@misc { , title = {Case study 5: Capturing texture of paintings for museum and heritage}, abstract = {With the recent developments in digital imaging it is now possible to capture contact free three-dimensional details from the surface of paintings. Advances in 2.5D and 3D printing also allow the production of accurate three-dimensional physical models. Both techniques present great potential within the heritage sector, and especially in the reproduction of the surface texture of paintings. Using a Lucida laser scanner designed by Manuel Franquelo and custom built by Factum Arte, The National Gallery in London has recently been testing the potential of 3D scanning technology to record and measure the surface of paintings. The Lucida scanner outputs 3D information as 2D greyscale depth-map files, which can then be used to generate both 2D shaded renders of the textured surface in addition to the traditional 3D triangular meshes. There are, however, issues with these two outputs when it comes to visualisation. On the one hand, greyscale rendered images can only display surface texture illuminated from a range of defined positions, they are individual static images that cannot convey texture information as a full interactive 3D model. On the other hand, generated triangular 3D meshes of detailed surface texture require a vast amount of computing power to visualise and interact with the final processed 3D model. A new workflow is presented that combines digital colour images and 3D data captured at The National Gallery with RTI images to facilitate the efficient visualisation of the surface texture of paintings.}, isbn = {9781118967300}, pages = {157-161}, publicationstatus = {Published}, url = {https://uwe-repository.worktribe.com/output/5642685}, keyword = {Centre for Fine Print Research}, year = {2018}, author = {Aure Calvet, Xavier} }