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Lakshmi started working on Lenticular printing after she realised that her recent series, The Interactions and the Nautilus – Fibonacci-series, would be significantly enhanced if her art collectors got the depth perception and movement offered by lenticulars.
Lenticular History and Inspirations
Lenticulars can trace its development from works and studies developed throughout the world. Artists, intellectuals and researchers, as recognisable as Aristotle, Alhazen, Leonardo Da Vinci or Alberto Durero have participated with their studies on the camera obscura. Others, like David Brewster with his Kaleidoscope, Niépce and Daguerre with the invention of the daguerreotype and photography; William Dickson and Thomas Edison with holograph and kinetoscope, or the well-known brothers Lumière with their cinematograph have had their contributions.
However, the primary precursor of the lenticular image may be the 'traumatropo', a toy invented in 1824 by the British physician John Ayrton Paris. It consists of a disc with two different images on either side and a piece of rope that allowed the disc to spin quickly, producing an optical effect bonding between the two images.
The development of this invention intended to demonstrate the principle of persistence of vision among his medical colleagues, but it eventually became a popular fixture in Victorian England. This simple, innovative invention laid the foundation for more complex ones such as the zoetrope or the strobe machine (1834), consisting of a circular drum with open grids. The viewer could see some drawings arranged in strips which on turning created an illusion of movement.
Very similar was the praxinoscope of Émile Reynaud, 1877, with the innovation of having angled mirrors to reflect images drawn around and allowing greater clarity to the optical outcome. After these inventions, the world saw the kinetoscope, the phonograph and the cinematograph, whose paths moved to our current cinema. However, the basic principle - the passing of frames or still images at high speed to achieve the effect motion – return us to the principles forged in 1998 with Rufus Butler Seder in his kineticard and scanimations. More specifically, this filmmaker, the Optical Animation Artist, successfully created the first holographic illusions by large panels engraved with fluted tiles torched on lenses, about eight inches each, which together managed to create the effect of a change as the observer walked in front of them. However, it would be almost ten years until the arrival of the famous Colin Ord and his Magic Moving Images, or what is now known as kinegrams.
The lenticular effect is different. In this case, the base is a unique picture or drawing prepared with the different phases of the movement that it seeks to achieve. Over it is placed a plastic sheet with a striped pattern that will make parts of the base image appear or disappear as the lenticular object moves.
Early lenticular methods
In 1912 Louis Chéron described in his French patent 443,216 a screen with long vertical lenses that would be sufficient for recording "stereoscopic depth and the shifting of the relations of objects to each other as the viewer moved" he suggested pinholes for integral photography.
Eugène Estanave performed further experiments with Lippmann's technique. He exhibited an Integral photograph in 1925 and published his findings in La Nature. In 1930 he had 432 lenses in a 6.5 x 9 cm plate with viewable results, but then abandoned the lenticular screen and continued his integral photography experiments with pinholes. Louis Lumière worked on integral photography and corresponded with Lippman about the technique. Lumière patented a system a few years after Lippmann's death but never seemed to have manufactured lenticular screens.
Herbert E. Ives, son of Frederic Eugene Ives, was one of several researchers who worked on lenticular sheets in the 1920s. These were simpler versions of Lippmann's integral photography and had a linear array of small plano-convex cylindrical lenses (lenticules).
The first commercial application of the lenticular technique was not used for 3D or motion display but for colour movies. Eastman Kodak's 1928 Kodacolor film was based on Keller-Dorian cinematography. It used 16 mm black and white sensitive film embossed with 600 lenses per square inch for use with a filter with RGB stripes. In the 1930s, several US patents relating to lenticular techniques were granted, primarily for colour film. On December 15, 1936, Douglas F. Winnek Coffey was granted US patent 2,063,985 (application May 24, 1935) for an "Apparatus for making a composite stereograph". This was probably the first patent for stereoscopic lenticular printing. It does not include changing pictures or animation concepts.
Further history
The term automultiscopic display has recently been introduced as a shorter synonym for the lengthy "multi-view autostereoscopic 3D display", as well as for the earlier, more specific "parallax panoramagram". The latter term originally indicated a continuous sampling along a horizontal line of viewpoints, e.g., image capture using a very large lens or a moving camera and a shifting barrier screen, but it later came to include synthesis from a relatively large number of discrete views.
