Thesis (B.S.)--Massachusetts Institute of Technology, Dept. of Electrical Engineering and Computer Science, 1982. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ENGINEERING / Includes bibliographical references. / by David P. Harrahy. / B.S.

Thesis (M.F.A.)--Rochester Institute of Technology, 2009. / Typescript. Includes bibliographical references (leaves 58-61).

Indiana University-Purdue University Indianapolis (IUPUI) / Toner analysis has become an area of increased interest due to the wide availability of laser printers and photocopiers. Toner is most often encountered on paper in questioned document analysis. Because of this, it is important to develop methods that limit the interference of paper without damaging or destroying the document. Previous research using Fourier transform infrared spectroscopy (FTIR) has differentiated toners based on their polymer resin components. However, Raman spectroscopy and chemometric analysis are not typically used for the examination of this material. Raman spectroscopy is a popular tool for the chemical analysis of pigmented samples and was used to characterize cyan, yellow, and magenta toners. Analyses were performed using a dispersive micro-Raman spectrometer equipped with a 785nm diode laser, a CCD detector, and an objective at 20X magnification. One hundred samples of each color toner were collected. Three different and separate methods were developed for cyan, yellow, and magenta toners on paper to optimize results. Further analysis of the magenta toners was excluded due to a weak signal and significant paper interference. The data collected from the analyses of the blue and yellow toners was then processed using a combination of statistical procedures, including principal component analysis (PCA), agglomerative hierarchal clustering (AHC), and discriminative analysis (DA). Ninety-six blue toners were analyzed by PCA and three classes of spectra were suggested. Discriminant analysis showed that the three classes were well-differentiated with a cross-validation accuracy of 100% for the training set and 100% cross-validation accuracy for the external validation set. Eighty-eight yellow toners were analyzed by AHC and four classes of spectra were suggested. Discriminant analysis showed good differentiation between the classes with a cross-validation accuracy of 95.45% for the training set, but showed poor differentiation for the external validation set with a cross-validation accuracy of 72%. While these toners were able to be discriminated, no correlation could be made between the manufacturer, printer make and model, and the toner sample.

L’impression 2.5D est une technologie à mi-chemin entre l’impression couleur traditionnelle, à laquelle elle emprunte son procédé et la qualité de reproduction des couleurs, et l’impression 3D qui crée des reliefs et des formes. Par ses qualités visuelles, elle pourrait permettre la reproduction réaliste de multiples surfaces, mais un frein s’oppose à cette perspective : les encres brillent. En modulant la rugosité des surfaces imprimées à l'échelle du micromètre, en fréquence et en amplitude, nous avons réussi à réduire et contrôler le brillant des encres. Des stratégies d'impression différentes ont été proposées et étudiées pour diminuer l’effet scintillant et permettre l’impression d’une couche couleur mate : la création d'un espace à cinq dimensions dans lequel le brillant et la couleur sont modélisés aboutit à l'uniformisation des niveaux de brillant colorés. Les protocoles d'impression développés ont ensuite été appliqués à des cas concrets issus de la conservation – restauration du patrimoine. Plusieurs exemples distincts sont présentés, qui abordent un point particulier sur lequel l’impression 2.5D est pertinente: comblement de lacune, création de répliques réalistes, intérêt de l'aspect visuel mat pour la lisibilité des œuvres. / 2.5D printing is between traditional color printing, for the process and its visual quality, and 3D printing, which makes forms and reliefs by ink superposition. Because of its properties, 2.5D printing could allow the realistic reproduction of objects and surfaces, but inks are too glossy. To reduce and control this glossy aspect of inks, we modulate the roughness of the printed layers, at the micro-scale, both in frequency and amplitude. Influence of parameters was measured, and different strategies were suggested to reduce sparkle and to allow the creation of matte colored layers: by constituting a 5D space where gloss and color are modeled, we can make gloss level of colored surfaces uniform.Several case studies form the Conservation of Cultural Heritage were considered, where 2.5D printing could help the curator, the conservator or the archivist. We studied in particular the issues of the the gap filling on an archaeological object, the realistic reproduction of surfaces, and the creation of matte objects for readability.

L'impression, bien qu'étant une technique ancienne pour la coloration de surfaces, a connu un progrès considérable ces dernières années essentiellement grâce à la révolution du numérique. Les professionnels souhaitant remplir les exigences en termes de qualité du rendu visuel de leurs clients veulent donc savoir dans quelle mesure des observateurs humains sont sensibles à la dégradation d'une image. De telles questions concernant la qualité perçue d'une image reproduite peuvent être séparées en deux sujets différents: La qualité de l'impression, comme la capacité d'un système d'impression à reproduire fidèlement l'image d'origine, et la qualité d'une image imprimée, résultant à la fois de la qualité de reproduction, mais aussi de la qualité même de l'image numérique d'origine. Ce premier concept repose sur une analyse physique de la façon dont l'image d'origine est dégradée lors de son transfert sur un support, et nous proposons de la coupler avec une analyse sensorielle, visant à évaluer des attributs perceptuels et leur donner une valeur sur une certaine échelle, déterminée par des échantillons de référence classés par un ensemble d'observateurs. Le second concept inclut cette dégradation due à l’impression mais aussi la qualité perçu de l’image d’origine, qui ne fait pas parti de notre étude. Notre approche consiste d'abord à définir les différents indices de qualité, basés sur des critères mesurables en utilisant des outils d'évaluation basés sur des algorithmes "objectifs" de traitement d'image et des modèles optiques, sur une image imprimée-scannée. Thèse réalisée au Laboratoire Hubert Curien / Printing, though an old technique for surface coloration, considerably progressed these last decades especially thanks to the digital revolution. Professionals who want to meet the demands in terms of quality regarding the visual rendering of their clients thus want to know to which extent human observers are sensitive to the degradation of an image. Such questions regarding the perceived quality of a reproduced image can be split into two different topics: the printing quality as capacity of a printing system of accurately reproduce an original digital image, and the printed image quality which results from both the reproduction quality and the quality of the original image itself. The first concept relies on physical analysis of the way the original image is deteriorated when transferred onto the support, and we propose to couple it with a sensorial analysis, which aims at assessing perceptual attributes by giving them a value on a certain scale, determined with respect to reference samples classified by a set of observers. The second concept includes the degradation due to the printing plus the perceived quality of the original image, not in the scope of this work. In this report, we focus on the printing quality concept. Our approach first consists in the definition of several printing quality indices, based on measurable criteria using assessment tools based on “objective” image processing algorithms and optical models on a printed-then-scanned image. PhD work made in Hubert Curien Laboratory