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

Colour coded

This 300 word publication to be published by the Society of Dyers and Colourists (SDC) is a collection of the best papers from a 4-year European project that has considered colour from the perspective of both the arts and sciences.The notion of art and science and the crossovers between the two resulted in application and funding for cross disciplinary research to host a series of training events between 2006 and 2010 Marie Curie Conferences & Training Courses (SCF) Call Identifier: FP6-Mobility-4, Euros 532,363.80 CREATE – Colour Research for European Advanced Technology Employment. The research crossovers between the fields of art, science and technology was also a subject that was initiated through Bristol’s Festival if Ideas events in May 2009. The author coordinated and chaired an event during which the C.P Snow lecture “On Two Cultures’ (1959) was re-presented by Actor Simon Cook and then a lecture made by Raymond Tallis on the notion of the Polymath. The CREATE project has a worldwide impact for researchers, academics and scientists. Between January and October 2009, the site has received 221, 414 visits. The most popular route into the site is via the welcome page. The main groups of visitors originate in the UK (including Northern Ireland), Italy, France, Finland, Norway, Hungary, USA, Finland and Spain. A basic percentage breakdown of the traffic over ten months indicates: USA -15%; UK - 16%; Italy - 13%; France -12%; Hungary - 10%; Spain - 6%; Finland - 9%; Norway - 5%. The remaining approximate 14% of visitors are from other countries including Belgium, The Netherlands and Germany (approx 3%). A discussion group has been initiated by the author as part of the CREATE project to facilitate an ongoing dialogue between artists and scientists. http://createcolour.ning.com/group/artandscience www.create.uwe.ac.uk.Related papers to this research: A report on the CREATE Italian event: Colour in cultural heritage.C. Parraman, A. Rizzi, ‘Developing the CREATE network in Europe’, in Colour in Art, Design and Nature, Edinburgh, 24 October 2008.C. Parraman, “Mixing and describing colour”. CREATE (Training event 1), France, 2008

A Paradigm for color gamut mapping of pictorial images

In this thesis, a paradigm was generated for color gamut mapping of pictorial images. This involved the development and testing of: 1.) a hue-corrected version of the CIELAB color space, 2.) an image-dependent sigmoidal-lightness-rescaling process, 3.) an image-gamut- based chromatic-compression process, and 4.) a gamut-expansion process. This gamut-mapping paradigm was tested against some gamut-mapping strategies published in the literature. Reproductions generated by gamut mapping in a hue-corrected CIELAB color space more accurately preserved the perceived hue of the original scenes compared to reproductions generated using the CIELAB color space. The results of three gamut-mapping experiments showed that the contrast-preserving nature of the sigmoidal-lightness-remapping strategy generated gamut-mapped reproductions that were better matches to the originals than reproductions generated using linear-lightness-compression functions. In addition, chromatic-scaling functions that compressed colors at a higher rate near the gamut surface and less near the achromatic axis produced better matches to the originals than algorithms that performed linear chroma compression throughout color space. A constrained gamut-expansion process, similar to the inverse of the best gamut-compression process found in this experiment, produced reproductions preferred over an expansion process utilizing unconstrained linear expansion

