Alchemy in 3D: A digitization for a journey through matter

Callieri, Marco; Pingi, Paolo; Potenziani, Marco; Dellepiane, Matteo; Pavoni, Gaia; Lureau, Aurélia; Scopigno, Roberto

doi:10.1109/digitalheritage.2015.7413875

Cited by 9 publications

(8 citation statements)

References 12 publications

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“…3D printing has also been used where three-dimensionality does not seem at issue, for example, in the documentation and conservation of paintings. "Alchemy," by Jackson Pollock, for example, was scanned at high resolution for creation of a model that is correct metrically (therefore in its geometry) and in color (radiometric value), which is obviously a fundamental feature of painting [62]. In this case, the three-dimensional model had a dual function: (1) study and research and (2) access and dissemination.…”

Section: Solid Printing In Museum Exhibitionsmentioning

confidence: 99%

An Application of Integrated 3D Technologies for Replicas in Cultural Heritage

Balletti

Ballarin

2019

IJGI

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In recent decades, 3D acquisition by laser scanning or digital photogrammetry has become one of the standard methods of documenting cultural heritage, because it permits one to analyze the shape, geometry, and location of any artefact without necessarily coming into contact with it. The recording of three-dimensional metrical data of an asset allows one to preserve and monitor, but also to understand and explain the history and cultural heritage shared. In essence, it constitutes a digital archive of the state of an artefact, which can be used for various purposes, be remodeled, or kept safely stored. With the introduction of 3D printing, digital data can once again take on material form and become physical objects from the corresponding mathematical models in a relatively short time and often at low cost. This possibility has led to a different consideration of the concept of virtual data, no longer necessarily linked to simple visual fruition. The importance of creating high-resolution physical copies has been reassessed in light of different types of events that increasingly threaten the protection of cultural heritage. The aim of this research is to analyze the critical issues in the production process of the replicas, focusing on potential problems in data acquisition and processing and on the accuracy of the resulting 3D printing. The metric precision of the printed model with 3D technology are fundamental for everything concerning geomatics and must be related to the same characteristics of the digital model obtained through the survey analysis.

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Section: Solid Printing In Museum Exhibitionsmentioning

confidence: 99%

An Application of Integrated 3D Technologies for Replicas in Cultural Heritage

Balletti

Ballarin

2019

IJGI

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“…A recent exemplar case study of 3D digitization, printing and fruition, using structured light scanner data, was proposed by Callieri et al [ 29 ] on the painting Alchemy by Jackson Pollock, where the isolation of the geometrical component was done by exploring the model with the curator to emphasize the artist creation technique [ 30 ]. Three-dimensional printing technologies are gaining attention also thanks to the possibility to reproducing pieces of art for conservation reasons (see the recent review [ 13 , 31 ]).…”

Section: Introduction and Backgroundmentioning

confidence: 99%

Experiencing the Untouchable: A Method for Scientific Exploration and Haptic Fruition of Artworks Microsurface Based on Optical Scanning Profilometry

Mazzocato

Daffara

2021

Sensors

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The experience of an object derives not only from the sight but also from the touch: a tactile exploration can reveal the smallest information trapped within the surface up to our tactile detective threshold. Starting from the importance of this observation in the case of works of art, this research demonstrates the use of conoscopic holography sensors for high-quality acquisition of the surface of artworks (up to the micro-scale) suitable also to 3D printing. The purpose is twofold, allowing for the tactile use of the artwork, which is otherwise impossible, for visually impaired people and for new use in regard to scientific information purposes. In detail, the workflow to obtain a 3D printed replica of multiscale and polychrome artworks suitable for the haptic fruition is validated, but the potential of the tool as an innovative resource for scientific visualization of the microsurface of the artwork for conservation issues is also demonstrated. The validation was performed on notable Italian masterpieces, such as Donatello’s “Death Cristh” bronze relief in Padua and the Tintoretto painting “St. Martial in Glory with the Saints Peter and Paul” in Venice.

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“…The acquisition of a 3-dimensional (3D) digital model has been established as a common practice in many Cultural Heritage applications (Levouy et al 2000;Bernardini 2002;Fontana 2002;Callieri et al 2011;Remondino 2009;Falkingham 2012;Niquet & Mas-Barbera, 2018). Such computer aided technologies are being used for diagnostic and non-invasive documentation in conservation and restoration projects (Callieri et al 2004;Arbace et al 2013;Callieri et al 2015;Alquini et al 2018), for analytical and web interactive visualization purposes (Pereira 2016), and in many other areas. In the field of heritage conservation, 3D digitizing techniques has also been useful to create digital archives of 3D models, to produce high fidelity physical replicas of art-works, to the remote fruition of cultural heritage, to digital restoration and to the monitoring of cultural heritage (Pieraccini et al 2001).…”

Section: Introductionmentioning

confidence: 99%

Restoration of an 18th century frame: 3D modelling, printing and matching color of decorative flowers elements

Henriques

Bailão

Rocha

et al. 2020

GEC

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This paper describes the application of 3D digital technology to support the rebuild of lost decorative elements of an historical frame. The frame belongs to an 18th century painting depicting the portrait of D. José, Prince of Brazil, displayed at the National Palace of Queluz, Portugal. The application of digital technologies has been planned from the very beginning in order to avoid the traditional use of silicone in the reproduction of missing elements. The photogrammetric 3D acquisition, a non-contact methodology, has been used to reduce the manipulation and hence prevent further degradation of the artistic object. Following the 3D modelling operation, new decorative elements were made using an additive printing technology. In the final phase of the work, the post-printing treatment was carried out, in which aqueous products were used. 3D modelling, in addition to facilitate the restoration treatment of the historic frame, can also be useful in the creation of a digital collection of decorative frame elements, i.e. a virtual database.

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Alchemy in 3D: A digitization for a journey through matter

Cited by 9 publications

References 12 publications

An Application of Integrated 3D Technologies for Replicas in Cultural Heritage

An Application of Integrated 3D Technologies for Replicas in Cultural Heritage

Experiencing the Untouchable: A Method for Scientific Exploration and Haptic Fruition of Artworks Microsurface Based on Optical Scanning Profilometry

Restoration of an 18th century frame: 3D modelling, printing and matching color of decorative flowers elements

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