3D Digital Investigation for Canvases and Painted Panels

Colour and 3D rendering of San Giorgio by Cosmé Tura at Galleria di Palazzo Cini
Detail of the surface of The Crucifixion by the Master of the Lindau Lamentation, courtesy of Museum Catharijne Convent
Printing the colour of the facsimile of The Crucifixion by the Master of the Lindau Lamentation © Oak Taylor Smith for Factum Foundation
The Lucida 3D Scanner recording The Creation of the Animals © Factum Foundation
Recording The Creation of the Animals by Tintoretto at Gallerie dell'Accademia © Factum Foundation
Handwoven historical patterns recostructions at Factum Foundation

key details

7 and 14 March 2024
Online on Zoom
3pm — 5pm (CET)

about

Online course featuring two projects undertaken by ARCHiVe, alongside other case studies: the digitisation of the Palazzo Cini Gallery (47 panel paintings) and the digitisation of a painting by Jacopo Tintoretto from the collections of the Gallerie dell’Accademia in Venice (The Creation of the Animals, 1550-1553). The course offers a detailed examination of the digital recording of these works and the investigative opportunities afforded solely through the three-dimensional digital recording of painting surfaces and supports.

In addition to unveiling 3D digital acquisition techniques, the meetings are intended as moments of restitution and exchange to disseminate the research possible thanks to this type of technology applied to Cultural Heritage. Therefore, the course shares the outcomes of the reconstruction of The Crucifixion by the Master of Lamentation from Lindau in Utrecht and the recreation of historical textile patterns derived from digital analyses of pictorial surfaces on both panel and canvas.

Programme

Class 1 March 7, 2024

Painting on panel

  • Luca Massimo Barbero | Fondazione Giorgio Cini
  • Sanne Frequin | University of Utrecht
  • Carlos Bayod Lucini | Factum Foundation

Two case studies compared: the three-dimensional recording of panel paintings in the Gallery of Palazzo Cini in Venice and the reconstruction of The Crucifixion by the Master of Lamentation of Lindau in Utrecht.

 

On this occasion the results of the first three-dimensional, high-resolution digitisation campaign of the painted panels in Palazzo Cini, carried out by the Factum Foundation in collaboration with the Cini Foundation, will be presented. The campaign is part of the activities promoted by the Foundation to preserve, publicise and make the collections more accessible.

Next, the results of a project to digitise, digitally restore and rematerialise a panel work from the first half of the 15th century, the Crucifixion by the Master of Lamentation of Lindau, the result of a collaboration between Factum Foundation, Museum Catharijne Convent, Utrecht University, Leiden University and Technische Universiteit Delft. The project intends to demonstrate how digital technologies and facsimile production can be part of the decision-making process in the field of conservation, becoming a possible alternative to physical intervention on the objects.

Class 2 March 14, 2024

Painting on canvas

  • Cleo Nisse | University of Groeningen
  • Helena Loermans | Lab O
  • Carlos Bayod Lucini | Factum Foundation

The analysis and creation of historical textile patterns and the digitisation of Tintoretto’s The Creation of Animals as case studies.

 

The second appointment, dedicated to paintings on canvas and the micro-analysis of the supports, sees the participation of a weaver specialised in the manual creation of historical textile patterns to support technical art history (particularly Italian and Spanish between the 15th and 17th centuries) to present a recent rematerialisation project made possible thanks to the digital acquisition of the original supports. This will be followed by a researcher who focuses her investigations precisely on canvas supports in relation to the pictorial language of Venetian works from Bellini to Tintoretto. In both cases, the aim is to demonstrate how this type of micrometric investigation can now be carried out more comprehensively thanks to high-resolution three-dimensional digital surveys.

lecturers

luca massimo barbero

Historian and critic of modern and contemporary art, he is Director of the Institute of Art History at the Fondazione Giorgio Cini in Venice, and scientific advisor to the Lucio Fontana Foundation in Milan. He is the author of numerous publications and exhibitions on the art of the Italian post World War II period.

sanne frequin

She is an art historian who specialises in digital art history. Her research focuses on the digital reconstruction of lost or damaged artefacts and on the use of digitised artefacts for research and education. The projects of Sanne Frequin concern mediaeval and early modern art and digital reconstruction. Sanne Frequin is the academic coordinator of the master Art History at Utrecht University.

