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IX CONGRESO NACIONAL DEL COLOR. ALICANTE 2010 Figure 3. LEFT: A colour image of a test panel with two vertical bands of paint (azurite in oil on the left and Prussian blue in oil on the right) over a set of horizontal drawings using a variety of drawing material commonly used for preparatory sketches for paintings. MIDDLE: A SWIR image of the test panel over the full spectral range of 900- 1700nm. RIGHT: A SWIR image of the test panel centred at 1620nm over a narrower bandwidth of 150nm. CONCLUSIONS The new AOTF based SWIR imager is capable of rapid and flexible spectral imaging that enhances the pigment identification capabilities of PRISMS as well as providing better images of underdrawings. PRISMS is the first instrument to be able to image both small objects such as manuscripts at close range and paintings at inaccessible heights in situ from ground level at high resolution to produce not only colour but hyperspectral images over the UV/VIS/NIR and the SWIR spectral range. The possibility of in situ spectral imaging without the need for cherry pickers or scaffolding means long term savings and increased ease/frequency of monitoring. The portability of the system means flexibility and easy transportation such that it can be taken to remote sites to image large paintings in situ from ground level. In museums, this means the possibility of imaging at high resolution very large paintings. The remote high resolution spectral imaging system provides conservators with an invaluable tool for examining and monitoring the conditions of paintings. ACKNOWLEDGEMENTS This work is supported by a grant from the UK Engineering and Physical Sciences Research Council (EP/E016227/1). We would like to acknowledge contribution from Simon Godber and David Parker of Nottingham Trent University and Bill Zhang, Nathan Henderson and other colleagues from Gooch & Housego plc. The test paint panels were prepared by Sophie Martin-Simpson of Nottingham Trent University under the guidance of Marika Spring at the National Gallery in London. REFERENCES [1] Fischer, C., and Kakoulli, J. “Multispectral and hyperspectral imaging technologies in conservation: current research and potential applications”, Reviews in Conservation, 7, 3-16 (2006). [2] Liang H, Keita K., Vajzovic T., “PRISMS: A portable multispectral imaging system for remote in situ examination of wall paintings”, O3A: Optics for Arts, Architecture, and Archaeology, Proc. SPIE, Vol. 6618, 661815 (2007). [3] Liang H., Keita K, Vajzovic T., Zhang Q., “PRISMS: remote high resolution in situ multispectral imaging of wall paintings”, ICOM-CC Triennial Conference, Delhi, Vol I, p353-358, Allied Publishing (2008). 192
IX CONGRESO NACIONAL DEL COLOR. ALICANTE 2010 AMPLIACIÓN DEL GAMUT DE COLOR EN TRAMA A TRAVÉS DE LA HEPTACROMÍA ® DE CUALQUIER COLOR A CUALQUIER COLOR Vicente Carrasco Martínez Truetone S.L. www.heptacromia.com, truetone@truetone.com Resumen: En este documento se describen los beneficios de utilizar la Heptacromía TrueTONE basándonos en la ampliación del gamut que se consigue al completar la cuatricromía tradicional con tres bases adicionales, tanto en flexografía como en digital, en base a una formulación completa donde se tengan en cuenta todas las posibles combinaciones necesarias en el sistema tramado. En el planteamiento propuesto, el negro se utiliza como un color más y no como un refuerzo. Solo utilizaremos este pigmento en las formulaciones que así lo requieran. Así mismo se establece (en base a unas tintas parametrizadas), una relación entre color un color tramado y su correspondiente en color directo. Palabras clave: Heptacromía ® , n-color, trama, ampliación de gamut, 7 colores. INTRODUCCIÓN Nuestro desarrollo está basado en la teoría de color propia VCM, y en concreto a su aplicación en trama y digital. Este planteamiento permite comunicación entre flexografía y digital para poder tener un color tanto en preimpresión como en impresión, donde existen mayores problemas en los colores y las tonalidades. El objetivo marcado y superado con creces fue determinar la forma de obtener el mayor espectro y densidad de color en trama y directo participando el menor número de colores. ANTECEDENTES EN EL COLOR El círculo cromático es el mejor ejemplo de lo que es armonía de color, pues se pasa progresivamente de un color a otro, estando enfrentados los complementarios o contrastes de primer grado. Aunque incompleto, ya que sólo considera los colores bases y binarios. NUESTRA TEORIA Dibujo 1. Circulo Cromático A partir del modelo incompleto de Goethe, del estudio y la experiencia en offset, nos ha llevado a estas 13 familias de colores que muestran los dibujos 2 y 3, donde comprobamos que con 7 colores primarios somos capaces de obtener el resto de colores. 193
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