The accurate detection of cracks in paintings, which generally portray rich and varying content, is a challenging task. Traditional crack detection methods are often lacking on recent acquisitions of paintings as they are poorly adapted to high-resolutions and do not make use of the other imaging modalities often at hand. Furthermore, many paintings portray a complex or cluttered composition, significantly complicating a precise detection of cracks when using only photographic material. In this paper, we propose a fast crack detection algorithm based on deep convolutional neural networks (CNN) that is capable of combining several imaging modalities, such as regular photographs, infrared photography and X-Ray images. Moreover, we propose an efficient solution to improve the CNN-based localization of the actual crack boundaries and extend the CNN architecture such that areas where it makes little sense to run expensive learning models are ignored. This allows us to process large resolution scans of paintings more efficiently. The proposed on-line method is capable of continuously learning from newly acquired visual data, thus further improving classification results as more data becomes available. A case study on multimodal acquisitions of the Ghent Altarpiece, taken during the currently ongoing conservation-restoration treatment, shows improvements over the state-of-the-art in crack detection methods and demonstrates the potential of our proposed method in assisting art conservators.INDEX TERMS Digital painting analysis, crack detection, virtual restoration, machine learning, morphological filtering, convolutional neural networks, transfer learning, multimodal data, Ghent Altarpiece.
Optical beam deflectors based on the combination of cholesteric liquid crystals and polymer micro gratings are reported. Dual frequency cholesteric liquid crystal (DFCh-LC) is adopted to accelerate the switching from the homeotropic state back to the planar state. Polarization independent beam steering components are realized whose transmission versus the polarizing angle only varies 4.4% and 2.6% for the planar state and the homeotropic state, respectively. A response time of 451 ms is achieved for DFCh-LC-grating beam deflectors, which is fast compared to other nematic LC beam steerers with similar LC thickness.
In the restoration process of classical paintings, one of the tasks is to map paint loss for documentation and analysing purposes. Because this is such a sizable and tedious job automatic techniques are highly on demand. The currently available tools allow only rough mapping of the paint loss areas while still requiring considerable manual work. We develop here a learning method for paint loss detection that makes use of multimodal image acquisitions and we apply it within the current restoration of the Ghent Altarpiece. Our neural network architecture is inspired by a multiscale convolutional neural network known as U-Net. In our proposed model, the downsampling of the pooling layers is omitted to enforce translation invariance and the convolutional layers are replaced with dilated convolutions. The dilated convolutions lead to denser computations and improved classification accuracy. Moreover, the proposed method is designed such to make use of multimodal data, which are nowadays routinely acquired during the restoration of master paintings, and which allow more accurate detection of features of interest, including paint losses. Our focus is on developing a robust approach with minimal user-interference. Adequate transfer learning is here crucial in order to extend the applicability of pre-trained models to the paintings that were not included in the training set, with only modest additional retraining. We introduce a pre-training strategy based on a multimodal, convolutional autoencoder and we fine-tune the model when applying it to other paintings. We evaluate the results by comparing the detected paint loss maps to manual expert annotations and also by running virtual inpainting based on the detected paint losses and comparing the virtually inpainted results with the actual physical restorations. The results indicate clearly the efficacy of the proposed method and its potential to assist in the art conservation and restoration processes.
Stationarity of reconstruction problems is the crux to en-
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