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Cross-departmental collaboration
using 3D technologies at Yale
Jason DeBlockElena Torok
Richard HouseScott Williams
Museum Computer Network
Dallas, TX
November 21, 2014
Various Platforms for
Packing Applications
Jason DeBlockManager of Collections
INTRODUCTION
Case studies for packing and the
evolution of equipment
INTRODUCTION
Scanning Platforms
• Custom equipment
• NextEngine
• Kinect
• Go!Scan
YALE UNIVERSITY ART GALLERY
The Jacob Epstein - Venus
92 3/4 x 17 x 32 1/2 in
1917
Yale University Art
Gallery
YALE UNIVERSITY ART GALLERY
• Custom equipment
• Labor intensive
• Specialized
knowledge required
• Time prohibitive, but
functional
YALE UNIVERSITY ART GALLERY
NextEngine
• Great resolution at
~.06mm
• Inexpensive at ~$3000
• Very slow, labor
intensive processing.
Brass Lockplate
Mid 19th Century
~ 1.5 x 3 x .125 in.
Carved Architectural Elements from
the Appleton House, Bronx, New York
2008.137.1
Indian, 19th century, ca. 1891
Teak
YALE UNIVERSITY ART GALLERY
Microsoft Kinect
• Low resolution
~.12mm??
• Cheap! ~$200
• Serviceable for
packing
• Extremely fast
1929.418
Section of Mosaic Floor from south aisle of church
of Bishop Paul, i.e. Procopius Church
c. 526
~1.5 x 50 x 96 in.
YALE UNIVERSITY ART GALLERY
Creaform Go!Scan
Good resolution at ~.1mm
• Very easy to use
• Intuitive and quick
• Decent data acquisition of
traditionally difficult objects
• Unable to scan hair/feathers or
similar textures
• Pricey at ~$40,000
Egyptian Coffin Panel
23 x 9 3/4 x 2 1/4 in
Date unknown
Yale University Art
Gallery
YALE UNIVERSITY ART GALLERY
Comparison
Egyptian Coffin Panel
23 x 9 3/4 x 2 1/4 in
Date unknown
Yale University Art Gallery
NextEngine Creaform Go!ScanMicrosoft KinectPhotograph
MCN Annual Conference, Dallas, TX21 November 2014
3D SCANNING AND PRINTING AT THE YALE UNIVERSITY ART GALLERY
CONSERVATION APPLICATIONS
Elena TorokProject Conservator, Objects Conservation, Yale University Art Gallery
INTRODUCTION
Yale University Art Gallery
Conservation Department
Conservation
Department
Paintings
Objects
Paper
Curatorial
Departments
13
Image credits: Yale University Art Gallery, Yale Daily News
INTRODUCTION
Yale University Art Gallery
Conservation Move to Yale West Campus
Institute for the Preservation of
Cultural Heritage (IPCH)
Conservation Science Laboratories
Shared Imaging Facilities
YUAG Move (2015-2016)
Wurtele Collections Study Center
Shared Conservation Studios
Image credit: www.yalescientific.org
INTRODUCTION
OUTLINE
• Case Studies: 3D Scanning, Printing, and CNC Cutting at YUAG
Horse Armor from Dura-Europos (ca. 3rd century)
Lockwood de Forest’s Carved Teak Architectural Elements (ca. 1891)
Frederic Remington’s Wounded Bunkie (1896)
• Pros and Cons of these Technologies for Conservation
• Future Directions
CASE STUDIES
Creating a Mount for an Archaeological Panoply
Dura-Europos, Syria, ca. 165-256 A.D.
1933.680 Before Treatment
CASE STUDIES
Image credit: Carol Snow
Creating a Mount for an Archaeological Panoply
Dura-Europos, Syria, ca. 165-256 A.D.
Ancient Gallery, Yale University Art Gallery
CASE STUDIES
Image credit: Yale University Art Gallery
Creating a Mount for an Archaeological Panoply
Dura-Europos, Syria, ca. 165-256 A.D.
1930s Field Photograph1933.680 Before Treatment
CASE STUDIES
Image credit: Yale University Art Gallery
Creating a Mount for an Archaeological Panoply
Dura-Europos, Syria, ca. 165-256 A.D.