A portrait of professor Sanne Frequin. A woman wearing glasses smiles at the camera with confidence.

carlos bayod lucini

He is Project Director at the Factum Foundation. His work is dedicated to the development and application of digital technology to the conservation, study and dissemination of Cultural Heritage. Bayod has taught at the MS in Historic Preservation at Columbia University in New York among other institutions, and is a frequent speaker for centers such as Museo del Prado, Harvard Art Museums and Fondazione Giorgio Cini. 

Portrait of architect Carlos Bayod looking intensely at the camera.

cleo nisse

She is Assistant Professor of Early Modern European Art at the University of Groningen. Her research concentrates on the materials, techniques, and meanings of artistic practices, complemented by a concern for how artworks change over time. After postgraduate studies in painting conservation at the Courtauld Institute, her Columbia University PhD investigated the significance of canvas supports for Venetian painting from Bellini to Tintoretto.

A portrait of professor Cleo Nisse smiling at the camera immersed in the nature.

helena loermans

She has been a weaver since 1960. Now a member of CIETA, in 2017 she founded Lab O, a research laboratory focusing on the hand-woven patterned canvases used by the Spanish and Italian Old Masters. Photomicrographs, x-ray images, 3D recordings and softwares for generating weave drafts, allowed Loermans at Lab O, to reconstruct the weave drafts of patterns in Old Master paintings’ canvases and reweave the textiles on a hand loom.

Portrait of the weaver Helena Loermans. A mature woman posing in front of the camera showing confidence and a smiling face. She is wearing a bright yellow tunic and flamboyant necklaces.
1/2 3D Digital Investigation for Canvases and Painted Panels

Copyright for cultural property and AI

Cuarto Amarillo, Vettor Pisani, Michelangelo Pistoletto, Ettore Spalletti and Franz West, 1992
Outcome of "Creativity, copyright and AI" prompt, 2023

key details

22 — 23 February
Online on Zoom
3pm — 5pm (CET)

about

This two-lesson course will be an excellent opportunity to reflect on the value, legitimacy and ‘rights’ of contemporary works of art within our society and the relationship between copyright and artificial intelligence.

In the first lecture Virginia Montani Tesei (lawyer), Mario Pieroni (gallery owner) and Giovanni Floridi (notary public) will explore the themes of copyright, authenticity and different interpretations for works of art and the world of digital creativity.

During the second meeting, Francesco Paolo Micozzi (lawyer) will offer an insight into current regulations and future perspectives for adequate protection of intellectual property in the field of artificial creativity, examining both opportunities and emerging legal challenges.

Programme

February 22, 2024

Copyright for Cultural Heritage: a case study

  • Virginia Montani Tesei
  • Mario Pieroni
  • Giovanni Floridi

The issue of copyright for the cultural property will be discussed through the analysis of the case of the work Cuarto Amarillo, an installation created by four artists (Vettor Pisani, Michelangelo Pistoletto, Ettore Spalletti and Franz West) on the occasion of the 1992 ARCOMadrid fair. The heirs of one of the artists requested part of the artwork after his death. After a brief excursus on the history of the eight-handed work and the risk of its destruction to dismember it, the topic of co-authorship under Italian Law and the difference between the joint ownership of the patrimonial copyright resulting from the co-authorship of the work and the joint ownership of the work will be discussed.

February 23, 2024

Artificial intelligence (AI) and copyright

  • Francesco Paolo Micozzi

During this meeting, the dynamic intersection between artificial intelligence (AI) and copyright will be explored. With the advent of increasingly advanced technologies, the field of AI has led to the emergence of relevant questions on intellectual property and artificial creativity. The basic principles of copyright law will be introduced and how these apply (or fail to apply) to AI-generated works will be discussed. Through a series of case studies, we look at concrete examples of how AI is transforming the intellectual property landscape, examining both the opportunities and emerging legal challenges. Participants will gain an in-depth understanding of the legal and ethical implications of content creation through AI, exploring topics such as authorship attribution, liability for copyright infringement and potential legislative reforms, including in the European context.

lecturers

Virginia Montani Tesei

She graduated in Law from the University of Rome Tor Vergata and pursued her studies between Italy and Spain. She perfected her studies with advanced courses in art law at the Scuola Superiore Sant’Anna in Pisa and subsequent masters in the subject, including the Master of Art at the Luiss Business School. Following experience in international law firms, she founded his own firm specialising in art and cultural heritage law. Author of numerous essays and articles on the subject, listed by We Wealth among the top 200 professionals in the private wealth sector and invited speaker at the LUISS University of Rome master courses. In 2020, she promoted at ArtVerona the Montani Tesei Under 35 Prize, now in its third edition.

