3D Simulation of prints for improved soft proofing

A display tool has been developed to perform simulation and three-dimensional rendering of prints in the quest towards achieving improved soft proofing capabilities. It was desired through this 3D simulation that the gloss and surface properties of hard-copy prints be represented on a display, which are absent in current 2D soft proofing workflows. The procedure is described along with the relevant historical work. The major components of the workflow are identified as: the gloss prediction model, and the representation of this gloss on a display using computer graphics rendering techniques. Psychophysical experiments were carried out to evaluate the usefulness of this 3D simulation over current 2D soft proofing technique

An Investigation of Soft Proof to Print Agreement under Bright Surround

Color quality is a vital concern in the printing industry. The ability of an LCD monitor to accurately and consistently predict the color of a printed work is often in doubt. According to Chung (2005), color reproduction technology is different for soft proofing and hard proofing which could lead a layman to believe that the two technologies may not produce the same result. Nevertheless, it is still possible for both reproduction technologies to achieve a metameric match which gives the same perceived color sensation between display and print. ISO/CD 14681 provides guidelines for creating the conditions required to perform soft proofing. This standard builds on ISO 12646 requirements for monitors and introduces a new softproofing environment (lightbooth with integrated monitor) to better meet the needs of industrial users. The ISO 14681 integrated viewing environment removes one important obstacle to achieving print to softproof match, i.e., the problem of simultaneous color contrast inherent in using a dim monitor surround with a bright paper viewing condition for soft proofing. Thus, the first objective of this research was to assess print to softproof visual match in the ISO 14681 integrated viewing environment. Nevertheless, even in this environment, inconsistency between paper white and monitor white remains as the next major obstacle to achieving consistent print to softproof match. Thus, a second objective of this research is to develop a methodology for matching the monitor\u27s white point to the white point of the paper viewed in an ISO 14681 integrated viewing environment. The methodology for fulfilling these objectives began with the creation of the hardware/software environment required to support experimentation. This environment consisted of a 24-inch EIZO CG242W display conforming to ISO 12646 and an integrated viewing environment conforming to the P2 specification in ISO 3664:2009. Two ISO 12647-2 conformed press sheets were prepared and became the reference for the experiment. The researcher next developed a methodology for matching the monitor white point to the white point of the paper under the P2 viewing condition. Finally, a panel of observers was used to compare print to softproof match for four display conditions in a paired comparison experiment. The results of the experiment were highly encouraging. The mismatch between monitor and paper white points, as measured by the sum of the differences in R, G, and B counts between the monitor and the paper, was reduced by nearly 90%. In addition, the paired comparison experiment demonstrated that the use of a custom monitor white point and optimized monitor gamma outperformed the use of standard D65 and D50 white points with the same optimized gamma at a .05 level of significance

An Analysis of the art image interchange cycle within fine art museums

The art image interchange cycle is the procedure carried out by fine art museums in reproducing fine artwork --starting with the imaging of the original work, then digital processing, and lastly, repurposing for output to achieve a high-quality replica in a range of possible media. There are many areas of importance within this process, such as digital image processing, standardization, test targets use, and color management. This research has sought to analyze the fine art image interchange through understanding the background areas and how they apply, as well as benchmarking what museums are already doing with the intention of improving and standardizing the process. Upon completion of an adequate background study of the literature (concentrated on color management theory, test targets use, and fine art reproduction) this research focused on four main areas. First, a review of international standards was established and how they can be used to benefit museums. Second, a review of test targets was conducted and how best they can be implemented in fine art reproduction. Third, a number of museum workflows were benchmarked and documented - a workflow experiment was created and implemented for documentation purposes (and future image quality analysis). Lastly, a case study was conducted of a local fine art museum\u27s process of creating a fine art catalog, to better understand an average museum\u27s fine art image interchange. The research concluded that the practice of standardization could be improved within museums. As far as test targets, there was a large range of understanding and use. The benchmarking of three museums was completed, and it was determined that the process of documenting workflow was a difficult task to have implemented. Lastly, in x the case study, much was gained through the interviews, placing a great importance on communication, planning, and standardization

A comparison of processing techniques for producing prototype injection moulding inserts.

