.996 3831.50 2 20
33 9.83 203.465 3837.56 2 20
34 13 153.846 3552.91 1 20
35 9.74 205.272 3771.91 2 20

 

 

 

 

 

 

37

 

Table 6 (cont). Instrument Settings for Red Ink Sam les in UV Region. .

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Sample Sample
Red Ink frequency time/scan Max Y # of # of
Paper # (KHz) (msec) Counts Iteration Scans/ Ave

36 8.52 234.458 3756.61 2 ' 20
37 10 200.035 3737.34 2 20
38 12.22 163.639 3613.17 3 20
39 15.19 131.648 3564.13 3 20
40 9.68 206.715 3669.41 2 20
41 10.49 190.626 3846.39 3 20
42 8.63 231 .768 3824.83 5 20
43 12.26 163.187 3586.33 3 20
44 12.2 163.934 3603.24 1 20
45 8.58 233.141 3641.12 2 20
46 9.39 212.922 3751.04 2 20
47 12.32 162.403 3540.74 3 20
48 12.3 162.602 3827.99 1 20
49 13.9 143.913 3563.57 3 20

Ballpoint
Ink 28.68 69.7388 3746.07 6 20

 

 

 

 

38

Table 7. Instrument Settings for Red Ink Samples in Visible/NIR Reg'on.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Sample Sample
Red Ink frequency time/scan Max Y # of # of
Pm # (KHz) 4msec) Counts Iteration Scans/Ave

l 9.42 212.314 3606.22 1 20
2 8 250 3808.40 1 20
3 7.5 266.667 3597.02 1 20
4 9.41 212.469 3584.55 3 20
5 9.4 212.766 3549.53 1 20
6 8.5 235.294 3709.87 1 20
7a 8.5 235.294 3878.66 1 20
7b 8.5 235.294 3617.19 1 20
8 7.5 266.667 3856.29 1 20
9 7.5 266.667 3657.51 1 20
10 8.5 235.294 3636.01 1 20
1 l 7.5 266.667 3731.75 1 20
12 7.5 266.667 3715.90 1 20
13 7.22 277.008 3513.74 1 20
14 8 250 3737.90 1 20
15 7.7 259.74 3874.27 1 20
16 8.5 235.294 3840.33 1 20
17 8.5 235.294 3666.01 1 20
18 7 285.714 3516.09 1 20
19 8.2 243.902 3633.58 1 20
20 8.2 243.902 3864.59 1 20
21 7 285.714 3531.16 1 20
22 8.2 243.902 3601.59 1 20
23 9.89 202.265 3628.03 9 20
24 8.5 235.294 3763.30 1 20
25 8.5 235.294 3844.75 1 20
26 7.2 277.728 3515.14 1 20
27 6.5 307.692 3703.51 1 20
28 8 250 3502.83 1 20
29 8.5 235.294 3725.54 1 20
30 7.5 266.667 3667.11 1 20
31 8.5 235.29 3628.66 1 20
32 9 222.222 3540.00 1 20
33 7.5 266.667 3899.93 1 20
34 8.2 243.902 3526.08 1 20
35 7.8 256.41 3650.10 1 20

 

39

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Table 7 (cont). Instrument Settings for Red Ink Sam ales in Visible/NIR Reg'on.
Sample Sample
frequency time/scan Max Y # of # of
Paper # (KHz) (msec) Counts Iteration Scans/Ave
36 7.2 277.778 3552.66 1 ‘ 20
37 7 285.714 3504.97 1 2O
38 8.2 243.902 3606.23 1 20
39 8.5 235.294 3756.17 1 20
40 8.5 235.294 3560.10 1 20
41 8.5 235.294 3838.51 1 20
42 6.5 307.692 3845.76 1 20
43 7.5 266.667 3700.08 1 20
44 7.8 256.41 3739.51 1 20
45 6.5 307.692 3659.87 1 20
46 7 285.714 3711.59 1 20
47 8 250 3596.84 1 20
48 8 250 3594.06 1 20
49 7.5 266.667 3696.58 1 20
Ballpoint
Ink 50.972 39.2372 3784.74 7 20

 

 

 

 

 

 

 

40

 