Mario Pieroni

Born in Rome in 1937, he moved to Pescara to follow his family’s textile and furniture business.  From 1971 he worked in contemporary art, starting with the realisation of Giacomo Balla’s furniture and tapestries. From 1975 to 1978 he opened and managed the exhibition space Il Bagno Borbonico in Pescara. In 1979 he moved to Rome where, together with Dora Stiefelmeier, he opened the Galleria Pieroni. In 1992 he ended the Gallery’s activity to found Zerynthia, Association for Contemporary Art. He is also Artistic Director of RAM radioartemobile, a platform for contemporary art created in 2003 and dedicated to sound research and exhibition activity. In 2017, he set up the Fondazione No Man’s Land in Loreto Aprutino (Pescara).

Giovanni Floridi

He was born and works in Rome, where he practises as a notary public.

Since the end of the 1990s, he started collecting contemporary art, now holding a collection ranging from the second half of the 20th century to the present day. Together with his wife Clara Datti, he also set up the Fondazione ‘D’ARC – Rifugio di Arte Contemporanea’, which is opening a new exhibition space in Rome.

Francesco Paolo Micozzi

Lawyer and lecturer in Legal Informatics at the Department of Law, University of Perugia, is author of monographs and essays on data protection, cyber security, computer crimes and copyright. He leads the Jean Monnet “CIBER” module at the University of Perugia on the subject of data breach and is a member of the academic board of the Jean Monnet Centre of Excellence “BALDUS” at the same University on the subject of personal and non-personal data protection. Member of the Working Group of the Italian Foundation for Forensic Innovation at the CNF (National Forensic Council).

1/2 Copyright for cultural property and AI
2/2 Copyright for cultural property and AI

From Costume to Fashion Archives

Digitisation of Santuzza Calì's Archive © Joan Porcel Pascual
ROMAISON, exhibition view, Costumi d'arte Peruzzi © ROMAISON
Arlecchino Fashion Costume © Amin Farah
Santuzza Calì, Chi la fa l'aspetti, 1994 © Fondazione Giorgio Cini

key details

17, 19, 24 October 2023
Online on Zoom
4pm — 6pm (CET)

about

From Costume to Fashion Archives, an online course in partnership with the Fondazione Giorgio Cini’s Institute of Theatre and Opera and Clara Tosi Pamphili, former director of the Accademia Costume e Moda in Rome as well as the creator and curator of A.I. Artisanal Intelligence.

The course is split in two modules: The archives of costume: digitisation, description and reuse, consists of two lectures by Maria Ida Biggi (director of the Institute of Theatre and Opera) and Amin Farah (digital fashion designer, Theblacklab Digital Studio) and New Archives Visible and Invisible: the Archive as a Place for Digitising Memory, a talk by Clara Tosi Pamphili.

Programme

October 17, 2023

The Archives of Costume: Digitisation, Description and Reuse (part I)

  • Maria Ida Biggi

Starting with a reflection on the Foundation’s collections, the lectures present a number of examples of costume archives, with a focus as much on the aspects of archival description and the digitisation of assets as on digital fashion, an executive application that represents the marriage of virtual reality and tailoring.

October 19, 2023

The Archives of Costume: Digitisation, Description and Reuse (part II)

  • Amin Farah

Starting with a reflection on the Foundation’s collections, the lectures present a number of examples of costume archives, with a focus as much on the aspects of archival description and the digitisation of assets as on digital fashion, an executive application that represents the marriage of virtual reality and tailoring.

October 24, 2023

New Archives Visible and Invisible: the Archive as a Place for Digitising Memory

  • Clara Tosi Pamphili

The digital archiving of costumes for the performing arts constitutes a point of contact between artistic production and craftsmanship: costume, unlike fashion, concerns transversal fields of definition where information for traditional filing is added to that evoked by the protagonists (such as tailors and costume designers) and those useful for in-depth study of the history of theatre, cinema and fashion.

Lecturers

Maria Ida Biggi

Associate professor at Ca’ Foscari University in Venice and director of the Fondazione Giorgio Cini’s Institute for Theatre and Opera. She is curator of exhibitions and author of numerous books, essays and articles on the history of theatre and set design, theatre architecture, directing and the history of the actor. Her research deals with the history of stage design and theatre architecture and is a expert of prominent personalities such as Eleonora Duse and the theatre actresses of the 19th and 20th centuries.

