2.5D Printing – Bridging the Gap Between 2D and 3D Applications

Carinna Parraman s understanding of 2.5D printing has evolved through her training in fine art printmaking, she is Professor of Design, Colour and Print and Co-director at the Centre for Fine Print Research, University of the West of England, Bristol, and has an in-depth knowledge of traditional colour mixing, colour printing and photo mechanical printing processes. She collaborates with many different sectors including industry, heritage and fine art print. Maria Valezzka Ortiz Segovia's understanding of printing has evolved through Electrical Engineering and imaging science. She is the leading scientist of the colour and image processing activities of the Innovation Team at Oce Print Logic Technologies, France. She is in charge of conducting collaborations and partnerships in between Oce and different universities, laboratories and research institutions worldwide.

About the Authors ix


Series Editor s Preface xi


Preface xiii


Acknowledgements xv


Introduction xvii


1 Defining the Field of 2.5D Printing 1


1.1 What Is Texture? 1


1.1.1 How to Quantify Texture 2


1.1.2 How Do Artists Convey the Appearance of Texture? 3


1.1.3 How the Natural World Mimics the Appearance of Texture 4


1.2 Measuring Texture and Colour 5


1.3 Images, Pictures and Reproductions 9


1.3.1 The Anxiety of the Reproduction 11


1.3.2 Reproducing Images: Tools of the Trade 12


1.3.3 Reproducing Images: Colour and Texture 15


1.3.4 Reproductions versus Forgeries versus Copies 15


1.3.5 Are Facsimiles and Replicas Important? 17


1.3.6 Copying from Old Masters 19


1.3.7 Technical Examination of Artworks 20


1.4 The Authenticity of the Image and Object and Perception of Things 21


1.5 Current Industrial and Mechanical Methods to Reproduce the Appearance of Texture 24


1.5.1 2D Printing Methods 24


1.5.2 The Emergence of 3D Printing 25


1.6 Conclusion 28


References 29


Bibliography and Further Reading 30


2 The Past 35


2.1 Introduction 35


2.2 Artists Observations on the Appearance of Illumination 36


2.3 Artists Conversion of Images into Relief 39


2.4 Artists Exploration of Different Sculptural Relief 41


2.4.1 Examples of Degrees of Projection 45


2.5 Coloration of Relief Surfaces 49


2.5.1 Visualising and Reconstructing the Past 57


2.6 Examples of Artists Approaches to Representation and Reproduction of Texture 58


References 66


Bibliography and Further Reading 67


3 The Present: Materials, Making, Capturing and Measuring 69


3.1 Introduction: Universal Knowledge 69


3.2 The Relationship of Digital Technologies, Knowledge of Materials and kills 70


3.3 Methods to Capture and Measure Texture 78


3.3.1 Commercial and Specialist Scanners 78


3.3.2 Scanning for Cultural Heritage 82


3.3.3 In Pursuit of Standards: Metric versus Quality 84


3.4 Methods to Represent the Appearance of Texture 85


3.5 Physical Material Libraries 90


3.6 Methods for 2.5D Printing 92


3.6.1 Analogue versus Digital 93


3.6.2 Materials for Printing 96


3.6.3 Printing Functional Materials 102


References 105


Bibliography and Further Reading 108


4 The Future 115


4.1 Introduction 115


4.1.1 The Future of Education in Art Design and Sciences 115


4.1.2 The Future of Materials and Manufacture 116


4.2 Circular Economy and Sustainable Manufacturing 117


4.3 Worldwide Print Connectivity 119


4.4 Mass Printing for One 120


4.5 Security Printing 122


4.6 Conclusion 123


References 123


Bibliography and Further Reading 124


5 Case Studies 127


Case Study 1: Nature Printing in the Nineteenth Century 127


Case Study 2: Wallpaper Design 133


Wallpaper Printing Processes 134


Case Study 3: 2.5D Printed Tactile Books and Artworks 142


Examples of Tactile Images that Incorporate Multiplatform and Digital Print Technologies 148


Case Study 4: Coins and Medals 151


Making Coins 152


Medals of Dishonour Exhibition British Museum 155


Case Study 5: Capturing Texture of Paintings for Museum and Heritage 156


Visualising Surface Texture Through the Combination of 2D and 3D Data 157


Workflow: 3D Scanning and Processing 158


Generation of Colour RTI Images 158


Generation of Colour 3D Models 160


Case Study 6: Textiles 161


Case Study 7: Trompe l Oeil 167


Case Study 8: Marble 170


Case Study 9: Gold 179


Printing Gold in the Digital Market Place 183


The Stafford Hoard and Gold Printing at The Jewellery Industry Innovation Centre, Birmingham Jewellery Quarter 184


Case Study 10: Exterior Decoration Tiles and Ceramics 185


Twenty-first Century Ceramic Tile Inkjet Printing 190


Case Study 11: Microstructural Texture 195


Case Study 12: Painting Machines 203


Computer Simulations for Representing Materials and Objects 204


Direct Manipulation 205


Translating Brush Strokes into Painting Machines 206


Methods of Converting Images into Brushstrokes 208


Brush Strokes and Painting Machines 210


Case Study 13: Analogue Printing Methods 214


Intaglio 214


Relief Printing 217


Lithography 220


Screenprinting 221


Case Study 14: Relief Woodblock Printing 223


References 230


Bibliography and Further Reading 234


Index 239