Discussion on the Processing Method of Calligraphy Works by Art Micro-spray
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I remember that in a treasure-picking activity, a treasure holder took a group of fans and asked for expert appraisal. After seeing the experts, the experts said that the group of fans was complete, the color was simple, and there were celebrities, if it was true, it should be valuable, but This is just a modern high imitation, copied with micro-spray technology. There is another example. When I visited some decorative painting galleries, I saw some very beautiful oil paintings. The price was generally between 3,000 and 5,000 yuan. The owner emphasized that these are all pure hand-painted works by the painter, but the transition color from the picture and In some local details, it should be a micro-spraying work rather than a purely hand-painted work. After printing the finished product on the canvas, the texture is artificially brushed, so that the replica has the three-dimensional and other characteristics of the oil painting. The artificial combination is also the more popular way of art micro-jet technology in dealing with oil paintings. It can be seen that the art reproductions made by the art micro-spray technology and the high-definition micro-spray are entering people's lives.
In the field of art reproduction, compared with wood-based watermarking and jurassic printing, art micro-spray has its own significant advantages, mainly reflected in three aspects of low cost, high efficiency and wide color gamut, which is more conducive to the promotion of cultural and artistic undertakings. And the cultivation of talents. But on the other hand, wood-based watermarking and stencil printing (especially wood-based watermarking) use a lot of traditional technology and labor costs to make it have a certain artistic collection value, and the wooden watermark mainly uses traditional materials and pigments. This is also unmatched by the art micro-spray.
Calligraphy is an important field of artistic reproduction. When famous calligraphy is collected, its replicas play an important substitute for the general public. The most famous calligraphy reproduction in history is the "Lanting Preface". The original works are recorded in the Tomb of Emperor Taizong Li Shimin, and now the collections of the museum are transcripts, which are replicas. The most famous ones are Shenlong Ben and Tian. In the calendar, these two versions are obtained by the ancients using the double hook profile. For modern people, the reproduction of calligraphy works also has important application value. It can be used not only for decoration, appreciation and calligraphy, but also for certain reproductions that are recognized by the calligrapher, twice copied and printed. value.
In the process of copying calligraphy works using the art micro-jet technique, due to improper methods, some problems may occur, such as color irregularity, insufficient definition, and insufficient background color processing. In response to these problems, every step of the entire replication process must take reasonable steps to avoid the above problems. The reproduction of calligraphy works can be divided into four parts: scanning, retouching, coloring, and output. The following is a brief introduction to the whole process of calligraphy reproduction by taking the calligraphy works in Figure 1 as an example.
Step 1: Scan
The scanning of calligraphy works is the same as that of paintings. It requires high-resolution scanning. Generally, it can be set to 400ppi, and the scanning resolution should not be too high. It does not have much practical significance beyond the output capability of the device. When selecting a scanner, it can be done in one-time using a non-contact scanner, or it can be scanned and then spliced using a flatbed scanner. If you have some large-format calligraphy works that are not demanding, you can also use a wide-format CIS scanner. The calligraphy in Figure 1 is a three-foot sheet. The author uses a flatbed scanner with an A3, CCD image sensor and an optical resolution of 2400 dpi x 4800 dpi. For calligraphy works with rice paper and ink as the main expression techniques, the surface papers will be produced due to the expansion and deformation of the rice paper after ink-dyed, especially for some long-term preservation of calligraphy works, there will be some serious creases and damages, most It is good to scan after the back, so that it will not affect the text details of the calligraphy works, but also help the later retouching. If you do not allow the back, you can only scan the original and then post-process.
Step 2: Retouching and coloring
1. Puzzle. Before splicing, you need to first splicing, splicing and retouching are mainly done in Photoshop (hereinafter referred to as "PS"). It can be manually stitched in the PS, or it can be automatically stitched using the Photomerge plugin. Manual stitching requires high PS experience and operational skills, and requires a lot of time and effort for the staff. Photomerge is a plug-in built into PS. The application is very simple and the stitching effect is good. As long as the adjacent single-image scanned images have overlapping areas, in most cases, perfect seamless stitching can be achieved. Only when the scanning is incomplete or there is Stitching errors occur in the case of deformation. The Photomerge plug-in calculates the same pixels in the four separate images and then automatically uses the mask to achieve seamless stitching.
