The precise composition of ancient Egyptian paints, binders, adhesives, and similar materials used to make artifacts is largely unknown, in part because a full analysis would require taking samples that would damage those valuable artifacts. The development of cutting-edge, non-destructive techniques has been helping to unlock those secrets, aiding conservation efforts.

Most recently, researchers have used mass spectrometry-based proteomics to analyze the glues and adhesives in a broad set of Egyptian artifacts, according to a new paper published in the journal Science Advances. They found plenty of expected sources, such as animal collagens and egg proteins, but also plant proteins, specifically from sesame and drumstick tree (moringa) cereals.

As previously reported, the ancient Egyptians had a highly formalized (and easily recognizable) painting style, and there has been considerable interest in gaining insights into the specific pigments and painting techniques employed. Common pigments included hematite and realgar for red; goethite and orpiment for yellow; Egyptian blue; Egyptian green; carbon-based black; and calcite, gypsum, anhydrite, and huntite for white. (Just last year, Washington State University researchers were able to re-create Egyptian blue by mixing together silicon dioxide, copper, calcium, and sodium carbonate in varying proportions and heating them at very high temperatures akin to those of ancient kilns.)

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Fashionistas of a certain age no doubt remember the late designer Stephen Sprouse, who gave Blondie's Debbie Harry her distinctive Bowery punk style. Sprouse's first collections in the mid-1980s made a major splash, melding graffiti prints, a playful '60s aesthetic, and bright Day-Glo colors that won admirers such as Andy Warhol.

Several examples of Sprouse's work are preserved in the textiles collection of the Indianapolis Museum of Art at Newfields, where conservationists are trying to learn more about the phosphorescent and fluorescent pigments the designer used in his creations in order to keep the colors from dulling over time. They described recent advances in that research at a meeting of the American Chemical Society (ACS) held this week in Chicago.

Scientists began describing minerals that glowed in the dark as phosphors in the Middle Ages. Typically, such materials take on a charge when exposed to light, storing the absorbed energy and releasing it gradually as re-emitted light. Henri Becquerel discovered radioactive decay in 1896 because of his work with phosphorescent uranium salts: He left the salts in a closed drawer with photographic plates, which fogged up even without a light source. DayGlo paints and similar materials exploit the related phenomenon of fluorescence. DayGlo pigments fluoresce in daylight by essentially converting UV light into visible light to produce brighter, more vibrant colors.

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