This depth data is relevant for conservators and restorers (think of status-reports or analytical information about the craquela) and could in principle be used for exploitation using the museum shops (note that we as a university do not pursue this).Īlthough such a print might fool the regular observer, anyone with knowledge of paintings will immediately see that this is not painted with a brush. Furthermore, the topography of the paint is very small compared to the size of the canvas and we want to capture color at the same time as we capture depth. ![]() In order to capture this topography convincingly, we needed to capture it in a very high resolution, which is already a problem for most 3-D scanners. This fact is often overlooked or not fully appreciated. This is especially the case in the of late Rembrandt paintings and Van Gogh. By illuminating a painting with light, it automatically gives highlights and shadows that form the way we see it. Paintings are not unlike sculptures, paint as a material has a huge impact on the way a painting looks. Not interested in any exploitation of this project, I moved on after I did the tech. ![]() This was a succesful project, we scanned and printed many paintings by Rembrandt and Van Gogh,ĭeveloped into a commercial project, and got a ton of international media coverage. I developed a super-high resolution, large-format 3D scanner, especially suited to 3D-scan paintings. Schematic of our scanning setup (c) Sunday Times
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