2. Convert the color mode. It is very important to convert the color mode correctly, which will directly affect the quality of the subsequent retouching and output. The scanned image is in RGB mode, and can be retouched after being converted to CMYK mode. For calligraphy works, the most important thing is to generate a high-quality black version. Only in this way, the finished color after printing and output will be pure and natural without color cast. This also applies to Chinese paintings. When generating a black version, there are two ways of GCR and UCR. GCR is also called gray component replacement. It is a long black version. UCR is also called bottom color removal. It is a short black version. For calligraphy works, since the color is all black except for the seal, we choose the custom GCR way to generate the black version, the steps are as follows:
Open "Edit" - "Color Settings", click "Custom CMYK" in the "CMYK" option; in "Custom CMYK", click on "Color Separation Options" - "GCR" - "Black Version Generation" option Maximum value". After selecting the maximum value, in the process of generating the black version, the system will convert all the color values in the RGB color that can reach neutral gray to the K value in CMYK, thus maximizing black. If the ink painting is color-separated, it is necessary to select "middle" or "more" according to the color style of the ink painting. The "maximum value" is only suitable for calligraphy works.
We can see that the gray scale in the graph has become a straight line with a 45 degree angle, and the CMY chromatogram has become a straight line with a 0 degree angle. After clicking "OK", you can switch the color mode. After converting the scanned image to CMYK mode, by checking the four-color channel, we will find that the color in the original image is basically converted to the K version except that the C version has a small color value. When dealing with calligraphy works and Chinese ink paintings, the black version is the whole picture of Bone Ma Jinglin Zeng Qi Shandong Media Vocational College, which controls the density contrast and color stability of the entire image. If the black version is handled properly, the copying effect will be very Well, it also reflects the style of calligraphy and Chinese painting.
3. Retouching. Before retouching, first extract the color value of the stamp part, because in the process of retouching, prioritizing the black text color value will affect the color of the seal, and the color value of the seal must be separately performed after the entire calligraphy coloring is completed. Restore. For this piece of work, the extracted seal color value is M85Y60K30 after the calculation. Open the black channel, adjust the color gradation, and redefine the values of the black and white fields in the “Input Level” so that the text part basically reaches K100 and the white background reaches K0. This effect can also be achieved by using the Curve tool when making adjustments. After the adjustment is completed, local scouring is performed on the place where the bottom ash remains on the black channel. It is worth noting that in the adjustment process, it is necessary to preserve some details such as dry pen and flying white in calligraphy, which can express the characteristics of calligraphy. If the emphasis on black and white is excessively emphasized, many levels of detail will be lost and the original calligraphy will be deviated. Then use the same method to adjust the M channel. The M channel retains the color value of the stamp portion, and adjusts the color gradation to redefine the black and white field. After the M channel adjustment is completed, press the Ctrl key to click the M channel, and then deselect it. This will get the pixel information of all the stamps in the whole work, create a new layer, and extract the color values before the retouching to fill. Select the calligraphy work layer and fill the C, M, and Y channels with white.
Step 3: Output
After the adjustment and retouching are completed, it can be printed and printed. For calligraphy works, you can use the coated micro-spray special tissue paper, or you can use the coronation treatment. The surface of the coated rice paper has a coating that prevents the ink from smearing, which can better express the details of the calligraphy strokes, but the surface texture and feel of the coated rice paper are still different from the conventional rice paper. If it is ink painting, because of its high level of color and color, you can only use coated rice paper.
When choosing ink, use anti-fade pigment ink. Although the dye ink will be more vivid in color, it will fade after being exposed to air for a long time. In addition, for the selection of black ink, there are two types of rough black and photo black. For calligraphy works printed on conventional rice paper, it is necessary to use rough black ink to achieve better results.
The above-mentioned art micro-spray processing of calligraphy works is only one of many methods. If a complete color management system from scanning to printout is installed, the steps of coloring and retouching will be greatly reduced, regardless of the device. And how advanced the process, human factors are always essential and vital, I hope the above methods can be used for reference and help to the relevant practitioners.