by Richard Romano

Please visit the main page of Lenticular Effects ULTRA on Software Informer. Ultra Analog VA-1. Ultra Analog is about capturing the unique warmth. What is Lenticular Printing? A Background on 3D Lenticular Printing. Lenticular printing is a technology in which a lenticular lens is used to produce images with an illusion of depth, or the ability to change or move as the image is viewed from different angles. 3DMasterKit software is designed for creating lenticular pictures with realistic 3D and motion effects: flip, animation, morphing and zoom. Printers, advertising studios, photo studios and photographers will find 3DMasterKit a useful and cost effective solution for expanding their business in a new dimension, increasing quality and productivity of generated 3D images and lenticular products. The largest lenticular pore on the fatigue crack surface for batch 1 was 204 µm and for batch 2 was 212 µm. Fatigue Modeling When collecting the hardness values necessary for this modeling no trends or gradients across the samples were found but the samples from batch 1 had a slightly lower standard deviation (10.21) than those from batch 2. Tinasoft Easycafe 2.2.14 Full With Serial Crack Fear Perseus Mandate Update Patch No Volume Icon On Taskbar Windows Vista Me And My Broken Heart Video Download Free Intel Gma X3100 Opengl Driver For Mac Lenticular Effects 4.1 Asterix At The Olympic Games Ps2 Torrent Cri Middleware Package Page.

People of a certain age — and people older than me, for once — have fond memories of the prizes that used to come in boxes of Cracker Jack, the snack food consisting of molasses-flavored caramel-coated popcorn and peanuts. These folks were likely disheartened by the announcement in April 2016 that Frito-Lay (the current owners of Cracker Jack) are doing away with the physical prize (actually, they did away with toys and tchotchkes years ago, replacing them with printed jokes and riddles). Instead, packages will now come with a sticker containing a QR code. You scan it with your smartphone, download a Blippar-based app, and you can play a baseball game. I guess that’s progress.

Honestly, I never really liked Cracker Jack, but the prize and iconic box (also discontinued long ago) were all part of the pop culture tapestry, and could actually be useful shorthand. Back in the 1990s, when I wrote for Digital Imaging magazine, a somewhat new application for wide-format digital printing was lenticular imaging, and I could always count on describing it as an image that, when looked at from a certain angle showed one picture, and when looked at from another angle showed another picture. When I added the phrase, “like those little prizes you get in boxes of Cracker Jack,” suddenly everyone understood. Ah, well.

Lenticular images use a plastic sheet that contains very thin (millimeters wide or smaller) lenses, called lenticles. Underneath the lenticles is a printed sheet containing one or more images that have been sliced up into tiny stripes the same width as the lenticles, and interlaced such that each stripe lines up with a lenticle. The lenticles then refract the image in such a way that from one angle you see one image, and from another you see a different one. The lenticles can also be used to impart a 3D effect. Lenticular is a variety of what is known as autostereoscopic imaging — or, in essence, “glasses-free 3D display.”

Examples of autostereoscopy date back to the 17th century and the works of French painter Gaspard Antoine Bois-Clair (ca. 1654–1704). Bois-Clair referred to himself as “Pastor Pictor Poeta,” since he was, over the course of his career, priest, painter, and poet. (I like that the alliteration still works in English.) Born in Lyon, France, he began as a Jesuit priest, then later converted to Lutheranism and relocated to Copenhagen, where he remained for the rest of his life.

As a painter, he is not the most famous or celebrated artist in the world (he doesn’t even have a Wikipedia page — mon dieu!), and his obscure oeuvre is distinguished by one unusual painting: Double Portrait of King Frederik IV and Queen Louise of Mecklenburg-Güstow of Denmark. Painted in 1692, it is the earliest autostereoscopic image we have an example of. Here’s how Bois-Clair did it:

To achieve such effect the artist painted on a series of triangularly cut strips of wood. One facet remains against the backing of the painting, while each of the other two equilateral sides are oriented at 60° to it. When the viewer passes in front of the painting he sees successively one image from the right side and then the other from the left (Robert Simon Fine Art).

Bois-Claire is known to have produced at least two other “double paintings” in the same way.