This project involves the investigation of processing techniques for producing low-cost moulding inserts used in the particulate injection moulding (PIM) process. Prototype moulds were made from both additive and subtractive processes as well as a combination of the two. The general motivation for this was to reduce the entry cost of users when considering PIM. PIM cavity inserts were first made by conventional machining from a polymer block using the pocket NC desktop mill. PIM cavity inserts were also made by fused filament deposition modelling using the Tiertime UP plus 3D printer. The injection moulding trials manifested in surface finish and part removal defects. The feedstock was a titanium metal blend which is brittle in comparison to commodity polymers. That in combination with the mesoscale features, small cross-sections and complex geometries were considered the main problems. For both processing methods, fixes were identified and made to test the theory. These consisted of a blended approach that saw a combination of both the additive and subtractive processes being used. The parts produced from the three processing methods are investigated and their respective merits and issues are discussed

Reducing risk in pre-production investigations through undergraduate engineering projects.

This poster is the culmination of final year Bachelor of Engineering Technology (B.Eng.Tech) student projects in 2017 and 2018. The B.Eng.Tech is a level seven qualification that aligns with the Sydney accord for a three-year engineering degree and hence is internationally benchmarked. The enabling mechanism of these projects is the industry connectivity that creates real-world projects and highlights the benefits of the investigation of process at the technologist level. The methodologies we use are basic and transparent, with enough depth of technical knowledge to ensure the industry partners gain from the collaboration process. The process we use minimizes the disconnect between the student and the industry supervisor while maintaining the academic freedom of the student and the commercial sensitivities of the supervisor. The general motivation for this approach is the reduction of the entry cost of the industry to enable consideration of new technologies and thereby reducing risk to core business and shareholder profits. The poster presents several images and interpretive dialogue to explain the positive and negative aspects of the student process

Collaborative digital and wide format printing: Methods and considerations for the artist and master printer

This thesis investigates the collaborative production of fine art digital prints for artists,a process which is used by many contemporary practitioners including RichardHamilton and Damien Hirst. Digital print as a fine art process has emerged over the last twenty years, and as yet, there is no in depth evidence on the collaborative endeavour and production process which is central to the digital Master Printer’s role.The investigation first establishes the historical context and significance of the Master and Printer in traditional printmaking, and the more recent development of the digital print studio and the digital print pioneers of the 1990s. A series of seven artists’ case studies in the context of the collaborative digital print studio are then offered to demonstrate the working process. The analysis of these proposes a best practice model for Master Printers working with contemporary artists to produce high quality, fine art, wide format inkjet digital prints.The study also compares production methods at the cutting-edge digital facility of the Rijksakademie in The Netherlands, to assess the validity of the practices proposed through a facility closest to the study’s research base at the CFPR’s digital studio. The comparative study also explored the expanding digital production process and the role of the Master Printer. Evolving production processes are also considered in this study as a response to the advancement of digital print technology alongside a practical exploration of what actually constitutes a digital print in this rapidly expanding field of fine art printmaking.This study aims to reveal the inner workings of the digital collaborative process between the artist and Master Printer, and appraise the digital Master Printer’s role.It offers a set of best practice methods for the digital Master Printer developed from this research. The study also considers how the digital print, and the digital print studio may evolve in line with current and future developments in new technologies

Test Targets 4.0: A Collaborative effort exploring the use of scientific methods for color imaging and process control

Test Target 4.0 (TT4.0) is the result of student teamwork to publish a technical journal for a graduate-level course titled: Advance Color Management (Course no. 2081-735-03). Offered by the School of Print Media (SPM) at Rochester Institute of Technology (RIT), the course is a platform to experiment and to realize a new digital imaging paradigm and the dynamics of teamwork.... Team members learn scientific methodology in process control for repeatable color as well as apply ICC-based color management practices in digital workflows. They plan and conduct press run analyses reported in TT4.0, which is printed using facilities available at RIT. In producing this publication, the team learns to integrate design, content creation, digital media, and print production in a seamless workflow.... -p. 4

