3D printing of oil paintings based on material jetting and its reduction of staircase effect

Material jetting is a high-precision and fast 3D printing technique for color 3D objects reproduction, but it also suffers from color accuracy and jagged issues. The UV inks jetting processes based on the polymer jetting principle have been studied from printing materials regarding the parameters in the default layer order, which is prone to staircase effects. In this work, utilizing the Mimaki UV inks jetting system with a variable layer thickness, a new framework to print a photogrammetry-based oil painting 3D model has been proposed with the tunable coloring layer sequence to improve the jagged challenge between adjacent layers. Based on contour tracking, a height-rendering image of the oil painting model is generated, which is further segmented and pasted to the corresponding slicing layers to control the overall printing sequence of coloring layers and white layers. The final results show that photogrammetric models of oil paintings can be printed vividly by UV-curable color polymers, and that the proposed reverse-sequence printing method can significantly improve the staircase effect based on visual assessment and color difference. Finally, the case of polymer-based oil painting 3D printing provides new insights for optimizing color 3D printing processes based on other substrates and print accuracy to improve the corresponding staircase effect

Re-engineering Watt: A case study and best practice recommendations for 3D colour laser scans and 3D printing in museum artefact documentation

3D colour laser scans and 3D printing in museum artefact documentation: User Acceptance and Best Practice Recommendation

3D scanning of Porto Alegre Museum Artifacts : the crockery of the Rocco Bakery

3D Scanning of Porto Alegre Museum Artifacts: The Crockery of the Rocco Bakery Antiques usually require careful handling, so these objects cannot be made available to the general public and are handled only by restoration specialists. This article focuses on the preservation of antiquities in terms of cultural heritage and the availability of these objects for access by visitors, it describes and evaluates the development of a method to support the digitisation of objects considered solids of revolution. The artifacts were provided by the Museu Joaquim José Felizardo in the city of Porto Alegre, Brazil, and were used to set the table in the former Confeitaria Rocco (bakery). The 3D process consisted of the following steps: laser scanning, data processing of the coordinates obtained from the surface of the object into point clouds, creation of the virtual model, creation of a physical model using additive manufacturing, and evaluation of the physical model in comparison with the original artifact. The obtained results show that highly accurate models can be created using the proposed method. Therefore, virtual data can be obtained for the conservation, restoration and creation of replicas for studies and accessibility

3D Printing and the Art World: Current Developments and Future Perspectives

3D printing’s rapid technological development is starting to impact the art field because, for the first time, it has become possible to exactly reproduce and reconstruct artworks without any loss of their physical features. Yet, a coherent overview of how 3D printing is used within the art field while paying attention to ethical considerations does not exist. This study will provide an overview of the current developments of 3D printing in the art world, its use, and the direction it is moving toward. Within this study, the technologies that enable, influence, and will continue to affect the 3D reproduction of artworks, namely technologies necessary to capture an artwork’s materials on a chemical and physical level, artificial intelligence (AI), 3D printing technology itself, and the rise of the non-fungible token (NFT) are analyzed to be able to understand what 3D printing implies for our changing perception of art in the future

Spectral 3d reconstruction based on macroscopic oct imaging

Various optical technologies have been utilized to improve art conservation by art conservators, such as laser triangulation, stereophotogrammetry, structured light, laser scanner and time of flight sensors. These methods have been deployed to capture the 3D or surface topography information of sculptures and architectures. Optical coherence tomography (OCT) has introduced new imaging methods to study the surface features and subsurface structures of delicate cultural heritage objects. However, despite its higher spatial resolution, the field of view (FOV) of OCT severely limits the size of the scanning area and does not allow macroscopic examination. To solve this issue, we develop and validate a hybrid scanning platform combined with effective algorithm for real-time sampling and artifact removal to achieve macroscopic OCT (macro-OCT) imaging and generate the spectral 3D reconstruction of impressionist style oil paintings as a digital model

Imperceptible Realities: An exhibition – and – Digitalisation: Re-imaging the real beyond notions of the original and the copy in contemporary printmaking: An exegesis