Although Bois-Clair’s works are the earliest examples that we physically have, it the concept is a bit older. There is a possible reference to it in Shakespeare’s Richard II (although I have never liked sequels, Richard III is better):

Each substance of a grief hath twenty shadows,
Which shows like grief itself, but is not so;
For sorrow’s eye, glazed with blinding tears,
Divides one thing entire to many objects;
Like perspectives, which rightly gazed upon
Show nothing but confusion, eyed awry
Distinguish form: so your sweet majesty,
Looking awry upon your lord’s departure,
Find shapes of grief, more than himself, to wail;
Which, look’d on as it is, is nought but shadows
Of what it is not. (II, ii, 14–24)

My Yale Shakespeare edition of the play (1957) defines “perspectives” in the fifth line above as “optical toys of various kinds,” which Shickman, 1977, interprets as being a common form of “anamorphic perspective”: the corrugated or pleated panel.

The corrugated type combined two different pictures on a pleated surface, so that one image would be visible when observed directly from the left and another from the right. Looked upon directly, neither subject would be clear (Shickman, 1977).

Think of a louvered door with a different image on each side of the side of the louvers. Shakespeare used this analogy in several plays, as did his contemporaries.

The “turning panel” and Bois-Clair autostereoscopic displays use what is called the “barrier” technique, whereby an image is divided into stripes and aligned behind opaque “barriers” or bars. In the 1890s, the barrier technique went photographic, thanks to the work of Auguste Berthier, and in 1903 American inventor Frederic E. Ives (1856–1937) patented the “parallax stereogram,” a type of no-glasses 3D display technology. Ives’ technology is the earliest precursor to today’s glasses-free 3D imaging.

In 1908, Franco-Luxemborgish inventor Jonas Ferdinand Gabriel Lippmann (1845–1921) developed what he called “integral photography,” an approach to autostereoscopic imaging that used small lenses instead of barrier lines. A scene was photographed through the tiny vertical lenses, and when the image is later viewed through a set of similar lenses, it ​imparted a lenticular effect. It wasn’t perfect, and it wouldn’t be until the 1920s and 30s that other investigators — including Herbert Ives, Frederick’s son — would improve upon Lippmann’s approach. In the 1930s, the company that would become Vari-Vue developed the first multiple image lenticular image, and even coined the term “lenticular.” Vari-Vue would become the go-to business for lenticular “flip cards” and other items.

Meanwhile, in 1908, the same year that Lippmann was devising his integral photographic process, an everyday 2D image caught the eye of one Jack Norworth. Born John Godfrey Knauff, Norworth was a singer, songwriter, and vaudeville performer. One day, he was riding the New York City subway and happened to see an advertisement that read “Baseball Today — Polo Grounds.” Creatively inspired, by the end of the subway ride, he had a set of lyrics about a character named Katie, whom a gentleman caller asks out on a date. She agrees — but only if they can go to a baseball game. The lyrics were set to music by Tin Pan Alley composer Albert Von Tilzer and, in 1908, the song “Take Me Out to the Ball Game” became a major hit, selling loads of records, sheet music, and piano rolls. Strangely, it wouldn’t get its first performance at a baseball game until 1934 (and a high school game at that). Perhaps even more strangely, Norworth had never actually been to a baseball game, and it would be 32 years before he went to one.

The song, which is much longer than the short excerpt (the chorus) we usually hear, features the line “Buy me some peanuts and Cracker Jack!” — this was before nut allergies were an issue, no doubt — and that particular popcorn and peanut confection was only 12 years old in 1908, having been created in Chicago by Frederick William Rueckheim and his brother Lewis, German immigrants who owned a popcorn-making business. As company lore has it, an early taster of the snack exclaimed, “That’s a crackerjack!” and the name stuck like molasses. You could say they hit a home run with the product. “A Prize in Every Box” first appeared in 1912, when the little toys and tchotchkes were added to the box. Some of them were actually pretty cool, even by today’s standards, and over the years included several lenticular card series including Alphabet Magic Motion Fun Cards, Canadian 3-D Animals cards, Kaleidoscope Action Card/Sticker, 1984 Olympic Tilt Cards, Robotrons Cards, and more. Vari-Vue, Inc. was the original supplier of lenticular cards, before Toppan Printing, Ltd. and Optigraphics Corporation got in the game.

Now, with QR and AR and apps taking over as the prize inside Cracker Jack, it’s a whole new ballgame.

