incorrect relative humidity can break paint if the air is too dry, while deformities, swelling, and mold can affect organic pigment samples, usually older paint samples. Consistent temperature and humidity fluctuations can affect the water content of the paint. These deformities may start as a small area of the paint layer but can quickly "increase in the surface area if left undetected". Physical force Physical force can cause chips, cracks, and breaks in pigment layers from improper work handling. All staff and handlers should be trained on proper moving procedures when transporting artwork to prevent this mishandling. Fire Fire will result in complete, irreversible damage to the pigment on any work of art or historic building. To prevent damage, organizations should have an Emergency Plan to determine the best course of action in case of a fire while also having the correct safety measure to prevent collections or building fires. Theft Theft of an entire painting which results in loss as a whole of pigment sample is uncommon; however, vandalism, such as graffiti, to historical façade creates a layer of inorganic paint to historical pigments. Water Water is the biggest concern in pigment deterioration. Water can cause mold and increase humidity in buildings and paintings alike. This mold and moisture increase introduces pests to work and increases deterioration. Housekeeping is essential for preventative care: for example, with more attention to climate and pollution, these studies can help decrease the pigment deterioration of historical buildings and sites. For interior spaces, mechanical control of internal temperature, light, and humidity through an HVAC system and good conservation care will help decrease the amount of pigment biodegradation. All of these agents of deterioration hinder the effectiveness of the Munsell color system, which directly matches pigment shades. The Munsell color system is a scientific system in which colors have been ranged into a color fan based upon three attributes: hue or color, the chroma or color saturation, and the value or neutral lightness or darkness. Analysis Paint analysis will invariably consist of at least three processes, and will take place only after an examination of the documentary information available on the room/building. The sequence will be rough as follows: The taking of paint samples and the making of cross-sections...these will then be drawn or photographed; With the stratigraphy of the cross-section made clear by a drawing or photomicrograph, a scrape will then be made. The