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This New Technique Could Revolutionize the Future of Art Reproduction - Smithsonian
RePaint renders reproductions in color four times closer to the original than the next-best tool
new method of multi-layer, custom-ink 3D printing pioneered by the Massachusetts Institute of Technology’s Computer Science and Artificial Intelligence Laboratory (CSAIL) could transform the way we reproduce art, Sam Gaskin reports for Artsy.
RePaint, a resin-based 3D printer that renders reproductions in color four times closer to the original than the next-best tool, utilizes a palette of 11 different inks: cyan, magenta, yellow, black, green, blue, orange, red, violet, transparent white and opaque white. Comparatively, traditional 2D printers typically operate in CMYK, or cyan, magenta, yellow and black, which is the keyline color.
This expanded range of colors makes it possible to conjure up more accurate replicas of stolen masterpieces such as Johannes Vermeer’s “The Concert” and the “Just Judges” panel of Jan and Hubert van Eyck’s Ghent Altarpiece, as well as carbon copies of fragile canvases otherwise accessible only through a museum visit.
RePaint renders reproductions in color four times closer to the original than the next-best tool
new method of multi-layer, custom-ink 3D printing pioneered by the Massachusetts Institute of Technology’s Computer Science and Artificial Intelligence Laboratory (CSAIL) could transform the way we reproduce art, Sam Gaskin reports for Artsy.
RePaint, a resin-based 3D printer that renders reproductions in color four times closer to the original than the next-best tool, utilizes a palette of 11 different inks: cyan, magenta, yellow, black, green, blue, orange, red, violet, transparent white and opaque white. Comparatively, traditional 2D printers typically operate in CMYK, or cyan, magenta, yellow and black, which is the keyline color.
This expanded range of colors makes it possible to conjure up more accurate replicas of stolen masterpieces such as Johannes Vermeer’s “The Concert” and the “Just Judges” panel of Jan and Hubert van Eyck’s Ghent Altarpiece, as well as carbon copies of fragile canvases otherwise accessible only through a museum visit.