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Leveling the Lenticular Playing Field

(March 2007) posted on Thu Mar 15, 2007

How five wide-format print providers have upped their game in lenticular.

click an image below to view slideshow

By Kacey King

Recently, the company completed a project for "The BC Experience" in British Columbia’s Crystal Garden Conservation Centre, located on the southern tip of Vancouver Island. A 7 x 50-ft 3-D mural installed in the Centre’s Gallery Promenade Exhibit, the exhibit was designed to showcase all of British Columbia’s local wildlife in photographs for the Centre, which is dedicated to the conservation of exotic plants and endangered animals.

Big3D used its Luscher JetPrint digital flatbed printer with UV inks and Onyx PosterShop RIP to print in reverse directly onto the back of 12 panels of 50 x 96-in. 10-lpi 3-D lenses. Interlacing for the 3-D depth perception was done using 3-D Genius software from Flipsigns; to allow for viewing from different perspectives as viewers passed by the mural, the company used Flipsigns’ SuperFlip! interlacing software to merge the images.

Following printing, Big3D laminated a white polypropylene backing film onto the lenses using its Seal Image 5500 hot laminating machine. It then used its CNC 80 x 144-in. router table with WinCNC front end to trim the lenses to final specification. Total finishing time was 3 hours. The exhibit will be on display for several years.


Flowering fine art

Artist Karin Schminke initially worked with wide-format lenticular back in 1999, learning the technique from fellow artist Bonny Lhotka, part of the Digital Atelier digital fine-art team (Dorothy Simpson Krause completes the trio).

"At first there was a big learning curve. It was sort of a side thing I was doing. But what’s happened over this period of time is the technology has evolved so much. Today, it’s a combination of great printers, great programs, and great lenses," says Schminke.

One of Schminke’s more recent lenticular pieces is Allegro, a 48 x 48-in. depiction of the head of an Allium flower that she actually had no lenticular intentions for when she first produced it. "This was an image I was working on just for my regular fine-art printing," she says. "And I thought it would make an exciting piece that would really utilize the movement and depth of lenticular really well-so I decided to make it lenticular. That’s when the deconstruction began."