 

Clara Tosi Pamphili

Works in the Applied Arts, combining the skills of art, design, architecture and fashion with cinema as an essential part of the Italian creative DNA. Vice President of PalaExpo, the largest museum centre in Italy, with an exhibition and performance vocation. Creator and curator of “A.I. artisanal intelligence” event to promote the made in Italy in collaboration with museums, contemporary art galleries and institutional or non-conventional spaces. Creator and curator of ROMAISON exhibition that aims to become an extended museum to preserve and promote the incredible work of tailoring and costume studios.

Amin Farah

3d Artist and AD class of ’89. Graduated in product design and design management at the Poliarte Academy of Design; he is co-founder of Theblacklab Studio, university lecturer in 3D design applied to design. During his professional career, he has participated as a speaker at various national and international events related to the 3D world. Theblacklab Digital Studio is an independent laboratory for research and creative development in the field of 3D and CGI rendering. The studio has always been committed to the continuous creation of original 3D visual solutions with a strong emotional impact.

1/3 From Costume to Fashion Archives
2/3 From Costume to Fashion Archives
3/3 From Costume to Fashion Archives

On Digital Application

Adriano Olivetti e la bellezza exhibition, 2018-2019 © Cristina Barbiani
© camerAnebbia
© Klaus Obermaier
Tríptiko. A vision inspired by Hieronymus Bosch, Rino Stefano Tagliafierro, 2019

key details

6, 11, 13, 18 October 2022
Online on Zoom
4pm — 6pm (CET)

the course

The four lectures represent an illustrative sample of the many possible declinations of digital applications in the various fields of arts and culture. The intention is to show the different practices, the different creative and production processes, and the tools used behind these different types of artistic products.
The lectures range from the theme of digital installations for the valorisation of Cultural Heritage, to the creative and artistic approach aimed at narration and storytelling, passing through different forms of creativity and artistic expression, always starting from innovative tools and experimental techniques.

Programme

October 6, 2022

Navigating Art Archives

  • Matteo Cellini

Matteo Cellini, part of the CamerAnebbia collective from Milan, explains how some of the many interactive installations are produced from museum archive materials, incographic and documentary sources, and works of art from some of Italy’s most important collections. The lecture explores the techniques used to generate visual landscapes, through retouching, post production and real time rendering techniques, which can be used through touch screens and large-scale video projections.

October 11, 2022

From Classical Art to Digital Art. New forms of narration

  • Rino Stefano Tagliafierro

The lecture focuses on the presentation of a number of multimedia works – short films, commercial projects and video installations – in which a story is told through the use of digitally processed works of classical figurative art. All stages of production, from the conception of the project to the final realisation, are then addressed and explored.

October 13, 2022

New tools, new ideas. Interactivity between the Digital and the Physical

  • Klaus Obermaier

The appointment with artist Klaus Obermaier is dedicated to investigating how digital tools can be used as an exploratory medium for artistic research, and how new technologies can generate forms of interactivity that somehow relate the physical dimension of the body to the digital dimension of artistic creation.

October 18, 2022

Digital exhibits. Multimedia and interactive devices for Cultural Heritage

  • Cristina Barbiani

Cristina Barbiani, scientific head of the Master Digital Exhibit at the Iuav University of Venice, explores in this lesson the different technologies behind multimedia and interactive installations, which allow, through a work of visual ‘translation’, to narrate and return scientific investigations, historical research data and results of archaeological surveys, through some realised examples.

Lecturers

Cristina Barbiani

She is an architect with a PhD in History of Architecture and the City, Science of the Arts and Restoration at the School of Advanced Studies in Venice. She holds a degree in Design and Production of Visual Arts from the IUAV University of Venice. She is the scientific head of the Master Digital Exhibit at the IUAV University of Venice. She has a transversal education between architecture and multimedia and performing arts completed by study periods at New York University and MIT in Boston.

Matteo Tora Cellini

Born in Florence and raised in Brussels, after graduating in design at the Milan Polytechnic and a metrise in Sculpture at La Cambre, he trained at Studio Azzurro. There he met Marco Barsottini and Lorenzo Sarti, with whom he founded camerAnebbia in 2014, investigating the relationship between art, science and new technologies. This research leads to the creation of immersive and interactive interventions that live in the spaces of numerous cultural institutions including Fondazione Querini Stampalia, Gallerie d’Italia, Mudec, Muse.