References:

• “Brief History,” Crackerjack.com, archived at http://web.archive.org/web/20100408031824/http://www.crackerjack.com/history.php.
• Randee Dawn, “Cracker Jack is replacing toy prizes inside with digital codes,” Today.com, April 22, 2016, http://www.today.com/food/cracker-jack-replacing-toy-prizes-inside-digital-codes-t87811.
• Ned Lukacher, Time-fetishes: The Secret History of Eternal Recurrence, Duke University Press, 1998, p. 75.
• Jeffrey Scott Maxwell, The Alphabet26Dictionary of Cracker Jack Prize Collecting Terms, http://www.crackerjackcollectors.com/Jeffrey_Maxwell/hobbykid/dictionary.html.
• David E. Roberts, History Of Lenticular And Related Autostereoscopic Methods, Leap Technologies, 2003, http://lenticulartechnology.com/files/2014/02/History-of-Lenticular.pdf.
• Allan Shickman, “‘Turning Pictures’ in Shakespeare’s England,” The Art Bulletin Vol. 59, No. 1 (Mar., 1977), College Art Association, pp. 67–70, http://www.jstor.org/stable/3049597?seq=1#page_scan_tab_contents.
• “Gaspar Antoine de Bois-Clair,” Robert Simon Fine Art, http://www.robertsimon.com/pdfs/boisclair_portraits.pdf.
• “Vari-Vue: Inventor of the Lenticular Imaging Technique,” DIDIK/VariVue, http://www.didik.com/vv_his.htm.
• Alissa Walker, “The Cracker Jack ‘Prize’ Is Now a QR Code,” Gizmodo, April 22, 2016, http://gizmodo.com/the-cracker-jack-prize-is-now-a-qr-code-1772582642.
• “Frederic Eugene Ives,” Wikipedia, last modified on February 5, 2016, retrieved May 31, 2016, https://en.wikipedia.org/wiki/Frederic_Eugene_Ives.
• “Gabriel Lippmann,” Wikipedia, last modified on April 23, 2016, retrieved May 31, 2016, https://en.wikipedia.org/wiki/Gabriel_Lippmann.
• “Take Me Out to the Ball Game,” Wikipedia, last modified on May 20, 2016, retrieved May 31, 2016, https://en.wikipedia.org/wiki/Take_Me_Out_to_the_Ball_Game.

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definition - Lenticular printing

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Wikipedia

Lenticular printing is a technology in which a lenticular lens is used to produce images with an illusion of depth, or the ability to change or move as the image is viewed from different angles. Examples of lenticular printing include prizes given in Cracker Jack snack boxes that showed flip and animation effects such as winking eyes, and modern advertising graphics that change their message depending on the viewing angle. This technology was created in the 1940s but has evolved in recent years to show more motion and increased depth. Originally used mostly in novelty items and commonly called 'flicker pictures' or 'wiggle pictures,' lenticular prints are now being used as a marketing tool to show products in motion. Recent advances in large-format presses have allowed for oversized lenses to be used in lithographic lenticular printing.^[1]

Process

Lenticular printing is a multi-step process consisting of creating a lenticular image from at least two images, and combining it with a lenticular lens. This process can be used to create various frames of animation (for a motion effect), offsetting the various layers at different increments (for a 3D effect), or simply to show a set of alternate images which may appear to transform into each other. Once the various images are collected, they are flattened into individual, different frame files, and then digitally combined into a single final file in a process called interlacing.

From there the interlaced image can be printed directly to the back (smooth side) of the lens or it can be printed to a substrate (ideally a synthetic paper) and laminated to the lens. When printing to the backside of the lens, the critical registration of the fine 'slices' of interlaced images must be absolutely correct during the lithographic or screen printing process or 'ghosting' and poor imagery might result. Ghosting also occurs on choosing the wrong set of images for flip, as explained in How to Prevent Ghosting in Lenticular Printing.

The combined lenticular print will show two or more different images simply by changing the angle from which the print is viewed. If more (30+) images are used, taken in a sequence, one can even show a short video of about one second. Though normally produced in sheet form, by interlacing simple images or different colors throughout the artwork, lenticular images can also be created in roll form with 3D effects or multi-color changes. Alternatively, one can use several images of the same object, taken from slightly different angles, and then create a lenticular print which shows a stereoscopic 3D effect. 3D effects can only be achieved in a side to side (left to right) direction, as the viewer's left eye needs to be seeing from a slightly different angle than the right to achieve the stereoscopic effect. Other effects, like morphs, motion, and zooms work better (less ghosting or latent effects) as top-to-bottom effects, but can be achieved in both directions.

There are several film processors that will take two or more pictures and create lenticular prints for hobbyists, at a reasonable cost. For slightly more money one can buy the equipment to make lenticular prints at home. This is in addition to the many corporate services that provide high volume lenticular printing.

