ABSTRACT
In Chapters 3 and 4, innovations in color science and roughness measurements were briefly reviewed and juxtaposed with current thinking on human perception. It was shown that innovations in color science and high-resolution digital imaging have provided capabilities for examining works of art down to the miniscule level of pigment particles, for nondestructive analysis of paint materials, and for improved documentation of objects. However, it was questioned what the use of so-called high resolution is if the humans cannot even see and perceive that resolution. Further, it was shown that images produced by high-resolution imaging systems still do not look real. What is missing in current digital images of objects, especially two-dimensional objects such as paintings and photographs, is the effect of surface texture and roughness. In Chapter 4, the role of roughness/texture in the appearance of works of art was discussed in more detail. It was shown that modern methods for measuring roughness and gloss can be used to help describe the effect of this “third dimension” of surfaces.
This chapter will now look at innovation trends in modern conservation science, revolving around the use of digital imaging technology, color science, and roughness to produce works of art which are as realistic as possible for research and for viewing. This chapter will revisit the discussions begun in Chapter 2, and look into what is it that the viewer is looking at when viewing at a high-resolution digital image or reproduction, how such reproductions relate to the actual object and to its original or other appearance, and how the public perceives such images.