APPENDIX B

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APPENDIX D

74

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Table 8. Recvcled Paper Samples
Paper Paper Weight
# Brand/Name Brightness (lb) Recycle Misc.
Weyerhauser
1 Huskey Offset 84 SO 20% 1 Smooth finish
2 Huskey Offset 84 50 20% Vellum finish
Recycled
3 Huskey Offset 84 50 30% Smooth finish
International
Paper
Willamsburg Vellum finish/ Blue-
10 Offest 84 24/60 30% white shade
Willamsburg
Recycled Smooth finish] Blue-
11 Offest 84 20/50 30% white shade
Wausau
Exact Gloss Gloss] text/ acid free]
14 Coated 89 70 10% blue-white shade
Mattel text/ acid free/
15 Exact Matte 96 70 10% blue-white shade
16 Exact Tag 90 150 30% acid free
17 Exact Index 90 90 30% acid fi'ee
Ofl’set "natural" color
19 Opaque nla 70 30% opacity = 92
"natural" color / acid
21 Multipurpose n/a 20/50 30% free
23 Royal Linen 92 24 30%
Fox River
Paper Co.
Howard Linen
Writing , "White"/ acid free/
26 Paper 87 24 30% sulphite sheet
Writing "Warm white"! acid
27 Paper n/a 24 30% free! sulphite sheet
"White"/ acid free/
29 Text Paper 87 70 30% sulphite sheet
"Warm white"! acid
30 Text Pmr n/a 70 30% free/ sulphite sheet
"White"/ acid free/
32 Cover Paper 87 65 30% sulphite sheet

 

 

 

 

 

 

75

 

Table 8 (cont). Recycled Paper Samples

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Paper Paper Weight
# Brand/Name Witness (lb) Recycle Misc.
"Warm white"/ acid
33 Cover Paper n/a 80 30% . fiee/ sulphite sheet
Gilbert Paper
(Mead)
25% Cotton/ white/
42 Neutech 93 24 30% wove/ acid free
60% Recovered
materials/ 100%
virgin fiber (?)I ultra
43 Gilcrest 98 24 30% white! smooth
Crane & Co.
Crane
Business Paper
Fluorescent white!
Crane's wove finish] 100%
48 Crest R 98 24 30% cotton

 

(Paper manufacturers are italicized)
(Paper types used for comparisons are hold)

76

 

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82

Table 9. Acid Free Paper Samples

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Paper Paper Weight
# Brand/Name Brightness (lb) Recycle Misc.
International
Paper
Acid free! aka wove/
Strathmore 25% cotton fiber bond/
12 Bond Opaque 88.5 24 discontinued
Wausau
Exact Gloss Gloss] textl acid free/
14 Coated 89 70 10% blue-white shade
Matte/ text/ acid free/
15 Exact Matte 96 7O 10% blue-white shade
16 Exact Tag 90 150 30% acid free
17 Exact Index 90 9O 30% acid free
Vellum
18 Bristol 90 8O acid free
20 Multipurpose 88 20/50 "white" color, acid flee
21 Multipurpose n/a 20/50 30% "natural" color acid free
22 Royal Silk 94 24 acid free
Exact Color
24 Copy 96 24 acid free
F ox River
Paper Co.
Howard Linen
Writing "Bright white"/ acid free/
25 Paper 96 24 sulphite sheet
Writing "White"/ acid free/
26 Paper 87 24 30% sulphite sheet
Writing "Warm white"/ acid free/
27 Paper n/a 24 30% sulphite sheet
"Bright white"/ acid
28 Text Paper 96 70 free! sulphite sheet
"White"/ acid free/
29 Text Paper 87 7O 30% sulphite sheet
"Warm white"/ acid free/
30 Text Paper n/a 7 O 30% sulphite sheet
"Bright white"/ acid free/
31 Cover Paper 96 80 sulphite sheet
"White"/ acid free/
32 Cover Paper 87 65 30% sulphite sheet

 

 

 

 

 

 

83

 

Table 9 (cont). Acid Free Paper Samples

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Paper Paper Weight
# Brand/Name Brightness (lb) Re_cycle Misc.
- "Warm white"/ acid free/
33 Cover Paper n/a 80 30% sulphite sheet
F 0x River
Paper Co.
F ox River
Select
25% Cotton/ wove! acid
34 25 Cotton 98.5 24 free/ big!“ white
25% Cotton/ wove/ acid
35 25 Cotton 92 24 free/ artic white
100% Cotton] wove]
36 100 Cotton 92 24 acid free/ artic white
Artie white/ premium
sulphite sheet/ laid/ acid
37 Circa Script 92 24 free
Bright white! premium
sulphite sheet/ wove/
38 Circa Script 98.5 24 acid free
Gilbert Paper
(Mead)
25% Cotton! white]
42 Neutech 93 24 30% wove/ acid free
60% Recovered
materials/ 100% virgin
fiber (?)I ultra white/
43 Gilcrest 98 24 30% smooth

