The world's largest (15‐inch) XGA active matrix liquid crystal display (AMLCD) panel made with IGZO TFTs (W/L=29.5/4 μm) was fabricated and evaluated with the field effective mobility of 4.2±0.4 cm2/V‐s, Vth of −1.3±1.4V and sub‐threshold swing (SS) of 0.96±0.10 V/dec. for a manufacturing‐oriented process, the main factors affecting threshold voltage (Vth) of the IGZO thin film transistors (TFT) are investigated. On the glass surface, thicker regions of IGZO film have a negative threshold voltage shift. A dry etching process of molybdenum source and drain (S/D) causes negative shift of the average threshold voltage compared to wet etching in the bottom gate back channel etched TFTs. However, optimization of SiOx passivation and subsequent annealing shift average Vth positively and reduce Vth variation.

Three-dimensional digital technology is important in the maintenance and monitoring of cultural heritage sites. This study focuses on using a combination of terrestrial laser scanning and unmanned aerial vehicle (UAV) photogrammetry to establish a three-dimensional model and the associated digital documentation of the Magoksa Temple, Republic of Korea. Herein, terrestrial laser scanning and UAV photogrammetry was used to acquire the perpendicular geometry of the buildings and sites, where UAV photogrammetry yielded higher planar data acquisition rate in upper zones, such as the roof of a building, than terrestrial laser scanning. On comparing the two technologies’ accuracy based on their ground control points, laser scanning was observed to provide higher positional accuracy than photogrammetry. The overall discrepancy between the two technologies was found to be sufficient for the generation of convergent data. Thus, the terrestrial laser scanning and UAV photogrammetry data were aligned and merged post conversion into compatible extensions. A three-dimensional (3D) model, with planar and perpendicular geometries, based on the hybrid data-point cloud was developed. This study demonstrates the potential for using the integration of terrestrial laser scanning and UAV photogrammetry in 3D digital documentation and spatial analysis of cultural heritage sites.

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Three-dimensional (3D) digital technology is an essential conservation method that complements the traditional restoration technique of cultural artifacts. In this study, 3D scanning, virtual restoration modeling, and 3D printing were used as a noncontact approach for restoring a damaged stone-seated Bodhisattva (stone Buddha statue). First, a 3D model with an average point density of 0.2 mm was created by integrating the fixed high-precision scanning of the exterior and the handheld mid-precision scanning of the interior excavated hole. Using a 3D deterioration map of the stone Buddha statue, the area of the missing parts was measured to be 400.1 cm2 (5.5% of the total area). Moreover, 257.1 cm2 (64.2% of the missing part area) of four parts, including the head, surrounding area of the Baekho, right ear, and right eye, for which symmetry was applicable for modeling or there could be ascertainable historical evidence for the total missing parts, was selected for restoration. The virtual restoration of the missing parts of the stone Buddha statue was performed using a haptic modeling system in the following order. First, the location of the three fragments detached from the head was determined. Next, a reference model was selected, and its symmetrization and modification with respect to the original model were conducted. Further, estimation modeling and outer shape description were achieved through historical research and consultation with experts. The heuristic-based assembly suitability of the created virtual restoration model (461 cm3) was verified by design mockup printing and digital–analog simulation. In particular, to address assembly interference, the interface surface was modified and reprocessed several times. Accordingly, the volume of the final design mockup decreased by 5.2% (437 cm3). Photopolymerization 3D printing technology was used for the actual restoration of the stone Buddha statue, and considering the surface roughness, the layer thickness of the material used for restoration was set at 0.10 mm. Finally, the surface of the printed output was colored to prevent yellowing and joined to the missing parts of the stone Buddha statue. This study presents a remarkable case of shifting from the traditional manual-contact method to the contactless digital method for restoring artifacts and is expected to largely contribute to increasing the usability of digital technologies in the restoration of cultural artifacts.

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