Art documentation quality in function of 3D scanning resolution and precision

Bunsch, Eryk; Sitnik, Robert; Michoński, Jakub

doi:10.1117/12.876647

Cited by 12 publications

(8 citation statements)

References 3 publications

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“…Laser scanning A successful active method to capture topographical and color data simultaneously is by the use of a non-monochromatic (white-light) laser scanner [10][11][12]. The first 3-D scanning prototype that started our current research involved (red) line laser scanning.…”

Section: Resultsmentioning

confidence: 99%

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Simultaneous capture of the color and topography of paintings using fringe encoded stereo vision

et al. 2014

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Introduction: Paintings are versatile near-planar objects with material characteristics that vary widely. 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. 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. No single imaging method is ideally suited to capture the painting's color and topography and each of them have specific drawbacks. We have therefore designed an efficient hybrid imaging system dedicated to capturing paintings in both color and topography with a high resolution. Results: A hybrid solution between fringe projection and stereo imaging is proposed involving two cameras and a projector. Fringe projection is aided by sparse stereo matching to serve as an image encoder. 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. 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. Semi-automated positioning of the system and data stitching consequently allows for the capture of larger surfaces. The capture of the 2 square meter big Jewish Bride by Rembrandt yielded 1 billion 3-D points. Conclusion:The reproductive properties of the imaging system are conform the digitization guidelines for cultural heritage. 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.

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Section: Resultsmentioning

confidence: 99%

“…Another technique that can simultaneously capture color and topography is the http://www.heritagesciencejournal.com/content/2/1/23 structured light projection technique [10,12,14]. A common setup consists of a projector and a camera offset by a certain distance and aimed at the scene of interest.…”

Section: Structured Light Projectionmentioning

confidence: 99%

Simultaneous capture of the color and topography of paintings using fringe encoded stereo vision

et al. 2014

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“…Also several case studies have been published that make use of a fringe projection 7,10,11 . The scanning setup comprises of a projector and only one camera for the triangulation of the depth data.…”

Section: Existing 3d Imaging Methodsmentioning

confidence: 99%

Topographical scanning and reproduction of near-planar surfaces of paintings

Elkhuizen

Zaman

Verhofstad³

et al. 2014

SPIE Proceedings

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Paintings are near-planar objects with material characteristics that vary widely. The fact that paint has a material presence is often overlooked, mostly because we often encounter these artworks in the form of two-dimensional reproductions. Capturing paintings in the third dimension is not only important for study, restoration and conservation, but it also inspires 3D printing methods 1 , particularly through the high demands it makes on reproducing color, gloss and texture. "A hybrid solution between fringe projection and stereo imaging is proposed as 3D imaging method, with a setup involving two cameras and a projector. Fringe projection is aided by sparse stereo matching to serve as image encoder. These encoded images processed by the stereo cameras solve the correspondence problem in stereo matching, leading to a dense and accurate topographical map, while simultaneously capturing the composition of the painting in full color"1 . The topographical map and color data are used to make hardcopy 3D reproductions, using a specially developed printing system. Several paintings by Dutch masters Rembrandt and Van Gogh have been scanned and reproduced using this technique. These 3D printed reproductions have been evaluated by experts, both individually and in a side-by-side comparison with the original.

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“…Among the 3D imaging sensors [26,27] we decided to use the single point laser triangulation methodology due to: (i) the high accuracy in a given field of view, (ii) the inherent insensitivity to the environmental illumination conditions, and (iii) the high acquisition rate [28].…”

Section: Experimental Methodsmentioning

confidence: 99%

Automated displacement measurements on historical canvases

et al. 2017

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bstract Background: In this paper we describe a configurable system based on laser displacement sensors for the contactless acquisition of 3D and 2D shapes of near-planar objects such as the paintings. Methods:The system is based on two single-point laser triangulation sensors, a planar robot and a suite of software for driving the sensors, acquiring and post-processing the collected data. As a demonstration of the developed system we monitored three artifacts with the different aims to monitor the elastic properties of the artworks and the effectiveness of support frames in compensating the micro-climate fluctuations: the "Annunciazione" Antonello da Messina, the "Paliotto di San Domenico", and the "Portiera Oddi-Montesperelli". Results:In the "Annunciazione" case, the canvas response to tensioning trials was analyzed. The collected data permitted to quantify a maximum displacement of 0.9 and 1.5 mm for the tensioning tests at 1 and 2 mm, respectively. In the "Portiera" case, the displacement difference between the left and right canvas sides was (1.0 ± 0.13)%, due to the inherent anisotropy of the material and by the structure of the artifact. In the "Paliotto" case, instead, minor displacement variations of the gilt leather due to the environment were observed, due to the analysis conducted prior of the restoration. Conclusions:The overall obtained results demonstrated that the system is able to provide useful data for the art conservation field, with a max inaccuracy less than 100 μm.

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Art documentation quality in function of 3D scanning resolution and precision

Cited by 12 publications

References 3 publications

Simultaneous capture of the color and topography of paintings using fringe encoded stereo vision

Simultaneous capture of the color and topography of paintings using fringe encoded stereo vision

Topographical scanning and reproduction of near-planar surfaces of paintings

Automated displacement measurements on historical canvases

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