The technology of 3D Scanning and Printing

Exploring Tim Zaman’s Revolutionary 3D Scanning of Paintings

In 2013, Tim Zaman embarked on a groundbreaking project that bridged the worlds of technology and art, developing a super-high-resolution, large-format 3D scanner tailored to capturing the intricate topography of paintings. This remarkable innovation brought new insights into the materiality of art and how we perceive it, focusing on iconic works by masters such as Rembrandt and Van Gogh.

The Vision Behind the Technology

Paintings, often treated as two-dimensional artworks, are deeply influenced by the physical properties of paint. Late Rembrandt self-portraits, for instance, achieve their dramatic effects through the interplay of light and shadow on textured surfaces. Similarly, Van Gogh’s bold, impasto strokes create a tangible depth. Tim Zaman’s work highlights how paint’s texture, glossiness, and transparency significantly shape a painting’s aesthetic—aspects often overlooked or underappreciated.

The 3D Scanning Process

To capture these details, Zaman’s 3D scanner used a hybrid system combining stereo vision (dual cameras) and fringe projection (a projector). This setup allowed for ultra-high-resolution imaging, capturing 40 million XYZ (3D space) and RGB (color) data points per scan. For large works like The Jewish Bride by Rembrandt, spanning 160×120 cm, the system gathered over a billion data points by merging multiple scans. This unparalleled level of detail was essential for faithfully documenting the subtle undulations and surface features of the paintings.

Scanning Equipment

“The scanning equipment is actually very straightforward, and only consists out of these parts. The rest of the parts is just cables and stuff to make the camera move in X and Y”.

Capture device	(2x) Nikon D800E
Lenses	Nikon 80mm PC-E scheimpflug & polarisation filters
Projector	Optoma PK301 Pico-Projector fitted with a crossed polarisation filter

Zaman’s project also delved into the realm of reproduction. Collaborating with Océ (a Canon Group company), the scanned data was used to create high-fidelity 3D prints of paintings. These reproductions—complete with textured surfaces—represented a significant leap beyond traditional flat posters. While impressive, they underscored the complexity of accurately replicating the originals, particularly when it came to glossiness and transparency—elements that remain elusive even with advanced technology.

Future Directions

Zaman’s work set the stage for ongoing research into the physicality of paintings. While the 3D prints captured the texture and color of the originals, they lacked the dynamic qualities imparted by brushstrokes and the interaction of light with varying paint properties. This gap highlighted the multifaceted nature of paintings, where factors like material reflectivity and translucency play critical roles in their visual impact. Current efforts aim to model glossiness, transparency, and other overlooked elements. By combining cutting-edge technology with a deep respect for artistic heritage, Zaman’s project serves as a powerful reminder of the endless possibilities at the intersection of science and art.

Tim Zaman’s innovative approach continues to inspire researchers and art enthusiasts alike, showcasing how technology can uncover new dimensions of creativity and history.

In the upcoming blog, I will explore the advancements in newer technologies aimed at addressing the missing elements like glossiness and transparency, building upon the foundation of Zaman’s work.