Lenticular History and Inspirations
Lenticulars can trace its development from works and studies developed throughout the world. Artists, intellectuals and researchers, as recognisable as Aristotle, Alhazen, Leonardo Da Vinci or Alberto Durero have participated with their studies on the camera obscura. Others, like David Brewster with his Kaleidoscope, Niépce and Daguerre with the invention of the daguerreotype and photography; William Dickson and Thomas Edison with holograph and kinetoscope, or the well-known brothers Lumière with their cinematograph have had their contributions.
However, the primary precursor of the lenticular image may be the 'traumatropo', a toy invented in 1824 by the British physician John Ayrton Paris. It consists of a disc with two different images on either side and a piece of rope that allowed the disc to spin quickly, producing an optical effect bonding between the two images.
The development of this invention intended to demonstrate the principle of persistence of vision among his medical colleagues, but it eventually became a popular fixture in Victorian England. This simple, innovative invention laid the foundation for more complex ones such as the zoetrope or the strobe machine (1834), consisting of a circular drum with open grids. The viewer could see some drawings arranged in strips which on turning created an illusion of movement.
Very similar was the praxinoscope of Émile Reynaud, 1877, with the innovation of having angled mirrors to reflect images drawn around and allowing greater clarity to the optical outcome. After these inventions, the world saw the kinetoscope, the phonograph and the cinematograph, whose paths moved to our current cinema. However, the basic principle - the passing of frames or still images at high speed to achieve the effect motion – return us to the principles forged in 1998 with Rufus Butler Seder in his kineticard and scanimations. More specifically, this filmmaker, the Optical Animation Artist, successfully created the first holographic illusions by large panels engraved with fluted tiles torched on lenses, about eight inches each, which together managed to create the effect of a change as the observer walked in front of them. However, it would be almost ten years until the arrival of the famous Colin Ord and his Magic Moving Images, or what is now known as kinegrams.
The lenticular effect is different. In this case, the base is a unique picture or drawing prepared with the different phases of the movement that it seeks to achieve. Over it is placed a plastic sheet with a striped pattern that will make parts of the base image appear or disappear as the lenticular object moves.
Early lenticular methods
In 1912 Louis Chéron described in his French patent 443,216 a screen with long vertical lenses that would be sufficient for recording "stereoscopic depth and the shifting of the relations of objects to each other as the viewer moved" he suggested pinholes for integral photography.
Eugène Estanave performed further experiments with Lippmann's technique. He exhibited an Integral photograph in 1925 and published his findings in La Nature. In 1930 he had 432 lenses in a 6.5 x 9 cm plate with viewable results, but then abandoned the lenticular screen and continued his integral photography experiments with pinholes. Louis Lumière worked on integral photography and corresponded with Lippman about the technique. Lumière patented a system a few years after Lippmann's death but never seemed to have manufactured lenticular screens.
Herbert E. Ives, son of Frederic Eugene Ives, was one of several researchers who worked on lenticular sheets in the 1920s. These were simpler versions of Lippmann's integral photography and had a linear array of small plano-convex cylindrical lenses (lenticules).
The first commercial application of the lenticular technique was not used for 3D or motion display but for colour movies. Eastman Kodak's 1928 Kodacolor film was based on Keller-Dorian cinematography. It used 16 mm black and white sensitive film embossed with 600 lenses per square inch for use with a filter with RGB stripes. In the 1930s, several US patents relating to lenticular techniques were granted, primarily for colour film. On December 15, 1936, Douglas F. Winnek Coffey was granted US patent 2,063,985 (application May 24, 1935) for an "Apparatus for making a composite stereograph". This was probably the first patent for stereoscopic lenticular printing. It does not include changing pictures or animation concepts.
Further history
The term automultiscopic display has recently been introduced as a shorter synonym for the lengthy "multi-view autostereoscopic 3D display", as well as for the earlier, more specific "parallax panoramagram". The latter term originally indicated a continuous sampling along a horizontal line of viewpoints, e.g., image capture using a very large lens or a moving camera and a shifting barrier screen, but it later came to include synthesis from a relatively large number of discrete views.
Interactions Series is a set of 12 Lenticulars
Size : 100cm X100cm
Medium: Acrylic
Limited edition 0-9
Copyright Protected
Copy Right Registration Number / Date:VA0002024581 / 2016-07-18
Size : 100cm X100cm
Medium: Acrylic
Limited edition 0-9
Copyright Protected
Copy Right Registration Number / Date:VA0002024581 / 2016-07-18