With the foundations of our technology rooted in a forensic analysis on the Mona Lisa by National Research Council (Canada), we take pride in designing and engineering our technology to the highest standards of both science and safety to ensure we meet the expectations of the world’s finest art institutions.
Our Art Digital Master File (ADMF™) data record hundreds of millions of data points from a painting’s surface, which can be utilized by a number of museum and gallery disciplines. From conservation and condition analysis to digital restoration prototypes, conservators have the opportunity to help adopt and shape the industry technology of tomorrow.
From a philanthropic perspective, museums can make leaps and bounds when using our technology to help make art more accessible. From taking art off the walls and into the community, via classroom, prison, and hospital experiences, to installing immersive conservation exhibitions like The Mauritshuis’ “Girl in the Spotlight” installation, which invited visitors to watch live scientific analysis while enjoying a textured replication in place of the original.
Museums can also benefit from revenue generation by offering high-fidelity replications of their most admired works, helping close the ever-growing gap between funds and the costs needed to maintain a museum and preserve its collections of art and cultural heritage.
Preservation & Archiving
ADMF data is essentially a high-fidelity digital fingerprint, assisting the preservation of artworks for future generations, even in the face of unforeseen damage and natural degradation.
Utilize ADMF data to digitally turn back time. Together we can develop and implement virtual restoration plans and prototypes, before ever touching the surface of the original artwork.
Our high-fidelity textured prints offer museums the opportunity to create tactile exhibitions, take art into communities with durable prints that can be displayed anywhere, and generate revenue.
WHAT PEOPLE ARE SAYING
“It’s the richest reprographic technology on the planet today.”
Stephen Gritt, Director of Conservation and Technical Research, National Gallery of Canada