 

(Paper manufacturers are italicized)
(Paper types used for comparisons are hold)

84

 

 

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Table 10. Cotton Paper

Samples

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Paper Paper Weight
# Brand/Name Bight-ms (lb) Recycle Misc.
International
Paper
Acid free/ aka wove!
Strathmore 25% cotton fiber bond!
12 Bond Opaque 88.5 24 discontinued
F or River
Paper Co.
F ox River
Select
25% Cotton! wove/
34 25 Cotton 98.5 24 acid free/b‘right white
25% Cotton! wove]
35 25 Cotton 92 24 acid free! artic white
100% Cotton/ wove/
36 100 Cotton 92 24 acid free/ artic white
White/ alkaline/ 25%
40 Capitol Bond 91 24 cotton
Gilbert Paper
(Mead)
25% Cotton/ white]
42 Neutech 93 24 30% wove! acid free
Crane & Co. '
Crane
Business Paper
Fluorescent white!
Crane's wove finish! 100%
48 Crest R 98 24 30% cotton
Fluorescent white!
Crane's wove finish! 100%
49 Crest 98 24 cotton

 

(Paper manufacturers are italicizefi
(Paper types used for comparisons are hold)

91

 

 

 

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z<m2wvvjm K 9E
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z<m§mmv._._m Hm 2E
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93

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26.28335 mm 0.:
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97

Table 11. Sulfite Paper Samples

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Paper Paper Weight
# Brand/Name glehtness (lb) Recycle Misc.
Fox River
Paper Co.
Howard Linen
Writing "Bright white"! acid
25 Paper 96 24 free! sulphite sheet
Writing "White"! acid free!
26 Paper 87 24 30% sulphite sheet
Writing "Warm white"! acid free/
27 Paper n/a 24 30% sulphite sheet
"Bright white"! acid
28 Text Paper 96 70 free! sulphite sheet
"White"! acid free!
29 Text Paper 87 70 30% sulphite sheet
"Warm white"/ acid free!
30 Text Paper n!a 7O 30% sulphite sheet
Cover "Bright white"! acid
31 Paper 96 80 free! sulphite sheet
Cover "White"! acid free!
32 Paper 87 65 30% sulphite sheet
. Cover "Warm white"! acid
33 Paper n/a 80 30% free! sulphite sheet
F ox River
Select
Artie white! premium
sulphite sheet! laid! acid
37 Circa Script 92 24 free
Bright white! premium
sulphite sheet! wove!
38 Circa Script 98.5 24 acid free

 

(Paper manufacturers are italicizefl
(Paper types used for comparisons are hold)

98

 

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107

 

 

 

 

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REFERENCES

111

REFERENCES
1) http://finse.pha.jhu.edu/~wpa/specu'oscopy/em_spec.html
2) Skoog & Leary, 1992, p. 59
3) Bartick & Tungol, 1993, p. 253
4) Focht, p. 5
5) Richards, 1976, p. 8
6) Doya Video Systems, Inc. brochure
7) Foster & Freeman, LTD brochure
8) Tanaka, 1999, p. 91
9) Tanaka, 1999, p. 91
10) Tanaka, 1999, p. 91
ll) Tanaka, 1999, p. 92
12) Mohammed etal., 2000, pp.2-3
13) Mohammed et.al., 2000, p. 7
14) Eyring, 2002, p. 346
15) Pfefferli, 1983, p. 132
16) Russell-Ansley, http://www.howstufi‘works.eom/pen.hun/printable
17) Brunelle and Reed, 1984, p. 16
18) Brunelle and Reed, 1984, p. 16
19) Brunelle and Reed, 1984, p. 17
20) Whitney, 1979, p. 37
21) Whitney, 1979, p. 38