This PhD practice-led research project provides a broad overview of how newer print technologies can bring about enhanced understandings of the world whilst simultaneously questioning the value of such processes in contrast to traditional means of image making. My curiosity pivots on the worry that something essential about representation of the real might be lost if humanity were to embrace digital methods only. Through my creative project I address my concerns to re-image representations of the real beyond notions of the original and the copy through contemporary printmaking. The research culminated in the exhibition Imperceptible Realities and an exegesis. In examining Jean Baudrillard’s concept of simulacra this research argues for the continuing relevance of traditional etching techniques through a pivotal case study that scrutinised Rembrandt van Rijn’s etching The Shell (Conus marmoreus). In contrasting traditional etching techniques with newer methods of digital printmaking a significant copy, derived from a similar shell specimen that Rembrandt had observed, manifested itself in contemporary 3D print. The copying process focused the investigation into questioning the aesthetic value of this new shell in digitalised 3D form. In the contemporary printmaking field there is evidence for the continued integration of traditional and digital approaches to printmaking. New pathways were examined in printmaking to allow creative explorations of visual boundaries between contemporary images affected by digital erasure. The innovative use of photogrammetry software focused the investigation into the effects of digital capabilities on image making. The effect of examining the digital relationship in contemporary printmaking revealed that ignoring aesthetic differences between the original and copy brought about by digitised re-imaging are seemingly lost at the expense of disengagement with the physical world. As a result digital and traditional spaces that meet collaboratively through print are advantaged in the 3D printed copy itself and employed to create new understandings in creative practice. Viewing observed differences in the 2D and 3D printed copy itself became key in creating new images, beyond a hybridised printmaking process—such understandings that examined the divisive relationship between digital and traditional printmaking processes becomes invigorated with possibility. This research posits such a position by suggesting that if traditions in the printmaking field are ignored by the continued digitalisation of images through and within the employment of technologies, something is lost. Perceptual experiences of the physical world are seemingly misplaced at the expense of replacing such immediate experience with simulacra and an inward bias toward the screen. Adopting a practice-led research methodology revealed the subtleties of the ongoing relationship of digital capabilities affecting the materiality of traditional printmaking. The applications of innovative interdisciplinary discoveries to my contemporary arts practice drew on strong partnerships and collaborative relationships developed with the fields of chemistry, engineering and science. I applied these discoveries to my contemporary arts practice to examine the effects of digital capabilities and the materiality of traditional printmaking. To embrace conceptual growth creative work the research drew on philosopher Gilles Deleuze and psychiatrist Félix Guattari’s notion of the rhizome. The presence of simulacra in the world has continued to expand as digital technologies proliferate. The application of traditional printmaking and digital printmaking through open thinking offers a different way to understand physical aspects of the world and create propositions that go beyond re-imaging the real

Digital Techniques for Documenting and Preserving Cultural Heritage

In this unique collection the authors present a wide range of interdisciplinary methods to study, document, and conserve material cultural heritage. The methods used serve as exemplars of best practice with a wide variety of cultural heritage objects having been recorded, examined, and visualised. The objects range in date, scale, materials, and state of preservation and so pose different research questions and challenges for digitization, conservation, and ontological representation of knowledge. Heritage science and specialist digital technologies are presented in a way approachable to non-scientists, while a separate technical section provides details of methods and techniques, alongside examples of notable applications of spatial and spectral documentation of material cultural heritage, with selected literature and identification of future research. This book is an outcome of interdisciplinary research and debates conducted by the participants of the COST Action TD1201, Colour and Space in Cultural Heritage, 2012–16 and is an Open Access publication available under a CC BY-NC-ND licence.https://scholarworks.wmich.edu/mip_arc_cdh/1000/thumbnail.jp

Archaeology and Tourism in the Early 20th Century: Pompeii Through a Photographic Archive

Held at the University of Nebraska State Museum, the Iain C.G. Campbell collection contains thirty-nine photographs taken at Pompeii and Athens, forty-six postcards from multiple archaeological sites around the Mediterranean, and two Roman style lamps. Dating to the early nineteen hundreds, this collection was brought to Nebraska by Iain C.G. Campbell, the son of Gladys Annie Campbell née Theophilus, the original collector and the woman who is thought to be shown in two of the photographs from the collection. Campbell moved to Nebraska after his marriage to Gladys Perry, a native Nebraskan, and brought with him his mother’s collection. Donated to the museum in 1973, it is this collection that this thesis centers around, presenting and analyzing the material from multiple perspectives. Travel throughout the Mediterranean has been present from antiquity to the present day. The discovery and excavation of archaeological sites and their promotion as must visits during the period of the Grand Tour established cities such as Pompeii and Athens as popular destinations for travelers coming from around the world. Due to this global impact on diverse cultures anthropology has taken strides to understand practices related to both the tourists and hosts. The Campbell collection fits within the study of objects accumulated by travelers for their larger understanding as objects of memory and presentation as proof of exploration and travel. To make the Campbell collection more accessible, the photographs, postcards, and lamps have been digitized using both traditional scanning for the 2D objects and photogrammetry to create 3D models of the lamps. Using Geographic Information System’s (GIS) ability to map the locations of the photographs and formulate routes using Network Analyst, the photographs in the city of Pompeii were mapped and a possible route for the 1900s visit was formed. With the digital products of the collection, a narrative website was formed using Scalar to present the collection online. Advisor: Effie Athanassopoulo