Stefano Rino Tagliaferro

Born in 1980, he lives and works in Milan. He graduated from ISIA d’Urbino and IED-European Institute of Design in Milan. Over the years he has had experience as art director, visual artist, graphic designer, animator and 2D composer to realize video art, commercials, short films, fashion videos, videomapping, videoprojections and videoinstallations for exhibitions, museums and special events. In 2013 he cofounded KARMACHINA, a studio of visual design. He has taken part in several contemporary art exhibitions in New York, Paris, Sapporo, Moscow, Berlin, Milan receiving international awards in many festivals.

Klaus Obermaier

Since more than three decades interdisciplinary artist, director and composer, he creates innovative works with new media in performing arts, music and installations, highly acclaimed by critics and audiences. His inter-media performances and artworks are shown at festivals and theatres throughout Europe, Asia, North and South America and Australia. He is visiting professor at the University IUAV of Venice and at Babes-Bolyai University in Cluj-Napoca (Romania) teaching interactive arts and performances.

Giacomo Verde (1956-2020). From the techno-artist’s archive to book, exhibition and movie

Renzo Boldrini with Giacomo Verde and a friend © Giallo Mare Minimal Teatro Archive
Portrait of Giacomo Verde
Scene from "Il gatto con gli stivali. Un racconto per il digitale" © Campsirago Residenza
Giacomo Verde/Giallo Mare Minimal Teatro, "Hansel & Gretel Tv" © Giuseppe Murador and Giacomo Verde Archive

key details

9, 16, 23, 30 November 2022
Online on Zoom
4pm — 6pm (CET)

lecturers

  • Anna Maria Monteverdi | Università Statale, Milano
  • Tommaso Verde | Game Designer
  • Flavia Dalila D’Amico | Università di Roma La Sapienza
  • Vincenzo Sansone | Università Statale, Milano
  • Raffaella Rivi | Videomaker

the course

Giacomo Verde (Cimitile 1956 – Lucca 2020) in forty years of artistic activity has dealt with different languages such as street theatre, video art, painting, drawing, performance, Net Art with the idea of investigating contaminations between media to create works in which different artistic techniques coexist in an “artivist” spirit.

Programme

The course, curated by Anna Maria Monteverdi, is structured in 4 meetings and is held in Italian.

November 9, 2022

L’archivio di un artivista. Giacomo Verde (1956-2020)

  • Anna Maria Monteverdi
  • Tommaso Verde

November 16, 2022

Attraversamenti: le ultrascene di Giacomo Verde

  • Flavia Dalila D'Amico

November 23, 2022

Giacomo Verde: il teleracconto e i suoi doppi. La reinvenzione di una tecnica videoteatrale per bambini.

  • Vincenzo Sansone

November 23, 2022

Dall'archivio al film

  • Raffaella Rivi
1/4 L’archivio di un artivista. Giacomo Verde (1956-2020)
2/4 Attraversamenti: le ultrascene di Giacomo Verde
3/4 Giacomo Verde: il teleracconto e i suoi doppi. La reinvenzione di una tecnica videoteatrale per bambini.
4/4 Dall'archivio al film

ARCHiOx. Exploring the potential of photometric stereo 3D capture

Heatmap render of the Aršāma Sigil © ARCHiOx
Render highlighting the conservation state of an object © ARCHiOx
Copper printing plate recorded with Selene © ARCHiOx

key details

24 May, 7 June 2023
Online on Zoom
3pm — 5pm (CET)

about

Funded by the Helen Hamlyn Trust, ARCHiOx – Analysis and Recording of Cultural Heritage in Oxford – is a collaborative project, bringing together Oxford University’s Bodleian Libraries and the Factum Foundation.  Based in Madrid, the Factum Foundation specialise in high-resolution 3D imaging and have worked in cultural heritage institutions throughout the world, producing exceptional, three-dimensional facsimiles of artworks and artefacts. The very latest 3D recording technology conceived and developed by the Factum Foundation is being piloted at the Bodleian and has been used to reveal near-invisible text and artwork from originals in the Bodleian’s collections.  The ARCHiOx recordings serve two purposes:  data can be used to create renders which show the 3D surface of an original in order to reveal what is difficult or impossible to record through conventional photography, or for the purposes of creating incredibly accurate 3D facsimiles.  Working closely with researchers and experts, the project has been responsible for making and documenting multiple exciting discoveries.

