An Investigation into Alternatives to Pixel Based Colour Rendering using a Digitally Driven Physical Mark Making Process

尽管艺术家和设计师已经采用了数字摄影渲染技术，但对这一过程背后的基础理论并没有提出根本性的质疑。世纪初发明的四色分色（半色调）技术已被商业印刷业和艺术家采用。现在是时候对印刷的物理渲染技术进行彻底的重新评估了。这项博士研究将研究驱动6轴机器人，笛卡尔XYZ平台和Delta机器人的方法，以创建一个接口，该接口通过固件驱动程序转录通过非像素软件创建的彩色图像，以创建可再现的连贯图像，并识别影响机器人标记决策的像素和非像素图像中的哪些变体。该项目将以经验为基础，采用迭代方法。Verity将对市场上现有的矢量软件（如Illustrator和Inkscape）进行调查，以了解这些软件如何转换为G代码来驱动2.D绘画机器人和机器。基于体素的技术、CAD软件和一系列数字化绘图设备，如Wacom平板电脑和I-Pad。她将通过以下方式研究这个复杂的领域：识别、简化和演示如何有效和适当地使用这些新工具，并确定这些工具是否可以组合起来创建一个新的直观的用户界面来驱动标记制作机器人。她还将研究为视觉艺术开发的绘画机器的局限性（如Kanno，Sougwen Chung，Berio，Stein，Kudoh等）。她将与ColArt合作，设计和测试一系列适用于2.5D绘画机的定制工具和刷子，并测试蠕动泵通过机器人驱动的工具和刷子压缩油漆的潜力。她将研究节点，贝塞尔曲线和线条长度的变化将如何影响速度，速度，压力和油漆和油墨的分布。这些工具将通过与案例研究艺术家合作创作艺术品进行测试，以衡量性能和美学问题并解决这些问题。与基于实践的测试同时，Verity将对四色分离的替代方案以及机器人和人工智能制作的艺术品所引发的哲学和社会问题以及该技术引发的更广泛的讨论进行文献调查。

Although artists and designers have adopted digital photographic rendering techniques, there has been no fundamental questioning of the underpinning theory behind the process. Four colour separation (halftoning) techniques invented in the early 20th Century have been adopted by the commercial print industry and artists. The timing is now right for a radical re-appraisal of physical rendering techniques for printing. This PhD study will investigate methods of driving a 6 axis robot, Cartesian XYZ platform, and Delta robots to create an interface which transcribes a coloured image created through non-pixel based software through firmware drivers to create a reproducible coherent image and identify which variants within both pixel based and non-pixel based images that affect a robot's mark-making decisions. This project will be empirically based using iterative methodological approach. Verity will undertake a survey of existing vector based software on the market such as Illustrator and Inkscape to understand how these translate to G code to drive 2.D painting robots and machines. Voxel based technology, CAD software, and a range of digitalised drawing devises such as Wacom tablets and I-Pads. She will examine this complex field by: identifying, simplifying and demonstrating how these new tools can be efficiently and appropriately used and identify if these tools can be combined to create a new and intuitive user interface to drive mark-making robots. She will also investigate the limits of painting machines developed for the visual arts (such as Kanno, Sougwen Chung, Berio, Stein, Kudoh at al). She will work in partnership with ColArt to design and test a new range of bespoke tools and brushes adapted for 2.5D painting machines and test the potential of a peristaltic pump to compress paint through tools and brushes driven by robots. She will examine how the variation of nodes, Bezier curves and line length will affect the speed, velocity, pressure and distribution of paint and ink. These tools will be tested via the creation of artworks in collaboration with case study artists to measure the performance and aesthetic problems and solve them. In parallel to the practice-based tests Verity will undertake a literature survey of the alternatives to four colour separation and the philosophical and social problems raised by artworks produced by robots and AI and the wider discussions this technology provokes.