This data can then, for example, be used to extrapolate how the work will probably evolve in the future, and has evolved in the past. The research therefore fixes the work in time on the moment it is captured, allowing comparative studies about their ever developing condition.
Since paintings are subject to the elements, they evolve over time. This information can help art historians draw more reliable conclusions about for example the meaning, provenance or even attribution of a painting. All the data resulting from such applied methods will help build up a solid basis of information about the work of art. The canvas of a painting can also be subjected to study, and by counting its threads, separate paintings originating from the same roll of canvas can be matched. Such sub-surface features often reveal never before seen features or entire depictions. Advanced methods like X-ray fluorescence or Terahertz imaging give insights into the material below the surface. The impact of research on the material aspects of the painting often extends into the understanding of our cultural heritage. The amount and variety of applied scientific research on paintings has intensified over the past decade. The data has enabled us to make high resolution 3-D prints of the works by Rembrandt and Van Gogh we have captured, and confirms that the system performs well in capturing both the color and depth information. The reproductive properties of the imaging system are conform the digitization guidelines for cultural heritage. The capture of the 2 square meter big Jewish Bride by Rembrandt yielded 1 billion 3-D points. Semi-automated positioning of the system and data stitching consequently allows for the capture of larger surfaces. Through high-end cameras, special lenses and filters we capture a surface area of 170 square centimeter with an in-plane effective resolution of 50 micron and a depth precision of 9 micron. These encoded images processed by the stereo cameras then help solve the correspondence problem in stereo matching, leading to a dense and accurate topographical map, while simultaneously capturing its color.
Fringe projection is aided by sparse stereo matching to serve as an image encoder.
ResultsĪ hybrid solution between fringe projection and stereo imaging is proposed involving two cameras and a projector. We have therefore designed an efficient hybrid imaging system dedicated to capturing paintings in both color and topography with a high resolution. No single imaging method is ideally suited to capture the painting’s color and topography and each of them have specific drawbacks. The capture of paintings in the third dimension is not only interesting for study, restoration and conservation, but it also facilitates making three dimensional reproductions through novel 3-D printing methods. The fact that paint has a material presence is often overlooked, mostly due to the fact that we encounter many of these artworks through two dimensional reproductions. Paintings are versatile near-planar objects with material characteristics that vary widely.
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