There are many commercial end uses for lenticular images, which can be made from PVC, APET, acrylic, and PETG, as well as other materials. While PETG and APET are the most common, other materials are becoming popular to accommodate outdoor use and special forming due to the increasing use of lenticular images on cups and gift cards. Lithographic lenticular printing allows for the flat side of the lenticular sheet to have ink placed directly onto the lens, while high-resolution photographic lenticulars typically have the image laminated to the lens.

Lenticular Effects 4 1 Crackers

Recently, large format (over 2m) lenticular images have been used in bus shelters and movie theaters. These are printed using an oversized lithographic press. Many advances have been made to the extrusion of lenticular lens and the way it is printed which has led to a decrease in cost and an increase in quality. Lenticular images have recently seen a surge in activity, from gracing the cover of the May 2006 issue of Rolling Stone to trading cards, sports posters and signs in stores that help to attract buyers.

The newest lenticular technology is manufacturing lenses with flexo, inkjet and screen-printing techniques. The lens material comes in a roll or sheet which is fed through flexo or offset printing systems at high speed, or printed with UV inkjet machines (usually flat-beds that enable a precise registration). This technology allows high volume 3D lenticular production at low cost.

Construction

Each image is arranged (slicing) into strips, which are then interlaced with one or more similarly arranged images (splicing). These are printed on the back of a piece of plastic, with a series of thin lenses molded into the opposite side. Alternatively, the images can be printed on paper, which is then bonded to the plastic. With the new technology, lenses are printed in the same printing operation as the interlaced image, either on both sides of a flat sheet of transparent material, or on the same side of a sheet of paper, the image being covered with a transparent sheet of plastic or with a layer of transparent, which in turn is printed with several layers of varnish to create the lenses.

The lenses are accurately aligned with the interlaces of the image, so that light reflected off each strip is refracted in a slightly different direction, but the light from all pixels originating from the same original image is sent in the same direction. The end result is that a single eye looking at the print sees a single whole image, but two eyes will see different images, which leads to stereoscopic 3D perception.

Types of lenticular prints

There are three distinct types of lenticular prints, distinguished by how great a change in angle of view is required to change the image:

Transforming prints

Here two or more very different pictures are used, and the lenses are designed to require a relatively large change in angle of view to switch from one image to another. This allows viewers to easily see the original images, since small movements cause no change. Larger movement of the viewer or the print causes the image to flip from one image to another. (The 'flip effect'.)

Animated prints

Here the distance between different angles of view is 'medium', so that while both eyes usually see the same picture, moving a little bit switches to the next picture in the series. Usually many sequential images would be used, with only small differences between each image and the next. This can be used to create an image that moves ('motion effect'), or can create a 'zoom' or 'morph' effect, in which part of the image expands in size or changes shape as the angle of view changes. The movie poster of the film Species II, shown in this article, is an example of this technique.

Stereoscopic effects

Here the change in viewing angle needed to change images is small, so that each eye sees a slightly different view. This creates a 3D effect without requiring special glasses.

Motorized lenticular

The basic idea of motorized lenticular displays is simple. With static (non-motorized) lenticular, the viewer either moves the piece or moves past the piece in order to see the graphic effects. With motorized lenticular, a motor moves the graphics behind the lens, enabling the graphic effects while both the viewer and the display remain stationary.

History of lenticular image technology

Images that change when viewed from different angles predate the development of lenticular lenses. In 1692 G. A. Bois-Clair, a French painter, created paintings containing two distinct images, with a grid of vertical laths in front.^[2] Different images were visible when the work was viewed from the left and right sides.

Lenticular images were popularized from the late 1940s to the mid 1980s by the Vari-Vue company.^[3] Early products included animated political campaign badges with the slogan 'I Like Ike!' and animated cards that were stuck on boxes of Cheerios.^[3] By the late sixties the company marketed about two thousand stock products including twelve inch square moving pattern and color sheets, large images (many religious), and a huge range of novelties including badges. The badge products included the Rolling Stones' tongue logo and an early Beatles badge with pictures of the 'fab four' on a red background.

Some notable lenticular prints from this time include the limited-edition cover of the Rolling Stones' Their Satanic Majesties Request, and Saturnalia's Magical Love, a picture disk with a lenticular center. Several magazines including Look and Venture published issues in the 1960s that contained lenticular images. Many of the magazine images were produced by Crowle Communications (also known as Visual Panographics). Images produced by the company ranged from just a few millimeters to 28 by 19.5 inches.

