3D Digital Microscopy for Characterizing Punchworks on Medieval Panel Paintings

2015 ◽  
Vol 7 (4) ◽  
pp. 1-15 ◽  
Author(s):  
I. Cacciari ◽  
P. Nieri ◽  
S. Siano
Keyword(s):  
Digital Microscopy ◽  
3D Digital Microscopy ◽  
Panel Paintings

scholarly journals Characterisation of (100) GaSb Passivated Surface Using Next Generation 3D Digital Microscopy

2014 ◽  
Vol 125 (4) ◽  
pp. 1052-1055
Author(s):  
E. Papis-Polakowska ◽  
E. Leonhardt ◽  
J. Kaniewski
Keyword(s):  
Digital Microscopy ◽  
Next Generation ◽  
3D Digital Microscopy

scholarly journals A Hybrid Geometric Morphometric Deep Learning Approach for Cut and Trampling Mark Classification

2019 ◽  
Vol 10 (1) ◽  
pp. 150 ◽  
Author(s):  
Lloyd A. Courtenay ◽  
Rosa Huguet ◽  
Diego González-Aguilera ◽  
José Yravedra
Keyword(s):  
Deep Learning ◽  
Qualitative Data ◽  
Methodological Approach ◽  
Digital Microscopy ◽  
Geometric Morphometric ◽  
Cut Marks ◽  
Natural Agents ◽  
3D Digital Microscopy ◽  
Early Human ◽  
Analyst Experience

The concept of equifinality is currently one of the largest issues in taphonomy, frequently leading analysts to erroneously interpret the formation and functionality of archaeological and paleontological sites. An example of this equifinality can be found in the differentiation between anthropic cut marks and other traces on bone produced by natural agents, such as that of sedimentary abrasion and trampling. These issues are a key component in the understanding of early human evolution, yet frequently rely on qualitative features for their identification. Unfortunately, qualitative data is commonly susceptible to subjectivity, producing insecurity in research through analyst experience. The present study intends to confront these issues through a hybrid methodological approach. Here, we combine Geometric Morphometric data, 3D digital microscopy, and Deep Learning Neural Networks to provide a means of empirically classifying taphonomic traces on bone. Results obtained are able to reach over 95% classification, providing a possible means of overcoming taphonomic equifinality in the archaeological and paleontological register.

New taphonomic advances in 3D digital microscopy: A morphological characterisation of trampling marks

2019 ◽  
Vol 517 ◽  
pp. 55-66 ◽  
Author(s):  
Lloyd A. Courtenay ◽  
José Yravedra ◽  
Rosa Huguet ◽  
Andreu Ollé ◽  
Julia Aramendi ◽  
...  
Keyword(s):  
Digital Microscopy ◽  
Morphological Characterisation ◽  
3D Digital Microscopy

scholarly journals Comparison of three 3D scanning techniques for paintings, as applied to Vermeer’s ‘Girl with a Pearl Earring’

2019 ◽  
Vol 7 (1) ◽  
Author(s):  
Willemijn S. Elkhuizen ◽  
Tom W. J. Callewaert ◽  
Emilien Leonhardt ◽  
Abbie Vandivere ◽  
Yu Song ◽  
...  
Keyword(s):  
Optical Coherence Tomography ◽  
3D Scanning ◽  
Surface Topology ◽  
Data Sets ◽  
Optical Coherence ◽  
Digital Microscopy ◽  
Multi Scale ◽  
3D Data ◽  
3D Digital Microscopy ◽  
The Impact

Abstract A seventeenth-century canvas painting is usually comprised of varnish and (translucent) paint layers on a substrate. A viewer’s perception of a work of art can be affected by changes in and damages to these layers. Crack formation in the multi-layered stratigraphy of the painting is visible in the surface topology. Furthermore, the impact of mechanical abrasion, (photo)chemical processes and treatments can affect the topography of the surface and thereby its appearance. New technological advancements in non-invasive imaging allow for the documentation and visualisation of a painting’s 3D shape across larger segments or even the complete surface. In this manuscript we compare three 3D scanning techniques, which have been used to capture the surface topology of Girl with a Pearl Earring by Johannes Vermeer (c. 1665): a painting in the collection of the Mauritshuis, the Hague. These three techniques are: multi-scale optical coherence tomography, 3D scanning based on fringe-encoded stereo imaging (at two resolutions), and 3D digital microscopy. Additionally, scans were made of a reference target and compared to 3D data obtained with white-light confocal profilometry. The 3D data sets were aligned using a scale-invariant template matching algorithm, and compared on their ability to visualise topographical details of interest. Also the merits and limitations for the individual imaging techniques are discussed in-depth. We find that the 3D digital microscopy and the multi-scale optical coherence tomography offer the highest measurement accuracy and precision. However, the small field-of-view of these techniques, makes them relatively slow and thereby less viable solutions for capturing larger (areas of) paintings. For Girl with a Pearl Earring we find that the 3D data provides an unparalleled insight into the surface features of this painting, specifically related to ‘moating’ around impasto, the effects of paint consolidation in earlier restoration campaigns and aging, through visualisation of the crack pattern. Furthermore, the data sets provide a starting point for future documentation and monitoring of the surface topology changes over time. These scans were carried out as part of the research project ‘The Girl in the Spotlight’.