Horse File Download: TurboSquid
(Edited Using MeshLab)
CASE STUDIES
Creating a Mount for an Archaeological Panoply
Dura-Europos, Syria, ca. 165-256 A.D.
CNC (Computer Numeric Control) Cutting from Foam
CASE STUDIES
Creating a Mount for an Archaeological Panoply
Dura-Europos, Syria, ca. 165-256 A.D.
1933.680 After Treatment
CASE STUDIES
Image credit: Yale University Art Gallery
Creating Fills for Lockwood de Forest Architectural Elements
from Appleton House, Bronx, NY, ca. 1891
2008.137.1
CASE STUDIES
Image credit: Yale University Art Gallery
Creating Fills for Lockwood de Forest Architectural Elements
from Appleton House, Bronx, NY, ca. 1891
NY Architecture by Lockwood de Forest
from the Ahmedabad, India Workshop
CASE STUDIES
Image credit: www.acdfa.orgImage credit: www.daytoninmanhattan.blogspot.com
Creating Fills for Lockwood de Forest Architectural Elements
from Appleton House, Bronx, NY, ca. 1891
2008.137.1 Before Installation
CASE STUDIESIm
ag
e c
red
it: Ya
le U
niv
ers
ity A
rt Ga
llery
Creating Fills for Lockwood de Forest Architectural Elements
from Appleton House, Bronx, NY, ca. 1891
3D Scanning Using Next Engine Scanner
(Meshing and Editing with Mesh Lab)
CASE STUDIES
Image credit: www.nextengine.com
Creating Fills for Lockwood de Forest Architectural Elements
from Appleton House, Bronx, NY, ca. 1891
3D Scanning Using Next Engine Scanner
(Meshing and Editing with Mesh Lab)
CASE STUDIES
Image credit: www.nextengine.com
Creating Fills for Lockwood de Forest Architectural Elements
from Appleton House, Bronx, NY, ca. 1891
CNC Cutting of Architectural Fills
CASE STUDIESIm
ag
e c
red
it: Ja
so
n D
eB
lock
Creating Fills for Lockwood de Forest Architectural Elements
from Appleton House, Bronx, NY, ca. 1891
Finishing, Staining, and Assembly
CASE STUDIES
Image credit: Jason DeBlock
Creating Fills for Lockwood de Forest Architectural Elements
from Appleton House, Bronx, NY, ca. 1891
2008.137.1 After Installation
CASE STUDIES
Image credit: Yale University Art Gallery
Creating Fills for Lockwood de Forest Architectural Elements
from Appleton House, Bronx, NY, ca. 1891
2008.137.1 After Installation
CASE STUDIES
Image credit: Yale University Art Gallery
Treatment of The Wounded Bunkie
Frederic Remington, 1896
Image credit: Yale University Art Gallery
CASE STUDIES
1900.3 Before Treatment
Image credit: www.clarkart.edu
The Francine and Sterling Clark Art Institute, Williams College, MA
Treatment of The Wounded Bunkie
Frederic Remington, 1896
Image credit: Carol Snow
CASE STUDIES
The Francine and Sterling Clark Art Institute, Williams College, MA
Treatment of The Wounded Bunkie
Frederic Remington, 1896
Image credit: Carol Snow
CASE STUDIES
STL File Creation: 123D Catch
Treatment of The Wounded Bunkie
Frederic Remington, 1896
Image credit: Jason DeBlock
CASE STUDIES
3D Scanning:
Next Engine Scanner
Treatment of The Wounded Bunkie
Frederic Remington, 1896
CASE STUDIES
STL File Editing: MeshLab and Rhinoceros
Treatment of The Wounded Bunkie
Frederic Remington, 1896
Image credit: Jason DeBlock
CASE STUDIES
3D Printing: Selecting Methods and Materials
Treatment of The Wounded Bunkie
Frederic Remington, 1896
Yale Center for Engineering, Innovation, and Design (CEID)
MakerBot
ObJet
Image credit: admissions.yale.edu
Internal Resources
Plastics Only
External Resources
Metals, etc.
