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El. knyga: 2.5D Printing: Bridging the Gap Between 2D and 3D Applications

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A guide that examines the history and current state of 2. 5D printing and explores the relationship between two and three dimensions 2.

A guide that examines the history and current state of 2.5D printing and explores the relationship between two and three dimensions

2.5D Printing: Bridging the Gap Between 2D and 3D Applications examines the relationship between two- and three-dimensional printing and explores the current ideas, methods, and applications. It provides insights about the diversity of our material culture and heritage and how this knowledge can be used to design and develop new methods for texture printing. The authors review the evolving research and interest in working towards developing methods to: capture, measure and model the surface qualities of 3D and 2D objects, represent the appearance of surface, material and textural qualities, and print or reproduce the material and textural qualities.

The text reflects information on the topic from a broad range of fields including science, technology, art, design, conservation, perception, and computer modelling. 2.5D Printing: Bridging the Gap Between 2D and 3D Applications provides a survey of traditional methods of capturing 2.5D through painting and sculpture, and how the human perception is able to judge and compare differences. This important text:

  • Bridges the gap between the technical and perceptual domains of 2D and 3D printing 
  • Discusses perceptual texture, color, illusion, and visual impact to offer a unique perspective 
  • Explores how to print a convincing rendering of texture that integrates the synthesis of texture in fine art paintings, with digital deposition printing 
  • Describes contemporary methods for capturing surface qualities and methods for modelling and measuring, and ways that it is currently being used 
  • Considers the impact of 2.5D for future technologies 

2.5D Printing is a hands-on guide that provides visual inspiration, comparisons between traditional and digital technologies, case studies, and a wealth of references to the world of texture printing.

Please visit the companion website at: www.wiley.com/go/bridging2d3d.
About the Authors xi
Series Editor's Preface xiii
Preface xv
Acknowledgements xvii
About the Companion website xviii
Introduction xix
1 Defining the Field of 2.5D Printing 1(34)
1.1 What is Texture?
1(5)
1.1.1 How to Quantify Texture
2(1)
1.1.2 How do Artists Convey the Appearance of Texture?
3(1)
1.1.3 How the Natural World Mimics the Appearance of Texture
4(2)
1.2 Measuring Texture and Colour
6(3)
1.3 Images, Pictures and Reproductions
9(12)
1.3.1 The Anxiety of the Reproduction
11(1)
1.3.2 Reproducing Images: Tools of the Trade
12(3)
1.3.3 Reproducing Images: Colour and Texture
15(1)
1.3.4 Reproductions versus Forgeries versus Copies
15(2)
1.3.5 Are Facsimiles and Replicas Important?
17(2)
1.3.6 Copying from Old Masters
19(1)
1.3.7 Technical Examination of Artworks
20(1)
1.4 The Authenticity of the Image and Object and Perception of Things
21(3)
1.5 Current Industrial and Mechanical Methods to Reproduce the Appearance of Texture
24(4)
1.5.1 2D Printing Methods
24(1)
1.5.2 The Emergence of 3D Printing
25(3)
1.6 Conclusion
28(1)
References
29(1)
Bibliography and Further Reading
30(5)
2 The Past 35(34)
2.1 Introduction
35(1)
2.2 Artists' Observations on the Appearance of Illumination
36(3)
2.3 Artists' Conversion of Images into Relief
39(2)
2.4 Artists' Exploration of Different Sculptural Relief
41(10)
2.4.1 Examples of Degrees of Projection
45(6)
2.5 Coloration of Relief Surfaces
51(7)
2.5.1 Visualising and Reconstructing the Past
57(1)
2.6 Examples of Artists' Approaches to Representation and Reproduction of Texture
58(8)
References
66(1)
Bibliography and Further Reading
67(2)
3 The Present: Materials, Making, Capturing and Measuring 69(46)
3.1 Introduction: Universal Knowledge
69(1)
3.2 The Relationship of Digital Technologies, Knowledge of Materials and Skills
70(8)
3.3 Methods to Capture and Measure Texture
78(7)
3.3.1 Commercial and Specialist Scanners
78(4)
3.3.2 Scanning for Cultural Heritage
82(2)
3.3.3 In Pursuit of Standards: Metric versus Quality
84(1)
3.4 Methods to Represent the Appearance of Texture
85(5)
3.5 Physical Material Libraries
90(2)
3.6 Methods for 2.5D Printing
92(13)
3.6.1 Analogue versus Digital
93(3)
3.6.2 Materials for Printing
96(6)
3.6.3 Printing Functional Materials
102(3)
References
105(3)
Bibliography and Further Reading
108(7)
4 The Future 115(12)
4.1 Introduction
115(2)
4.1.1 The Future of Education in Art Design and Sciences
115(1)
4.1.2 The Future of Materials and Manufacture
116(1)
4.2 Circular Economy and Sustainable Manufacturing
117(2)
4.3 Worldwide Print Connectivity
119(1)
4.4 Mass Printing for One
120(2)
4.5 Security Printing
122(1)
4.6 Conclusion
123(1)
References
123(1)
Bibliography and Further Reading
124(3)
5 Case Studies 127(112)
Case Study 1: Nature Printing in the Nineteenth Century
127(6)
Case Study 2: Wallpaper Design
133(9)
Wallpaper Printing Processes
134(8)
Case Study 3: 2.5D Printed Tactile Books and Artworks
142(9)
Examples of Tactile Images that Incorporate Multiplatform and Digital Print Technologies
148(3)
Case Study 4: Coins and Medals
151(6)
Making Coins
152(3)
Medals of Dishonour Exhibition British Museum
155(2)
Case Study 5: Capturing Texture of Paintings for Museum and Heritage
157(4)
Visualising Surface Texture Through the Combination of 2D and 3D Data
157(1)
Workflow: 3D Scanning and Processing
158(1)
Generation of Colour RTI Images
158(2)
Generation of Colour 3D Models
160(1)
Case Study 6: Textiles
161(6)
Case Study 7: Trompe l'Oeil
167(5)
Case Study 8: Marble
172(7)
Case Study 9: Gold
179(6)
Printing Gold in the Digital Market Place
183(1)
The Stafford Hoard and Gold Printing at The Jewellery Industry Innovation Centre, Birmingham Jewellery Quarter
184(1)
Case Study 10: Exterior Decoration Tiles and Ceramics
185(10)
Twenty-first Century Ceramic Tile Inkjet Printing
190(5)
Case Study 11: Microstructure! Texture
195(8)
Case Study 12: Painting Machines
203(11)
Computer Simulations for Representing Materials and Objects
204(1)
Direct Manipulation
205(1)
Translating Brush Strokes into Painting Machines
206(2)
Methods of Converting Images into Brushstrokes
208(2)
Brush Strokes and Painting Machines
210(4)
Case Study 13: Analogue Printing Methods
214(9)
Intaglio
214(3)
Relief Printing
217(3)
Lithography
220(1)
Screenprinting
221(2)
Case Study 14: Relief Woodblock Printing
223(16)
References
230(4)
Bibliography and Further Reading
234(5)
Index 239
Dr. Carinna Parraman is Professor in Design, Colour and Print, and Director of the Centre for Fine Print Research, University of the West of England, Bristol, UK. She works with artists, industrialists and scientists on a range of collaborative projects including 3D fabrication and 2.5D printing, ink development, and paper coatings.

Dr. Maria V. Ortiz Segovia is the leading scientist of the colour and image processing activities in Océ Print Logic Technologies, France. She is in charge of conducting collaborations and partnerships between Océ and different universities, laboratories and research institutions around the globe.
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