The panoramic cameras used for most of the early lenticular prints were French-made and weighed about 300 pounds. In the 1930s they were known as 'auto-stereo cameras'. These wood and brass cameras had a motorized lens that moved in a semicircle around the lens' nodal point. Sheet transparency film with the lenticular lens overlay was loaded into special dark slides (about 10×15 inches) and these were then inserted into the camera. The exposure time was several seconds long, giving time for the motor drive to power the lens around in an arc.^{[citation needed]}

A related product produced by a small company in New Jersey was Rowlux. Unlike the Vari-Vue product, Rowlux used a microprismatic lens structure made by a process they patented in 1972,^[4] and no paper print. Instead, the plastic (Polycarbonate, flexible PVC and later PETG) was dyed with translucent colors and the film was usually thin and flexible (from 0.002' in thickness).

Lenticular arrays are also used for 3D television (autostereoscopic, enabling the 3D perception without glasses), and number of prototypes have been shown in 2009 2010 by major companies such as Philips and LG. They are using cylindrical lenses slanted to the vertical, or spherical lenses arranged as a honeycomb which provides a better resolution.

While not a true lenticular, the Dufex Process (Manufactured by F.J. Warren Ltd.)^[5] does use a form of lens structure to animate the image. The process consists of a metallic foil imprinted by litho printing with the image. The foil is than laminated to a thin sheet of card stock that has had a thick layer of wax coated upon it. The heated lamination press has the Dufex embossing plate on its upper platen. The plate has been engraved with angled 'lenses' at different angles so designed as to match the artwork and reflect light at different intensities depending on angle of view.

Manufacturing process

Designing and manufacturing a lenticular product requires a sound knowledge of optics, binocular vision, computing, the graphic chain, and also stringency in work and precision throughout the manufacturing process.

Printing

Creation of lenticular images in volume requires printing presses that are adapted to print on sensitive thermoplastic materials. Lithographicoffset printing is typically used, to ensure the images are good quality. Printing presses for lenticulars must be capable of adjusting image placement in 10 µm steps, to allow good alignment of the image to the lens array.

Typically, ultraviolet-cured inks are used. These dry very quickly by direct conversion of the liquid ink to a solid form, rather than by evaporation of liquid solvents from a mixture. Powerful (400W per sq. in) ultraviolet (UV) lamps are used to rapidly cure the ink. This allows lenticular images to be printed at high speed.

In some cases, electron beam lithography is used instead. The curing of the ink is then initiated directly by an electron beam scanned across the surface.

Defects

Design defects

Double images on the relief and in depth

Double images are usually caused by an exaggeration of the 3-D effect from angles of view or an insufficient number of frames. Poor design can lead to doubling, small jumps, or a fuzzy image, especially on objects in relief or in depth. For some visuals, where the foreground and background are fuzzy or shaded, this exaggeration can prove to be an advantage. In most cases, the detail and precision required do not allow this.

Image ghosting

Ghosting occurs due to poor treatment of the source images, and also due to transitions where demand for an effect goes beyond the limits and technical possibilities of the system. This causes some of the images to remain visible when they should disappear. These effects can depend on the lighting of the lenticular print.

Prepress defects

Synchronisation of the print (master) with the pitch

Also known as 'Banding'. Poor calibration of the material can cause the passage from one image to another to not be simultaneous over the entire print. The image transition progresses from one side of the print to the other, giving the impression of a veil or curtain crossing the visual. This phenomenon is felt less for the 3-D effects, but is manifested by a jump of the transverse image. In some cases, the transition starts in several places and progresses from each starting point towards the next, giving the impression of several curtains crossing the visual, as described above.

Discordant harmonics

This phenomenon is unfortunately very common, and is explained either by incorrect calibration of the support or by incorrect parametrisation of the prepress operations. It is manifested in particular by streaks that appear parallel to the lenticules during transitions from one visual to the other.

Printing defects

Lenticular Effects 4 1 Cracker Barrel

Colour synchronisation

One of the main difficulties in lenticular printing is colour synchronisation. The causes are varied, they may come from a malleable material, incorrect printing conditions and adjustments, or again a dimensional differential of the engraving of the offset plates in each colour.

This poor marking is shown by doubling of the visual; a lack of clarity; a streak of colour or wavy colours (especially for four-colour shades) during a change of phase by inclination of the visual.

Synchronisation of parallelism of the printing to the lenticules

The origin of this problem is a fault in the printing and forcibly generates a phase defect. The passage from one visual to another must be simultaneous over the entire format. But when this problem occurs, there is a lag in the effects on the diagonals. At the end of one diagonal of the visual, we have one effect, and at the other end we have another.