Designing pictorial stimuli for perceptual image difference experiments

Imaging system development often involves impact assessment of design choices. For systems that generate images for human consumption, such as cameras and displays, the effect of design decisions are often evaluated using `real-world\u27 images. System changes can have complicated effects on pictorial images that do not, as yet, have specified instrumental measurement methods. Consequently, human observers are often used in image quality assessment. However, human observers can react differently to complex pictorial stimuli both between observers and for a single observer over the course of a lengthy experiment. In an experimental setting, pictorial scenes present a greater opportunity than do uniform patches for observers\u27 individual differences to significantly impact the process. This study was conducted to increase the understanding of the optimal design of pictorial stimuli for more effective and efficient perceptual experiments. The goals of this dissertation were to: 1. Understand the impact of image content on visual attention and the consistency of image comparison experimental results 2. Understand how visual attention changes with successive viewing of pictorial images 3. Apply this understanding to develop guidelines for pictorial target design for perceptual image comparison experiments To achieve these objectives, a series of experiments were conducted to evaluate the impact of pictorial scene complexity on fixation and experimental response consistency. For these experiments, scenes exhibiting a range of perceived complexity were required. To select appropriate scenes, the concept of what constitutes a complex image was first considered. Experiment I was conducted to evaluate the number of areas perceived to be important in a variety of scenes. Observers were asked to identify the important areas of pictorial scenes. The scenes were also electronically segmented. The results from Experiment I were used to select scenes that provided a range of complexity for stimuli in Experiment II. This test examined the impact of image complexity on observer viewing behavior. Along with evaluating eye movements, observers were asked to describe the test scenes using up to five keywords. The results of Experiments I & II indicate that perceptual methods, segmentation, and eye-tracking generally provided consistent results with regard to image complexity. The exceptions involved issues of scale such that scenes viewed from afar blended into one significant object while one object viewed up close lacked a point of focus. The results of Experiment II were used to generate a proposal for guidelines for designing pictorial stimuli for image comparison experiments. Using these guidelines, scenes were selected and tested in Experiment III. The fixation consistency results of this experiment were generally as expected. However, fixation consistency did not always equate to experimental response consistency. Along with scene complexity, the image modifications (global versus local) and the difficulty of making the image equivalency decisions played a role in the experimental response as well. The results of Experiment III were used to confirm and augment the proposed guidelines. The guidelines developed in this study will benefit those conducting perceptual experiments with pictorial stimuli. Specific examples include color reproduction, perceptual color standards, and image equivalency research. A better understanding of what makes images equivalent may be useful in developing automated approaches to measuring image quality. And the guidelines may be useful in the improvement of the quality of images themselves. Fredembach (2011) has proposed that perceived image quality can be improved by increasing the perceived saliency of the main subject matter. These guidelines, including the use of blur, will be helpful in achieving this aim

Effective application of digital printing techniques for fine artists in the South African context

The question to be answered by this research is how would a fine artist working in South Africa, identify and use the correct digital printing techniques to accurately print their work

Computer mediated colour fidelity and communication

Developments in technology have meant that computercontrolled imaging devices are becoming more powerful and more affordable. Despite their increasing prevalence, computer-aided design and desktop publishing software has failed to keep pace, leading to disappointing colour reproduction across different devices. Although there has been a recent drive to incorporate colour management functionality into modern computer systems, in general this is limited in scope and fails to properly consider the way in which colours are perceived. Furthermore, differences in viewing conditions or representation severely impede the communication of colour between groups of users. The approach proposed here is to provide WYSIWYG colour across a range of imaging devices through a combination of existing device characterisation and colour appearance modeling techniques. In addition, to further facilitate colour communication, various common colour notation systems are defined by a series of mathematical mappings. This enables both the implementation of computer-based colour atlases (which have a number of practical advantages over physical specifiers) and also the interrelation of colour represented in hitherto incompatible notations. Together with the proposed solution, details are given of a computer system which has been implemented. The system was used by textile designers for a real task. Prior to undertaking this work, designers were interviewed in order to ascertain where colour played an important role in their work and where it was found to be a problem. A summary of the findings of these interviews together with a survey of existing approaches to the problems of colour fidelity and communication in colour computer systems are also given. As background to this work, the topics of colour science and colour imaging are introduced

Postmodernism: Style and Subversion 1970-1990

‘Postmodernism’ was the final instalment of a 12-year series of V&A exhibitions exploring 20th-century design. It examined a diverse collection of creative practices in art, architecture, design, fashion, graphics, film, performance and pop music/video, which the curators, Pavitt and Adamson (V&A/RCA), identified under the common theme of ‘postmodernism’. The exhibition assessed the rise and decline of postmodern strategies in art and style cultures of the period, exploring their radical impact as well as their inextricable links with the economics and effects of late-capitalist culture. The exhibition comprised over 250 objects, including large-scale reconstructions and archive film/video footage, drawn from across Europe, Japan and the USA. It was the first exhibition to bring together this range of material and to foreground the significance of pop music and performance in the development of postmodernism. Pavitt originated and co-curated the exhibition with Adamson. They shared intellectual ownership of the project and equal responsibility for writing and editing the accompanying 320-page book (including a 40,000-word jointly written introduction), but divided research responsibilities according to geography and subject. The research was conducted over four years, with Pavitt leading on European and British material. This involved interviewing artists, designers and architects active in the period and working with collections and archives across Europe. The research led to the acquisition of c.80 objects for the V&A’s permanent collections, making it one of the most significant public collections of late-20th-century design in the world. The exhibition was critically reviewed worldwide. For the Independent, ‘bright ideas abound at the V&A’s lucid show’ (2011). It attracted 115,000 visitors at the V&A (15% over the Museum’s target) and travelled in 2012 to MART Rovereto, Italy (50,000 visitors) and Landesmuseum Zürich, Switzerland (70,000 visitors). Pavitt was invited to speak about the exhibition in the UK, USA, Poland, Portugal, Ireland and Italy (2010-12)