curator

  • John Barrett | Senior Photographer for the Bodleian Libraries

Programme

Class 1 May 24, 2023

Recording and dissemination of 3D data, captured using the Selene Photometric Stereo Recording System

  • John Barrett | Senior Photographer for the Bodleian Libraries
  • Jorge Cano | Head of Technology at Factum Arte and Factum Foundation
  • Richard Allen | Software Engineer for BDLSS

In this session John Barrett presents a collection of incredible new recordings made using the Factum Foundation’s latest 3D recording system, the Selene.  The recordings have been made from originals from broad range of the Bodleian Libraries’ world-class collections. Jorge Cano, designer of the Selene, explains the philosophy behind the Selene and discuss the technology and specifications of the system. Richard Allen demonstrates online viewers for dissemination of 3D recordings, and newly developed tools which will allow users to interact with them.

Class 2 June 7, 2023

Analysis and interpretation: How 3D recordings and other technological innovations are supporting research

  • John Barrett | Senior Photographer for the Bodleian Libraries
  • Jo Story | Professor of Early Medieval History at the University of Leicester
  • Jessica Hodgkinson | PhD candidate at the University of Leicester
  • Alessandro Bianchi | Manager of the Bodleian Japanese Library
  • Elaine Anstee | Head of Imaging for the Bodleian Libraries

In this session John Barrett introduces a panel of experts who will explain how 3D recording and other technological innovations have assisted with their research. Jo Story and Jessica Hodgkinson discuss how photometric stereo recordings and other technologies have aided their research into Anglo-Saxon manuscripts and medieval book culture. Alessandro Bianchi explores how 3D recording may hold the key to understanding how Japanese prints were made, and how 3D renders can be used for assessing their condition. The session begins with a description of how ARCHiOx was established and structured, by Elaine Anstee.

contributors

John Barrett

John Barrett is a Senior Photographer for the Bodleian Libraries.  Since 2005, John has provided photographs of Bodleian originals for numerous publications. His work involves the development of new methods of recording special collections material. He is the author of Imaging Guidelines for the Digitization of Rare and Special Materials, a document commissioned by the Bodleian Library.

Jorge Cano

Jorge Cano is currently Head of Technology at Factum Arte and Factum Foundation. He has developed a multidisciplinary career working in the intersections of art and technology. Cano is an expert in 3D recording, image filtering and Geographical Information Systems. For Factum he has developed several scanners and numerous tools for data processing. His latest design, the Selene Scanner, has been used by the Bodleian Library allowing imaging specialists and researchers to look at ancient objects with new eyes.

Richard Allen

Richard Allen is a Software Engineer for BDLSS (Bodleian Digital Library Systems and Services) where he works primarily supporting Digital Bodleian and the Imaging Studio DAMS.  He is also CEO of an Oxford University spinout company that specialises in photogrammetry.

Jessica Hodgkinson

Jessica Hodgkinson is a PhD candidate at the University of Leicester funded by the Midlands4Cities doctoral training partnership. Her research explores the participation of women in early medieval book culture in Western Europe through the analysis of surviving manuscripts commissioned, copied, owned and/or used by them.

Jo Story

Jo Story is professor of Early Medieval History at the University of Leicester. Interdisciplinary methodologies and approaches to evidence are central to her research and publications. Her current research centres on ‘Insular Manuscripts’ that were made in Ireland or the Anglo-Saxon Kingdoms or in monasteries founded by Irish or Anglo-Saxon missionaries on the Continent in the period between c. 600–900 CE.

Alessandro Bianchi

Alessandro Bianchi is the manager of the Bodleian Japanese Library and curator of the Bodleian collection of Japanese rare books and manuscripts. After receiving his Ph.D. from the University of Cambridge, he worked at the British Library, the Smithsonian’s National Museum of Asian Art, and taught at Haverford College. Alessandro is also a Visiting Researcher (2022/23) at the Art Research Centre of Ritsumeikan University.

Elaine Anstee

Elaine Anstee has been Head of Imaging for the Bodleian Libraries since October 2021. With a background in Administration and Finance she focuses on the policies and procedures supporting the ARCHiOx project in addition to the business as usual work in the Imaging department

1/2 ARCHiOx. Exploring the potential of photometric stereo 3D capture
2/2 ARCHiOx. Exploring the potential of photometric stereo 3D capture