Phasing

In most cases, the problem comes from imprecise cutting of the material, as explained below. Nevertheless, poor printing and rectification conditions may also be behind it.

In theory, for a given angle of observation, one and the same visual must appear, for the entire batch. As a general rule, the angle of vision is around 45°, and this angle must be in agreement with the sequence provided by the master. If the images have a tendency to double perpendicularly (for 3-D) or if the images provided for observation to the left appear to the right (top/bottom), there is a phasing problem.

Cutting defects

Defects in the way the lenticular lens is cut lead to phase errors between the lens and the image.

Two examples, taken from the same production batch:

The first image shows a cut which removed about 150 µm of the first lens, and which shows irregular cutting of the lenticular lenses. The second image shows a cut which removed about 30 µm of the first lens. Defects in cutting such as these lead to a serious phase problem. In the printing press the image being printed is aligned relative to the edges of the sheet of material. If the sheet is not always cut in the same place relative to the first lenticule, a phase error is introduced between the lenses and the image slices.

Consumer prices and availability

For a long time the complex production process of a lenticular picture was only possible in Japan.^{[citation needed]} In recent years, the prices for lenticular-photo printers have decreased, so now smaller photo laboratories are also able to equip themselves with these devices. They can offer to produce 3d prints for individuals or businesses needing only smaller quantities. It needs about three and a half minutes to print a 5.9 x 8.7 inch picture.^[6] The prices ranges between six and fifteen dollars for one picture of this size.^{[citation needed]}

HumanEyes Technologies Ltd provides a complete, end-to-end solution for the creation and printing of 3D and 2D effects, also known as lenticular printing. The award-winning company, doing business since 2002, develops software for photographers, graphic artists and printers.

In early 2009 HumanEyes launched its first consumer site, Snapily. The site leverages the company’s extensive know how in software and printing to offer, for the first time, small run, personalized, lenticular printing. Snapily enables consumers to take ordinary digital images and create printed 'Special Effects' such as 3D, and animated Flip with minimal effort. The company’s algorithms convert 2D images into 3D ones which are then printed on numerous products such as business cards, greeting cards, notebooks, backpack tags, ornaments, photo cards, and more.

SnapilyPro, their sister site, is an online lenticular digital printing service that caters specifically to the creative professional market, allowing them to design, print, & ship their own printed projects with 3D and/or Animated effects.

See also

• Integral imaging, the precursor of lenticular imaging

Notes and references

1. ^O'Brien, Katherine (2006). 'As big as all outdoors'. American Printer (August 1, 2006). http://americanprinter.com/mag/printing_big_outdoors/. Retrieved 2008-06-04.
2. ^Oster, Gerald (1965). 'Optical Art' (subscription required). Applied Optics4 (11): 1359–69. DOI:10.1364/AO.4.001359. http://www.opticsinfobase.org/abstract.cfm?URI=ao-4-11-1359.
3. ^ ^abLake, Matt (1999-05-20). 'An art form that's precise but friendly enough to wink'. New York Times. http://query.nytimes.com/gst/fullpage.html?res=9C05E5DC1E3EF933A15756C0A96F958260. Retrieved 2008-06-04.
4. ^US patent 3689346, Rowland, William P., 'Method for producing retroreflective material', issued 1972-09-05, assigned to Rowland Development Corp.
5. ^'F.J. Warren Ltd'. Kompass UK. http://www.kompass.co.uk/frameset.asp?_Mycharset=iso-8859-1&_Lang=en&_Version=&_KProv=GB010&_Choix=CN&_Region=&_Locality=&_URL=search&_Keyword=F.J.+Warren&_Zone=GB. Retrieved 2008-06-04.
6. ^'erstes 3D Fachlabor in Deutschland (First 3D photo laboratory in Germany)'. http://www.pixelfoto-express.de. Retrieved 2011-01-18.

• Bordas Encyclopedia: Organic Chemistry (French).
• Sirost, Jean-Claude (2007) (in French). L'Offset : Principes, Technologies, Pratiques (2nd ed.). Dunod. ISBN2-10-051366-4.
• Okoshi, Takanori Three-Dimensional Imaging Techniques Atara Press (2011), ISBN 978-0-9822251-4-1

External links

• Lecture slides covering lenticular lenses (PowerPoint) by John Canny

This entry is from Wikipedia, the leading user-contributed encyclopedia. It may not have been reviewed by professional editors (see full disclaimer)