Collaborative digital and wide format printing : methods and considerations for the artist and master printer

This thesis investigates the collaborative production of fine art digital prints for artists,a process which is used by many contemporary practitioners including Richard Hamilton and Damien Hirst. Digital print as a fine art process has emerged over the last twenty years, and as yet, there is no in depth evidence on the collaborative endeavour and production process which is central to the digital Master Printer’s role. The investigation first establishes the historical context and significance of the Master and Printer in traditional printmaking, and the more recent development of the digital print studio and the digital print pioneers of the 1990s. A series of seven artists’ case studies in the context of the collaborative digital print studio are then offered to demonstrate the working process. The analysis of these proposes a best practice model for Master Printers working with contemporary artists to produce high quality, fine art, wide format inkjet digital prints. The study also compares production methods at the cutting-edge digital facility of the Rijksakademie in The Netherlands, to assess the validity of the practices proposed through a facility closest to the study’s research base at the CFPR’s digital studio. The comparative study also explored the expanding digital production process and the role of the Master Printer. Evolving production processes are also considered in this study as a response to the advancement of digital print technology alongside a practical exploration of what actually constitutes a digital print in this rapidly expanding field of fine art printmaking. This study aims to reveal the inner workings of the digital collaborative process between the artist and Master Printer, and appraise the digital Master Printer’s role. It offers a set of best practice methods for the digital Master Printer developed from this research. The study also considers how the digital print, and the digital print studio may evolve in line with current and future developments in new technologies.EThOS - Electronic Theses Online ServiceGBUnited Kingdo

A comparison of processing techniques for producing prototype injection moulding inserts.

This project involves the investigation of processing techniques for producing low cost moulding inserts used in the particulate injection moulding (PIM) process. Prototype moulds were made from both additive and subtractive processes as well as a combination of the two. The general motivation for this was to reduce the entry cost of users when considering PIM. PIM cavity inserts were first made by conventional machining from a polymer block using the pocket NC desktop mill. PIM cavity inserts were also made by fused filament deposition modelling using the Tiertime UP plus 3D printer. The injection moulding trials manifested in surface finish and part removal defects. The feedstock was a titanium metal blend which is brittle in comparison to commodity polymers. That in combination with the meso-scale features, small cross sections and complex geometries were considered the main problems. For both processing methods fixes were identified and made to test the theory. These consisted of a blended approach that saw a combination of both the additive and subtractive processes being used. The parts produced from the three processing methods are investigated and their respective merits and issues are discussed

Nautilus ROV Robot Manipulator

Global warming and climate change are prevalent issues in today’s society. As a result, research in the ocean, our world’s biggest ecosystem, is imperative in efforts to protect the environment. Santa Clara University’s Robotic Systems Lab contributes to this field through work and developments on remotely operated vehicles (ROVs). An existing ROV system called Nautilus consists of a robot arm, end effector, and storage system in order to collect various types of sediments at a depth of 300 feet. However, the previous system does not meet that requirement. In direct collaboration with researchers within the Monterey Bay Aquarium Research Institute, we were able to create and accomplish a set of deliverables to improve our ROV. Our team’s main goal was to make the system functional and more efficient by redesigning the manipulator arm and soft gripper in order to retrieve samples, as well as creating a sample storage container that is in view of the camera or workspace to document and record the location of those samples. Our project gives researchers a cheaper alternative compared to existing sample collection methods, which are relatively more expensive, so that they can continue to explore and document stretches of the ocean far more easily. The project was done with the guidance of faculty in the Robotic Systems Lab as well as researchers from the Monterey Bay Aquarium Research Institute (MBARI)