First try at Lithphane
Moderators: al wolford, sbk, Bob, Kayvon
-
- Posts: 19
- Joined: Thu Apr 14, 2016 9:38 am
First try at Lithphane
A couple of challenges. The couple in the picture wearing camo, wasn't sure how that would turn out. Second more difficult item was designing the frame and determining the method for back lighting. Any suggestions appreciated.
Re: First try at Lithphane
I might be able to assist a little, but I'll admit I haven't done any lithophane work.cnc novice wrote:A couple of challenges. The couple in the picture wearing camo, wasn't sure how that would turn out. Second more difficult item was designing the frame and determining the method for back lighting. Any suggestions appreciated.
To reduce the height-variation in the clothing, go into your favorite image editor, select the areas of camo, and lower the contrast of that area. That will compress together the intensity of the darks and lights, moving both closer to a middle tone. That should reduce the max dark and lightness in those areas. Indeed, in lithophane work, because everything eventually boils down to light or dark, it's almost always contrast control that will get you where you want to go. For example, if you want the faces to stand out a little more, increase the contrast in those regions. Similarly, if you want the background to fade to almost nothing, reduce the contrast so it looks practically all white, with only hints of the background. In my experience doing similar things for other purposes, the limiting factor will be your patience with the masking process, of selecting the different regions. Sometimes I think they make it tedious on purpose .
Getting the backlighting right, there are quite a few people in these forums who have done some truly amazing lighting on their acrylics. Here's a handy search link: http://www.cncsharktalk.com/search.php? ... crylic+led
For this, a flat "tape" style LED light strip might work, with the strip attached to the inside perimeter of the frame. The other thing to do is to paint the inside of the frame cavity with a reflective coating. I usually use a reflective, metallic "chrome" paint as the base coat, with very thin white primer over that. It should be thin enough you can still make out the metal beneath. It's an excellent diffuser, and the underlying metal helps prevent light absorption into the wood/frame material. You can also, very lightly, spray a VERY speckled coating of a color, that will skew the color of the display just a tad, if that's useful. For example, if you're using white LEDs, those can be a little harsh when you're trying to show people. So, spray a tiny TINY thin, just-speckled pass of red. That will add just a hint of warmth to the light, without having to use the warm-white LEDs, which are usually way too red for use with that irridescent white of the lithophane. If you can see the points of the LEDs through the lithophane, at art/craft stores they sell sheets of translucent plastic with a matte finish. Obviously the more diffusion, the more light gets absorbed, so you'll need to find a happy medium for you.
Can't help you on the frame .
Regards,
Thom
=====================================================
ThomR.com Creative tools and photographic art
A proud member of the Pacific Northwest CNC Club (now on Facebook)
ThomR.com Creative tools and photographic art
A proud member of the Pacific Northwest CNC Club (now on Facebook)
-
- Posts: 19
- Joined: Thu Apr 14, 2016 9:38 am
Re: First try at Lithphane
thanks for the advice the frame was just designing what would work. This one was .75 inch poplar with three groves cut using a dado blade. One grove to insert the candle stone, another to hold the light strip around the perimeter and another for the back piece. I like the idea of the reflective paint, I used a gloss white to help with lighting. As with most projects try it, adapt it, and keep evolving.
Thanks
Thanks
Re: First try at Lithphane
Oh yeah, that sounds perfect for the frame.
I started using the metallic undercoat when I was lighting a piece where the back is white HDPE, and so there was some light leakage through to the back of the piece. But, what I wanted was a thin "underlining" that fades to nothing, giving the illusion it's suspended off the wall. But, if it went all the way to the wall, well it just looked like a bad design, where just as much light was coming out the back as the front. The metallic with a light white overcoat worked perfectly.
The piece is probably the worst form of feng shui there is: a color-changing death-mask glass sculpture, staring right at the front door .
Regards,
Thom
I started using the metallic undercoat when I was lighting a piece where the back is white HDPE, and so there was some light leakage through to the back of the piece. But, what I wanted was a thin "underlining" that fades to nothing, giving the illusion it's suspended off the wall. But, if it went all the way to the wall, well it just looked like a bad design, where just as much light was coming out the back as the front. The metallic with a light white overcoat worked perfectly.
The piece is probably the worst form of feng shui there is: a color-changing death-mask glass sculpture, staring right at the front door .
Regards,
Thom
=====================================================
ThomR.com Creative tools and photographic art
A proud member of the Pacific Northwest CNC Club (now on Facebook)
ThomR.com Creative tools and photographic art
A proud member of the Pacific Northwest CNC Club (now on Facebook)