Virtual Reality Art Visualised Through Surface Relief Digital Holography

This paper proposes surface relief digital (SRD) holography as a method for visualising VR art for the purpose of presentation in a fine art context. VR holography is a new art form, which synthesizes the qualities of traditional hand-drawing with the unique features of holography and virtual reality art. Previous projects addressing the topic of VR holography have demonstrated how direct-write (reflection) digital holography can be used successfully to display artworks generated through VR art-making tools such as Tilt Brush, Gravity Sketch etc., but have also emphasised the limitations of this medium. SRD holography offers a solution to some of these limitations, namely the relatively low brightness characteristic of reflection holography and difficulties related to the preservation of artworks recorded on photographic materials suitable for reflection holography. SRD transmission holograms are significantly brighter than reflection holograms due to their intrinsically more efficient use of the illumination light. Also, SRD holography is an outstanding medium from the point of view of archivability – the fact that SRD holograms are printed on glass and the nature of the photoresist coating itself makes these holograms fully archival. They are therefore much easier to preserve than silver halide film holograms or even dichromate gelatine glass holograms, which are prone to humidity-related damage even when great care is taken in sealing them. The SRD transmission holograms presented in this paper have been printed with a high-resolution digital printer and have a hogel size of 100 microns – practically imperceptible to the naked eye. By contrast, VR holograms presented in previous studies were printed with a hogel size of 0.8mm. This leads to a visible pixelation, which constitutes a distracting feature when this technique is used in a fine art context. Finally, SRD holograms exhibit the unique property that they can be seen from both sides without any loss in quality (when displayed on plinths for example), something that substantially increases the number of people who can view the artworks simultaneously.

Content

Author and article information

Contributors

Ioana Pioaru

Conference

Publication date: July 2020

Publication date (Print): July 2020

Pages: 146-152

Affiliations

[0001]Wrexham Glyndŵr University

Mold Rd, Wrexham LL11 2AW, UK

Article

DOI: 10.14236/ewic/EVA2020.26

SO-VID: 84084db3-1f82-482b-99ca-bbae5a2388b0

License:

This work is licensed under a Creative Commons Attribution 4.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/

Conference name: Proceedings of EVA London 2020

Conference acronym: EVA 2020

Conference number: 30

Conference location: London

Conference date: 6th July – 9th July 2020

Conference sponsor: Electronic Workshops in Computing (eWiC)

Conference theme: AI and the Arts: Artificial Imagination

Product

Product Information: 1477-9358BCS Learning & Development

Self URI (article page): https://www.scienceopen.com/hosted-document?doi=10.14236/ewic/EVA2020.26

Self URI (journal page): https://ewic.bcs.org/

REFERENCES

M Benyon 1994 How is holography Art? PhD Thesis https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.359209 16 March 2020
H BjelkhagenD Brotherton-Ratcliffe 2013 Ultra-realistic imaging: Advanced Techniques in Analogue and Digital Colour Holography Boca Raton, London New York CRC Press, Taylor & Francis Group 357 368; 420 421
Fantasygraph 2016 Three rules to avoid support structures when 3D printing https://pinshape.com/blog/dotm-fantasy-graph-3d-printer-support-structures/ 16 March 2020
Geola 2020 Geola Digital UAB – optics and lasers manufacturing and research company based in Vilnius, Lithuania, established in 1995 http://geola.com 16 March 2020
I Pioaru 2017 Visualizing virtual reality imagery through digital holography International Conference on Cyberworlds (CW 2017) Chester United Kingdom 20-22 September 2017 241 244 doi:10.1109/CW.2017.50
I Pioaru 2018 From virtual reality to digital holography International Symposium on Display Holography (ISDH 2018) Aveiro, Portugal 25–29 June 2018 49 52
I PioaruD Stokes 2019 ‘A comparative analysis of virtual-reality art-making software for the production of VR digital holograms SPIE OPTO: Practical Holography XXXIII: Displays, Materials, and Applications (SPIE 2019), San Francisco, California USA [Cross Ref]
Tiltbrush Artist in Residence Gallery 2020 https://www.tiltbrush.com/air/artists 12 March 2020

Comments

Comment on this article

[1] M Benyon 1994 How is holography Art? PhD Thesis https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.359209 16 March 2020

[2] H BjelkhagenD Brotherton-Ratcliffe 2013 Ultra-realistic imaging: Advanced Techniques in Analogue and Digital Colour Holography Boca Raton, London New York CRC Press, Taylor & Francis Group 357 368; 420 421

[3] Fantasygraph 2016 Three rules to avoid support structures when 3D printing https://pinshape.com/blog/dotm-fantasy-graph-3d-printer-support-structures/ 16 March 2020

[4] Geola 2020 Geola Digital UAB – optics and lasers manufacturing and research company based in Vilnius, Lithuania, established in 1995 http://geola.com 16 March 2020

[5] I Pioaru 2017 Visualizing virtual reality imagery through digital holography International Conference on Cyberworlds (CW 2017) Chester United Kingdom 20-22 September 2017 241 244 doi:10.1109/CW.2017.50

[6] I Pioaru 2018 From virtual reality to digital holography International Symposium on Display Holography (ISDH 2018) Aveiro, Portugal 25–29 June 2018 49 52

[7] I PioaruD Stokes 2019 ‘A comparative analysis of virtual-reality art-making software for the production of VR digital holograms SPIE OPTO: Practical Holography XXXIII: Displays, Materials, and Applications (SPIE 2019), San Francisco, California USA [Cross Ref]

[8] Tiltbrush Artist in Residence Gallery 2020 https://www.tiltbrush.com/air/artists 12 March 2020