Archives de catégorie : 3D

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LNE-Cnam, C2RMF, Océ PLT
soutiendra publiquement ses travaux de thèse intitulés

Création d’objets mats : optimisation d’un procédé d’impression en relief en termes d’apparence

le mercredi 19 décembre 2018 à 9h30
Conservatoire National des Arts et Métiers, 292 rue Saint-Martin, 75003 Paris, Amphithéâtre Fabry-Pérot

devant un jury composé de :
Madame Annick Razet (Pr., Cnam) Directrice de thèse
Madame Anne Blayo (Dr., INP Pagora) Rapporteur
Monsieur Lionel Simonot (Dr., Université de Poitiers) Rapporteur
Monsieur Marc Himbert (Pr., Cnam) Examinateur
Madame Christine Andraud (Pr., MNHN) Examinatrice
Monsieur Frédéric Du Burck (Pr., Université Paris XIII) Examinateur
Madame Clotilde Boust (Dr., C2RMF) Co-encadrante
Madame Maria Ortiz (Dr., Océ PLT) Co-encadrante
Monsieur François Bridey (Conservateur, Musée du Louvre) Invité
Monsieur Gaël Obein (Dr., Cnam) Co-encadrant, invité

Résumé :
L’impression 2.5D est une technologie à mi-chemin entre l’impression couleur traditionnelle, à laquelle elle emprunte son procédé et la qualité de reproduction des couleurs, et
l’impression 3D qui crée des reliefs et des formes. Par ses qualités visuelles, elle pourrait permettre la reproduction réaliste de multiples surfaces, mais un frein s’oppose à cette
perspective : les encres brillent. En modulant la rugosité des surfaces imprimées à l’échelle du micromètre, en fréquence et en
amplitude, nous avons réussi à réduire et contrôler le brillant des encres. Des stratégies d’impression différentes ont été proposées et étudiées pour diminuer l’effet scintillant et permettre l’impression d’une couche couleur mate : la création d’un espace à cinq dimensions dans lequel le brillant et la couleur sont modélisés aboutit à l’uniformisation des niveaux de
brillant colorés. Les protocoles d’impression développés ont ensuite été appliqués à des cas concrets issus de la conservation – restauration du patrimoine. Plusieurs exemples distincts sont présentés, qui abordent un point particulier sur lequel l’impression 2.5D est pertinente: comblement de lacune, création de répliques réalistes, intérêt de l’aspect visuel mat pour la lisibilité des œuvres.


Abstract:
2.5D printing is between traditional color printing, for the process and its visual quality, and 3D printing, which makes forms and reliefs by ink superposition. Because of its properties, 2.5D printing could allow the realistic reproduction of objects and surfaces, but inks are too glossy.
To reduce and control this glossy aspect of inks, we modulate the roughness of the printed layers, at the micro-scale, both in frequency and amplitude. Influence of parameters was
measured, and different strategies were suggested to reduce sparkle and to allow the creation of matte colored layers: by constituting a 5D space where gloss and color are modeled, we
can make gloss level of colored surfaces uniform.
Several case studies form the Conservation of Cultural Heritage were considered, where 2.5D printing could help the curator, the conservator or the archivist. We studied in particular the
issues of the the gap filling on an archaeological object, the realistic reproduction of surfaces, and the creation of matte objects for readability.

Imaging techniques for microanalysis of Paleolithic mobiliary art

Notre article sur la comparaison des techniques d’imagerie pour l’étude du mobilier Paléolithique est paru !

Journal of Archaeological Science: Reports

Volume 10, December 2016, Pages 903–909

Comparison of imaging techniques used in the microanalysis of Paleolithic mobiliary art

  • Nicolas Mélard,
  • Clotilde Boust
  • Gabrielle Cogné,
  • Anne Maigret

Archaeologists have been interested in the survey and analysis of mobile works of Paleolithic art since their discovery during excavations in the 19th century.

Examples of mobile art — made of stone, bone, antler, ivory or clay — are often found as weathered fragments with surface wear that makes the reading of these objects difficult. Since the 19th century, archaeologists have used photography, direct tracing, and oblique light to decipher the marks of the artists. Modern tools and techniques for analysis have continued to evolve. Since the early 1980s, optical and electron microscopy have been used in the analysis of the finest traces. From the 1990s on, 3D laser scanning (30 years after its invention) has been used in all fields of archaeological research. Many techniques followed, quickly evolving.

Today, we face an explosion of the techniques in the field, which offer more and more precision and rapidity that can be useful in archaeological research if applied in the service of well-reasoned lines of inquiry.

This study focuses on two engraved bones from the Magdalenian period. The main aim of the study was to understand the objects, their history and role in the prehistoric context, and their means of production. Ultimately this study informed the conservation, handling, and interpretation of the objects in the museum environment.

A secondary result of the study is an evaluation of the means of analysis in research on cultural heritage. Over the years many objects have been the subject of high-resolution digital photography, infrared photography, ultra-violet photography, RTI, digital microscopy, and microtopographical scans based on axial chromatism.

The feedback of our experience of ten years of 3D approaches provides insight into the evolution of devices and software, and indicates which innovations are of the most value to the field of archaeological study and how their use in combination may yield optimal results.

Keywords

  • Paleolithic;
  • Mobile art;
  • Archaeoscience;
  • Engravings;
  • 3D scanning;
  • Digital microscopy;
  • Technology

 

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http://www.sciencedirect.com/science/article/pii/S2352409X1630195X

Parthenos workshop : digital 3d objects in art and humanities

Day 2, 1st December 2016, 14h, the C2RMF imaging group will present ” Conservation of art works with 3D technologies”

PARTHENOS is pleased to announce its upcoming  Workshop on “Digital 3D objects in Art and Humanities: challenges of creation, interoperability and preservation”,  which will take place in Bordeaux (France), from Wednesday, 30th November to – Friday, 2nd December 2016.

The goal of this workshop is to review and discuss the status of 3D technologies (creation, visualisation, reuse and preservation) with a specific focus on the needs and perception of Digital Humanities professionals and how we can steer technology development to fit better the Digital Humanities requirements. The workshop will be attended by an international audience composed of both Digital Humanities scholars and technologists.

http://www.parthenos-project.eu/digital-3d-objects-in-art-and-humanities-workshop/