An entrepreneurial framework for deciding on the implementation of large format digital printing internationally

This study focuses on entrepreneurs within the SME sector using large format digital printing (LFDP) because of the changes in technology that influences the decisionmaking processes of the entrepreneur in the purchasing of a new LFDP. These fast changes are likely to continue and can cause technologies to become obsolete overnight. The entrepreneurs within the LFDP industry find themselves in the midst of these fast changes and are faced with a dilemma. On the one hand, they need to make sure that the technology used produces consistent and quality products. On the other hand, the entrepreneur needs to ensure an optimal return on investments. From the literature and the findings of the study, the researcher recommends a change to an existing model on a consultant involvement purchase of high technology products, which is then adapted to integrate resource-forecasting areas together with timing and type of information required as well as external environment scanning. The existing model’s focus is on the individual’s ability to make decisions based on their own knowledge. However, by integrating technology forecasting components, and scanning the business environment and resource forecasting needed the decision-maker will be better equipped to make decisions that also takes into account the external environment. This will also allow them to plan and manage growth in a systematic way. Therefore the proposed model takes into account individual capabilities and technology forecasting components that can facilitate the decision-making process. The adapted model on decision-making clearly delineates that the combination of entrepreneurial qualities and technology forecasting techniques in the LFDP industry will ultimately assist the entrepreneur on various levels in deciding on a new LFDP

Hyperspectral colour imaging and spectrophotometric instrumentation

The trichromatic nature of commercial photography is strictly connected with the nature of human colour vision, although the characteristics of usual colour imaging devices are quite different from the human visual system. The increase in the number of colour channels for spectral (either multispectral or hyperspectral) imaging is an active field of research with many potential applications in different fields. Each element of the captured scene is specified in the spectral image by the spectral reflectance factor. This measurement is independent of the particular illumination of the scene and allows the colorimetric computation in a device-independent colour space for any chosen illuminant and any observer. This thesis describes the project and construction of a compact spectrophotometric camera, which can be used in both portable and in-situ applications. The compactness is made possible by a suitable image spectral scanning based on an Induced Transmission Filter (ITF). This filter is made by a set of thin-film coatings of dielectric materials with high and low refraction index, whose shape like a wedge induces a wavelength selective transmittance, continuously variable along one direction and uniform in the perpendicular direction. Such a filter, classified as Linearly Variable Filter (LVF), operates continuously from 430nm to 940nm and allows hyperspectral imaging. In traditional scanners the whole apparatus is moved along a path as long as the scene, whereas in this instrument the camera body is still and the LVF is the only moving part. The sequence of operations for wavelength and radiometric calibrations are discussed. The expected acquisition times and number of images as a function of the spectral sampling step are considered. The resulting properties make the instrument easy to use and with short acquisition times. Moreover, overviews of the historic evolution of colour vision fundamentals, colour spaces and spectral imaging technology are given for introducing the reader to the essential concepts useful for the understanding of the text

Test Targets 6.0: A Collaborative effort exploring the use of scientific methods for color imaging and process control

Test Targets is a collection of scholarly papers contributed by faculty, students, and alumni of Rochester Institute of Technology. We realize the importance of having faculty set examples as authors for students to follow. We have a three-course sequence over a time span of a year to prepare students to publish their first articles when completing Tone and Color Analysis, Printing Process Control, and Advanced Color Management. In this instance, Test Targets 6.0 is a part of the course content in the Advanced Color Management course