Abstract
The Woodburytype is a 19th century photomechanical technique capable of producing high-quality continuous-tone prints. It uses pigment dispersed in gelatin to produce a 2.5D print, in which the effect of varying tone is produced by a variation in the print height. We propose a method of constructing full colour prints in this manner, using a CMY colour model. This involves the layering of multiple translucent pigmented gelatin films and tracking how the perceived colour of these stacks changes with varying height. A set of CMY inks is constructed, taking into account the optical properties of both the pigment and gelatin, and a method of translating images into these prints is detailed.
Highlights
There is a difference between 3D printing coloured parts and 3D printing of full colour parts.Printing coloured parts means the colour of the printing material is used to construct a coloured object, with a limited colour palette
Do the difficulties associated with general colour reproduction have to be dealt with, but in addition to this, colour deposited in 3D has its own rules and perceptual oddities. 2.5D printing, an variation of 3D printing in which two dimensions are much larger than the third, is giving a more manageable access to colour in 3D
The final dried print heights arising from this depend on the amount of gelatin used in the formulation, the increasing print height always results in an increasing perceived darkness
Summary
There is a difference between 3D printing coloured parts and 3D printing of full colour parts. A comprehensive overview of the history and process can be found in [7] These prints were monochromatic and used a carbon black pigment; multi-colour prints can be achieved by layering these translucent sheets selectively to create a stratified optical film. After the ink has dried, we can repeat this process to overlay another layer of ink to the print, with either the same or differing pigment content, increasing both the variation in print heights and the complexity of the colour gamut. The work in [9] contains a description of the single layer Woodburytype and an optical model that defines it We expand this approach to a multi-layer and multi-pigment set of Woodburytype prints and discuss how full colour Woodburytypes can be produced from a reference image
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