On 07/23/2011 01:07 PM, José Ángel Bueno García wrote:
Hello:
And what if I tell you that an art work of my friend Luis Palmero only have two pigments brush strokes?.
Let's start a image capture color managed workflow with the selection of source of light and the camera. The limit is the gamut of your capturing device and your print device, and there is not a single solution for any combination.
Robin Myers is talking from the experience, and we all know that time is money and that we are in a global crisis, but I would like to have time to spend in spectral measurements and multispectral camera like few years ago some museums did. Maybe they can't allow that now.
Salud
Jose Bueno
Sorry if my curiosity was not expressed correctly in that message. I am aware of the variety of art works. I know something about multispectral art reproduction and I think that approach is sound like I think HP's creative translation of that method should be sound. The thing I am curious about is what a good patch for spectral measurement should look like in an art work. Is the dominant spectral plot used (white background subtracted) or are more pigments measured at the same patch and used in the computation? Should the patch represent one pigment as good as possible? I see some issues there for different styles of painting. The nice side of going this route is that there are not more pigments classified for calibration than available in that piece of art (like the example of two you quoted). Unlike using a pigment color checker chart that has 800+ pigment patches which could interfere with one another in the process while the original art work may only contain 12 pigments. -- Met vriendelijke groeten, Ernst Dinkla Gallery Canvas Wrap Actions | Dinkla Grafische Techniek | | www.pigment-print.com | | ( unvollendet ) |