A guide that examines the history and current state of 2.5D printing and explores the relationship between two and three dimensions2.5D Printing: Bridging the Gap Between 2D and 3D Applications examines the relationship between two- and three-dimensional printing and explores the current ideas, methods, and applications. It provides insights about the diversity of our material culture and heritage and how this knowledge can be used to design and develop new methods for texture printing. The authors review the evolving research and interest in working towards developing methods to: capture, measure and model the surface qualities of 3D and 2D objects, represent the appearance of surface, material and textural qualities, and print or reproduce the material and textural qualities.The text reflects information on the topic from a broad range of fields including science, technology, art, design, conservation, perception, and computer modelling. 2.5D Printing: Bridging the Gap Between 2D and 3D Applications provides a survey of traditional methods of capturing 2.5D through painting and sculpture, and how the human perception is able to judge and compare differences. This important text:* Bridges the gap between the technical and perceptual domains of 2D and 3D printing* Discusses perceptual texture, color, illusion, and visual impact to offer a unique perspective* Explores how to print a convincing rendering of texture that integrates the synthesis of texture in fine art paintings, with digital deposition printing* Describes contemporary methods for capturing surface qualities and methods for modelling and measuring, and ways that it is currently being used* Considers the impact of 2.5D for future technologies2.5D Printing is a hands-on guide that provides visual inspiration, comparisons between traditional and digital technologies, case studies, and a wealth of references to the world of texture printing.Please visit the companion website at: wiley.com/go/bridging2d3d . wiley.com/go/bridging2d3d

About the Authors xiSeries Editor's Preface xiiiPreface xvAcknowledgements xviiAbout the Companion website xviiiIntroduction xix1 Defining the Field of 2.5D Printing 11.1 What is Texture? 11.1.1 How to Quantify Texture 21.1.2 How do Artists Convey the Appearance of Texture? 31.1.3 How the Natural World Mimics the Appearance of Texture 41.2 Measuring Texture and Colour 61.3 Images, Pictures and Reproductions 91.3.1 The Anxiety of the Reproduction 111.3.2 Reproducing Images: Tools of the Trade 121.3.3 Reproducing Images: Colour and Texture 151.3.4 Reproductions versus Forgeries versus Copies 151.3.5 Are Facsimiles and Replicas Important? 171.3.6 Copying from Old Masters 191.3.7 Technical Examination of Artworks 201.4 The Authenticity of the Image and Object and Perception of Things 211.5 Current Industrial and Mechanical Methods to Reproduce the Appearance of Texture 241.5.1 2D Printing Methods 241.5.2 The Emergence of 3D Printing 251.6 Conclusion 28References 29Bibliography and Further Reading 302 The Past 352.1 Introduction 352.2 Artists' Observations on the Appearance of Illumination 362.3 Artists' Conversion of Images into Relief 392.4 Artists' Exploration of Different Sculptural Relief 412.4.1 Examples of Degrees of Projection 452.5 Coloration of Relief Surfaces 512.5.1 Visualising and Reconstructing the Past 572.6 Examples of Artists' Approaches to Representation and Reproduction of Texture 58References 66Bibliography and Further Reading 673 The Present: Materials, Making, Capturing and Measuring 693.1 Introduction: Universal Knowledge 693.2 The Relationship of Digital Technologies, Knowledge of Materials and Skills 703.3 Methods to Capture and Measure Texture 783.3.1 Commercial and Specialist Scanners 783.3.2 Scanning for Cultural Heritage 823.3.3 In Pursuit of Standards: Metric versus Quality 843.4 Methods to Represent the Appearance of Texture 853.5 Physical Material Libraries 903.6 Methods for 2.5D Printing 923.6.1 Analogue versus Digital 933.6.2 Materials for Printing 963.6.3 Printing Functional Materials 102References 105Bibliography and Further Reading 1084 The Future 1154.1 Introduction 1154.1.1 The Future of Education in Art Design and Sciences 1154.1.2 The Future of Materials and Manufacture 1164.2 Circular Economy and Sustainable Manufacturing 1174.3 Worldwide Print Connectivity 1194.4 Mass Printing for One 1204.5 Security Printing 1224.6 Conclusion 123References 123Bibliography and Further Reading 1245 Case Studies 127Case Study 1: Nature Printing in the Nineteenth Century 127Case Study 2: Wallpaper Design 133Wallpaper Printing Processes 134Case Study 3: 2.5D Printed Tactile Books and Artworks 142Examples of Tactile Images that Incorporate Multiplatform and Digital Print Technologies 148Case Study 4: Coins and Medals 151Making Coins 152Medals of Dishonour Exhibition British Museum 155Case Study 5: Capturing Texture of Paintings for Museum and Heritage 157Visualising Surface Texture Through the Combination of 2D and 3D Data 157Workflow: 3D Scanning and Processing 158Generation of Colour RTI Images 158Generation of Colour 3D Models 160Case Study 6: Textiles 161Case Study 7: Trompe l'Oeil 167Case Study 8: Marble 172Case Study 9: Gold 179Printing Gold in the Digital Market Place 183The Stafford Hoard and Gold Printing at The Jewellery Industry Innovation Centre, Birmingham Jewellery Quarter 184Case Study 10: Exterior Decoration Tiles and Ceramics 185Twenty-first Century Ceramic Tile Inkjet Printing 190Case Study 11: Microstructural Texture 195Case Study 12: Painting Machines 203Computer Simulations for Representing Materials and Objects 204 Direct Manipulation 205Translating Brush Strokes into Painting Machines 206Methods of Converting Images into Brushstrokes 208Brush Strokes and Painting Machines 210Case Study 13: Analogue Printing Methods 214Intaglio 214Relief Printing 217Lithography 220Screenprinting 221Case Study 14: Relief Woodblock Printing 223References 230Bibliography and Further Reading 234Index 239