Creating a standard method of controlling digital microscopes: the microscope access protocol (map)

1995 ◽  
Vol 53 ◽  
pp. 16-17
Author(s):  
T. A. Dodson ◽  
E. Völkl ◽  
L. F. Allard ◽  
T. A. Nolan
Keyword(s):  
Data Storage ◽  
Storage Systems ◽  
Digital Systems ◽  
Data Networks ◽  
Digital Microscopy ◽  
Command Language ◽  
Access Protocol ◽  
Analog To Digital ◽  
Basic Physics ◽  
Scanning Electron

The process of moving to a fully digital microscopy laboratory requires changes in instrumentation, computing hardware, computing software, data storage systems, and data networks, as well as in the operating procedures of each facility. Moving from analog to digital systems in the microscopy laboratory is similar to the instrumentation projects being undertaken in many scientific labs. A central problem of any of these projects is to create the best combination of hardware and software to effectively control the parameters of data collection and then to actually acquire data from the instrument. This problem is particularly acute for the microscopist who wishes to "digitize" the operation of a transmission or scanning electron microscope. Although the basic physics of each type of instrument and the type of data (images & spectra) generated by each are very similar, each manufacturer approaches automation differently. The communications interfaces vary as well as the command language used to control the instrument.

Use of digital microscopy in process control during the manufacture of rubber-modified thermoplastics

1996 ◽  
Vol 54 ◽  
pp. 616-617
Author(s):  
M. T. Dineen
Keyword(s):  
Ccd Camera ◽  
Operating Costs ◽  
Hard Copy ◽  
Production Plant ◽  
Digital Microscopy ◽  
Nih Image ◽  
Transmission Electron ◽  
Conventional Film ◽  
Product Loss ◽  
Image Collection

The production of rubber modified thermoplastics can exceed rates of 30,000 pounds per hour. If a production plant needs to equilibrate or has an upset, that means operating costs and lost revenue. Results of transmission electron microscopy (TEM) can be used for process adjustments to minimize product loss. Conventional TEM, however, is not a rapid turnaround technique. The TEM process was examined, and it was determined that 50% of the time it took to complete a polymer sample was related to film processing, even when using automated equipment. By replacing the conventional film portion of the process with a commercially available system to digitally acquire the TEM image, a production plant can have the same TEM image in the control room within 1.5 hours of sampling.A Hitachi H-600 TEM Operated at 100 kV with a tungsten filament was retrofitted with a SEMICAPS™ image collection and processing workstation and a KODAK MEGAPLUS™ charged coupled device (CCD) camera (Fig. 1). Media Cybernetics Image-Pro Plus software was included, and connections to a Phaser II SDX printer and the network were made. Network printers and other PC and Mac software (e.g. NIH Image) were available. By using digital acquisition and processing, the time it takes to produce a hard copy of a digital image is greatly reduced compared to the time it takes to process film.

Anna Russakoff, Imagining the Miraculous: Miraculous Images of the Virgin Mary in French Illuminated Manuscripts, ca. 1250-ca. 1450. Studies and Texts, 215; Text Image Context: Studies in Medieval Manuscript Illumination, 7. Toronto: Pontifical Institute of Mediaeval Studies, 2019, xviii, 194 pp., ill.

Mediaevistik ◽  
2020 ◽  
Vol 32 (1) ◽  
pp. 541-544
Author(s):  
Juan Carlos Bayo
Keyword(s):  
Fifteenth Century ◽  
Middle Ages ◽  
Old French ◽  
Illuminated Manuscripts ◽  
Virgin Mary ◽  
Systematic Analysis ◽  
Medieval Manuscript ◽  
French Speaking ◽  
Image Context ◽  
Panel Paintings

This monograph deals with illuminated manuscripts created in French-speaking regions from the mid-thirteenth to the mid-fifteenth century, i.e., from the earliest narratives of Marian miracles written in <?page nr="542"?>Old French to the codices produced at the Burgundian court at the waning of the Middle Ages. Its focus, however, is very specific: it is a systematic analysis of the miniatures depicting both material representations of the Virgin (mainly sculptures, but also icons, panel paintings, altarpieces or reliquaries) and the miracles performed by them, usually as Mary’s reaction to a prayer (or an insult) to one of Her images.

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