CASE STUDIES
Image credits: Shapeways, ExOne
Rifle from Clark
Institute of Art Williams College, MA
Yale
3D Printed Rifle
Treatment of The Wounded Bunkie
Frederic Remington, 1896
CASE STUDIES
Treatment of The Wounded Bunkie
Frederic Remington, 1896
Inpainting and Securing
Image credit: Laura Hartman
CASE STUDIES
Inpainting and Securing
Treatment of The Wounded Bunkie
Frederic Remington, 1896
Image credit: Laura Hartman
CASE STUDIES
Image credit: Carol Snow
Treatment of The Wounded Bunkie
Frederic Remington, 1896
Future Directions
Helen Cooper,
Curator of American
Painting and
Sculpture
CASE STUDIES
PROS & CONS
PROS AND CONS
Consof these technologies for Conservation
PROS AND CONS
Consof these technologies for Conservation
• Difficult to scan shiny, transparent, or metallic surfaces
PROS AND CONS
Consof these technologies for Conservation
• Difficult to scan shiny, transparent, or metallic surfaces
• Objects cannot be coated or pinned with registration points
PROS AND CONS
Consof these technologies for Conservation
• Difficult to scan shiny, transparent, or metallic surfaces
• Objects cannot be coated or pinned with registration points
• Plastics are non-archival
PROS AND CONS
Consof these technologies for Conservation
• Difficult to scan shiny, transparent, or metallic surfaces
• Objects cannot be coated or pinned with registration points
• Plastics are non-archival
• Printed metals not as strong as cast metals
PROS AND CONS
Consof these technologies for Conservation
• Difficult to scan shiny, transparent, or metallic surfaces
• Objects cannot be coated or pinned with registration points
• Plastics are non-archival
• Printed metals not as strong as cast metals
• Artifacts of fabrication are still present on printed surfaces
PROS AND CONS
Consof these technologies for Conservation
• Difficult to scan shiny, transparent, or metallic surfaces
• Objects cannot be coated or pinned with registration points
• Plastics are non-archival
• Printed metals not as strong as cast metals
• Artifacts of fabrication are still present on printed surfaces
• Data management can be difficult
PROS AND CONS
Consof these technologies for Conservation
• Difficult to scan shiny, transparent, or metallic surfaces
• Objects cannot be coated or pinned with registration points
• Plastics are non-archival
• Printed metals not as strong as cast metals
• Artifacts of fabrication are still present on printed surfaces
• Data management can be difficult
• Software can be difficult to learn
PROS AND CONS
Consof these technologies for Conservation
• Difficult to scan shiny, transparent, or metallic surfaces
• Objects cannot be coated or pinned with registration points
• Plastics are non-archival
• Printed metals not as strong as cast metals
• Artifacts of fabrication are still present on printed surfaces
• Data management can be difficult
• Software can be difficult to learn
• Equipment can be expensive
PROS AND CONS
Prosof these technologies for Conservation
PROS AND CONS
• Equipment doesn’t always have to be expensive
Prosof these technologies for Conservation
PROS AND CONS
• Equipment doesn’t always have to be expensive
• Software isn’t always difficult to learn
Prosof these technologies for Conservation
PROS AND CONS
• Equipment doesn’t always have to be expensive
• Software isn’t always difficult to learn
• Scanning can allow for the creation of fills/mounts without actually
touching the object itself
Prosof these technologies for Conservation
PROS AND CONS
• Equipment doesn’t always have to be expensive
• Software isn’t always difficult to learn
• Scanning can allow for the creation of fills/mounts without actually
touching the object itself
• Scanning allows for more thorough level of documentation
Prosof these technologies for Conservation
PROS AND CONS
• Equipment doesn’t always have to be expensive
• Software isn’t always difficult to learn
• Scanning can allow for the creation of fills/mounts without actually
touching the object itself
• Scanning allows for more thorough level of documentation
• For metals, printing is less expensive than casting