22) Browning, 1970, p. 22

112

REFERENCES

23) Brunelle and Reed, 1984, p. 203

24) Browning, 1970, p. 22

25) http://www.aifq.qc.ca/English/indusn'y/fabrichtml
26) Whitney, 1979, p. 43

27) Whitney, 1979, p. 43

28) Whitney, 1979, p. 43

29) Whitney, 1979, p. 43

30) Whitney, 1979, p. 43

31) http://www.ipcommercialprinting.com/Glossary
32) Browning, 1970, p. 28

33) http://www.ipcommercialprinting.com/Glossary
34) Riley, 2001

35) Brunelle, 2000, p. 592

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Aginsky, V. (2000). Document Analysis: Analytical Methods. Encyclopedia of
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Alteration/Obliteration and Ink Examination. http://www.questioned
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ASTM. (1992). Standard Guide for Test Methods for Forensic Writing Ink
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Bartick, E G and ng01, M W. (1993). Infrared Microscopy and Its Forensic
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Bellis, M. A Brief History of Writing Insturments-Part 3: The Battle of the Ballpoint
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Browning, B L. (1970). The Nature of Paper. The Library Quarterly 40: 18-38.

Brunelle, R L. (2000). Document Analysis: Ink Analysis. Encyclopedia of F orenszc
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Brunelle, R L. (2002). Questioned Document Examination. Forensic Science
Handbook— Volume I. (pp. 697-744). Upper Saddle River, New Jersey: Pearson
Education, Inc.

Brunelle, R L and Reed, R W. (1984). The History of the Development of Writing
Inks. Forensic Examination of Ink and Paper. (pp. 9-21). Springfield, Illinois:
Charles C Thomas Publisher.

Brunelle, R L and Reed, R W. (1984). Historical Development of Paper and the
Paper Manufacturing Process. Forensic Examination of Ink and Paper. (pp. 138-62).
Springfield, Illinois: Charles C Thomas Publisher.

Brunelle, R L and Reed, R W. (1984). A Partial Compendium of Paper Industry
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Cantu, A A. (2002). Personal Communication.

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F oct, M W. Infrared Microscopy for Examination of Inks and Documents. Berkely
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Infi'ared Video Analyzer: Document Examination System. Brouchure by Doya Video
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1 Kerr, L K. (1993). Objective Comparison of Ball-Point Inks Via Multivariant
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Report. Presented at the 45th Annual Meeting of the American Academy of Forensic
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Kirkbride, K P. (2000). Spectroscopy: Basic Principles. Encyclopedia of Forensic
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Making of Pulp and Paper. http://www.aifq.qc.caenglish/indusuy/fabric.html.

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Martin, P. (2000). Ultraviolet- Visible Microspectral Analysis of Black Inks.
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Packard, R J. (1964). Selective Wavelength Examination Applied to Ink
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Pfefferli, P W. (1984). Application of a Spectral Pattern Recognition
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Rosenweig, B. Ink Analysis. http://www.exn.ca/forensic/ink.cfin.

Russell-Ansley, M. How Ballpoint Pens Work.
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S.E.E. 2100 Manual. (2001). Version 1.3. S.E.E., Inc. Middleborough,
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Skoog, D and Leary, J J. (1992). Infrared Absorption Spectroscopy. Principles of
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Skoog, D and Leary, J J. (1992). Pro 'es of Electromagnetic Radiation.
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Sutermeister, E. (1954). Paper Grades and Definitions. The Story of Paper Making.
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116

a)

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Tanaka, T. (1999). A Review of the Spectrometer and Chrmoaticitiy Capapbilities of
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Ultraviolet and Infrared Photography Packet. Lansing, Michigan: Michigan State
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V2 Microscopy. http://xteknet/cataloguelforensic/cholour.shtrnl.

VSC-l: Viudeo Spectral Comparator. Brochure by Foster & Freeman, LTD., United
Kingdom.

VSC-2000. http://xtek.net/catalogue/forensic/vsc2000.shtrnl.

VSC-ZOOO/HR. http://wtek.net/catalogue/forensic/v2hr.shtml.

’ Whitney, R P. (1979). Chemisty of Paper. Paper-Art & Technology. (pp. 36-44).
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Wielbo, D. (2000). History: Forensic Science. Encyclopedia of Forensic Sciences.
(pp. 1070-5). American Press.

Zeichner, A, and Glattstein, B. (1992). Some Spectral Observations Regarding
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Zeichner, A, Levin, N, Klein, A and Novoselsky, Y. (1998). Transmission and

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117

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