Artwork copying Experience Sharing 1
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In the era when printing was not yet popular, paintings and paintings were the main means of copying artworks, and they can be traced back to the Three Kingdoms period. With the development of printing, various printing technologies have emerged to revolutionize the reproduction of artworks. Woodcut watermarks, for example, are the most traditional copying techniques with Chinese characteristics and are used exclusively for copying ink paintings, color ink paintings and other handicrafts. The printing techniques such as silk printing and silk screen printing are used in the reproduction of different works of art. The emergence of new technologies such as digitalization and inkjet printing has brought about a new revolution in the reproduction of artworks. Compared with the traditional replication technology, these technologies have greatly improved the production cycle, the printing accuracy, and the degree of manuscript reduction, becoming the mainstream technology for the reproduction of artworks today.
Shanghai Business Digital Image Technology Co., Ltd., as a company that introduced and applied digital technology early, has provided services for Chinese Art Palace, Shanghai Museum and other personal collectors. After more than a decade of accumulation, the company summarized a set of artwork reproduction technology processes based on inkjet printing.
Art reproduction process
The art reproduction process is mainly divided into planning, digitization, printing, copying and subsequent processing.
1. Planning
Planning plays a key role as the beginning of the process. To duplicate a work of art, we must first classify the materials and types of paintings, then analyze the style and characteristics of the paintings, and plan each of the links according to the needs of customers. This will not only save costs, make production less detours, but also provide customers with complete solutions. For example, traditional Chinese paintings and oil paintings, paper and transcripts, meticulous paintings, and freehand brushwork all need to be classified one by one, and the artistic features of the original works can be better demonstrated through different technical means in the later period.
2. Digitization
Digitization is the process of transforming the original graphic color information into electronic data. Two types of digital systems are commonly used in the market today. One is a large platform scanner represented by CRUSE and METIS, and the other is a portable digital system represented by Phaseone.
Both have features such as large scan size, high optical resolution, low image noise, and non-contact type. Since both types of replication systems use the principle of a linear CCD, there are good performances in digital quality. Even if there are slight differences in some parameters, it has little effect on the reproduction of the entire artwork. However, both systems have their own emphasis. The portable digital system can easily enter the museums. The digital system can be set up with only a few square meters of space with gray balance and diffuse reflection, but the system needs to be balanced every time. White balance, light source lighting, etc., will inevitably affect work efficiency. The structure of the large-scale platform scanning system and the light source layout have high design stability and convenient light source lighting.
In the process of digitization, it is necessary to debug and calibrate the device first, and then perform different light source layouts according to different manuscripts. It can be said that the lighting determines the quality of a digital artwork. Many art reproductions do not achieve satisfactory results, and problems are often caused by light sources. For example, the manuscripts of oil paintings need to be reduced in reflection by light, and manuscript-like manuscripts need to be sharpened by hard light sources. After the final digitization is completed, an ICC profile is required to restore the original colors of the manuscript.
3. Print copy
After obtaining the digitized information of the manuscript, the art reproduction is mainly performed by means of micro-piezo inkjet printing. Compared with traditional printing methods, the color gamut of micro-piezoelectric ink-jet printing is more extensive, and its dots are irregularly distributed, and no interference stripes are formed. In terms of work efficiency, there is no need to publish the book, which saves a lot of time and material costs. Because the water-based pigment is soluble in paper and suitable for printing materials such as rice paper and crepes, the impression of the printed material is very close to that of various types of works of art.
The traditional Chinese paintings mainly consist of rice paper and rice paper, and the oil paintings are mainly canvas cloths. As the upper rice paper is pure handicraft production, the absorption of water-based pigments is good, the color gamut is small, which is not conducive to the reproduction of works of art, and the production of manual craftsmanship is not controllable in color, so the use of imitation pro It can reduce the cost of color output and reduce research and development costs. However, no matter how modern paper mimics Xuan Paper or Sakamoto, there will be a gap between its tactile and visual effects. Therefore, our company adopts special recipes in traditional rice paper and transcripts to enhance color gamut and color stability. While fully maintaining the characteristics of rice paper and transcripts, our company can also improve product stability and preserve the essence of artworks as much as possible.