Prosof these technologies for Conservation
PROS AND CONS
• Equipment doesn’t always have to be expensive
• Software isn’t always difficult to learn
• Scanning can allow for the creation of fills/mounts without actually
touching the object itself
• Scanning allows for more thorough level of documentation
• For metals, printing is less expensive than casting
• STL files can be reused, if necessary
Prosof these technologies for Conservation
FUTURE
DIRECTIONS
FUTURE DIRECTIONS
Future Directions
FUTURE DIRECTIONS
Future Directions
• Using YUAG’s existing technologies for new applications
• GoScan and reflective/transparent surfaces
FUTURE DIRECTIONS
Future Directions
• Using YUAG’s existing technologies for new applications
• GoScan and reflective/transparent surfaces
• Testing 3D-printed materials to understand more about their
fabrication and composition
FUTURE DIRECTIONS
Future Directions
• Using YUAG’s existing technologies for new applications
• GoScan and reflective/transparent surfaces
• Testing 3D-printed materials to understand more about their
fabrication and composition
• Exploring new technologies
• Photogrammetry
• RTI
THANK YOU
ACKNOWLEDGEMENTS
Yale University Art Gallery
Think BIGStart small
Using standard photography equipment
to enter the world of 3D
Reflectance Transformation Imaging
and Photogrammetry
Visual ResourcesDigital Imaging Department
Image Usage:
Open Access
Publication
Research
Documentation
Conservation
*DSLR system used for computational photography projects
Camera Systems:
Phase One Medium Format
digital backs
Phase One F/X Scanback
(In use for near IR captures)
Full Frame Canon DSLRs*
Yale West CampusShared Imaging Labs
Expanded studio spaces
Collaborative environment
Catwalk Studio 1 Infinity Corner- Studio 2
Cultural Heritage Imaging Training Workshops
Photos by Marlin Lum
©Cultural Heritage Imaging
Multi-day training sessions in
Reflectance Transformation
Imaging (RTI) and
Photogrammetry offered by
CHI introduced these
techniques to my department
www.culturalheritageimaging.org
Highlight RTI
Fixed camera, object and reflective spheres
Series of images with multiple light positions
Fixed light distance 3-4 x length of object
Sphere needs to fill 200 pixels of image*
Light positions create an arc between 15 and 65
degrees of a half sphere outlinePhoto by Marlin Lum
©Cultural Heritage Imaging
RTI build file of combined
highlight light positions detected
from a glossy black sphere
Conservation of a Panel Painting
Matteo di Giovanni
Hercules Slaying Antaeus
ca. 1470
Tempera on Panel
17 x 12 1/16 x 1 in.
1946.317
Yale University Art Gallery
Yale Art Gallery
Painting Conservator
Irma Passeri
Conservation’s most
frequent image requests*
Raking Ultraviolet Infrared
*Occasional requests for Specular and Transmissive light views
Default Viewing Mode Specular Enhancement
First RTI project at YUAGItalian Panel Painting- Before Treatment
Surface Details using RTI specular enhancement
First RTI project at YUAGItalian Panel Painting- Before Treatment
Default Viewing Mode Specular Enhancement
After Treatment
Default Viewing Mode Specular Enhancement
After Treatment
Default Viewing Mode Specular Enhancement
Piero di CosimoVirgin and Child with Saints Vincent Ferrer and Jerome
Analysis for Conservation Treatment
Piero di Cosimo
Virgin and Child with Saints Vincent
Ferrer and Jerome
Ca. 1510-1515
Oil on Panel
82 ½” x 80 ¾” 1 3/8”
1871.73
Yale University Art Gallery
This is NOT a
small painting!
We only did RTI details due to the
panel painting’s large size
Default Viewing Diffuse Gain
Specular Enhancement
Default Viewing
Diffuse Gain
Specular Enhancement
The Piero di Cosimo panel painting is currently being
treated in the conservation lab and will likely undergo
more RTI imaging as work progresses
Yale West Campus- Imaging Labs
Collaborative Lab space for RTI
45 light RTI dome purchased from Cultural Heritage Imaging
Roman in the ProvincesYale University Art Gallery Fall 2014
Associate Curator of Ancient Art Lisa Brody speaking
with visitors at the Roman in the Provinces exhibit
Intaglio of Diana
2nd Century A.D.
9/16 x 1/8 x 9/16 in
1932.1679
Yale University Art Gallery
Intaglio Project- Curator driven request
Yale Art Gallery “Rome in the Provinces” Exhibit
Carved Intaglio Gemstone
1st -3rd Century A.D.
5/16 x 1/2 in.
1986.100.35
Yale University Art Gallery
Typical Intaglio relief with modeling clay stamp
Intaglio with Carving of Tyche
2nd Century A.D.
7/16 x 11/16 x 3/16 in
1938.4332
Yale University Art Gallery
Could we create this impression virtually?
Remnants of clay seen here from the process
of making a stamp in modeling clay
RTI dome image capture for RTI
After working on the first Intaglio I
realized this was not going to turn out
the way I had hoped. While frustrated
in not getting the effect I was aiming
for, I unwittingly spoke to a Computer
Science post doc who graciously
offered up a creative solution
RTI23D*
Application
* RTI23D is a MATLAB code written by Ruggero Pintus, Post-Doc at
Yale’s Computer Science program. Ruggero modified this C++ code
from an older project he worked on for Photometric Stereo using
Scanning Electron Microscopes
Works from the 45 images and light
position file generated by RTI builder
This came about purely by
collaborative studio designs
and the RTI dome being
location across the hall from
the new 3D scanning lab at
Yale’s West Campus
The final RTI23D result is a .ply file The file was inverted using Meshlab and a
JPEG image of the positive surface was exported
Publication Image Virtual Positive
The final RTI23D result is a .ply file The file was inverted using Meshlab and a
JPEG image of the positive surface was exported
Physically Stamped Modeling Clay “Inaccurate” Virtual Positive
Resulting images are being used in the
exhibition catalog as well as online
Available for download via
Yale Art Gallery’s website
http://artgallery.yale.edu
All of the intaglio positives are printed in the
Roman in the Provinces catalog
3D printed LED Microscope RTI domeproject in progress
DIY project
Model created using free version of Autodesk 123D Design
3D printed on a Makerbot printer in ABS plastic
Led lights still need to be wired
Photogrammetry
Egyptian Coffin Panel
23 x 9 3/4 x 2 1/4 in
Date unknown
Yale University Art Gallery
Scanning and photography gear used in final comparisons
Camera gear:
Canon 5D Mk II, 580EXII Speedlite flash,ST-E2 trigger
Prime lenses- 28mm, 50mm macro and 100mm macro
Scanners used:
Xbox Kinect, NextEngine, GoScan
Photogrammetry
144 photos
RTI and RTI23D
44 photos
Photogrammetry: Agisoft Photo Scan Pro
Full color RGB data per pixel/averaged from matching points in source photographs
Having such quality RGB
data may mislead you
about what actual texture
and depth these models
have
Photogrammetry: Agisoft Photo Scan Pro
Does this model really have the texture of the wood grain?
Photogrammetry: Agisoft Photo Scan Pro
With the color turned off, we can now judge how much depth and texture is captured
RTI- Highlight Method
RTI23D model of coffin panel surface
RTI23D Point Cloud
view
Difficult material for photogrammetry and 3D scanning?Usually the same problems for both
• Highly reflective
• Transparent or translucent
• Small scale
• Deeply occluded areas
Brass Lock plate
Imaged on RTI dome
RTI23D generated .ply file
This project intends to produce a 3D printed brass replacement lockplate
The accuracy of measurement is not as important as look of final
Dense point cloud of Lock
Plate model- RTI23D
We know RTI and RTI23D does not
generate accurate data for measurement
but can record details at a much higher
level than our other techniques
RTI dynamic relighting
using specular
enhancement
Dense Point Cloud model
generated by RTI23D
Acknowledgements
Carol Snow
Ian McClure
John ffrench
Anthony DiCamillo
Beth Godcher
Helen Cooper
Susan Matheson
Lisa Brody
Ruggero Pintus
Holly Rushmeier and Yale Computer Science department
Chelsea Graham
Burrus Harlow
Kevin Gallup
MCN
Yale University Art Gallery
Clark Art Institute
Cultural Heritage Imaging (CHI)
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