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Enter the Metaverse Living with a Masterpiece
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00:02All right, so we're ready to move on to the next segment, and this is all about art.
00:10So how many art lovers do we have here?
00:13Yes, everyone, I hope. I'm an art lover.
00:19Actually, everyone, apparently, according to this next solution,
00:22can have a European 16th century master's hanging in their living room,
00:27which is not a real one, but all will be revealed.
00:31So these guys are called Lito, the first platform to offer physical 3D printed limited editions
00:37and metaverse experiences from the greatest artists and museums of the world,
00:44uniting a new global community of art lovers.
00:47Lito's mission is to preserve, democratize, and deepen people's understanding
00:52and appreciation of extraordinary works of art in any form, physical or digital,
00:57in the pursuit of celebrating art at its highest level.
01:02Welcome to the next chapter in an ever-evolving story
01:05where anyone apparently can live with a masterpiece.
01:09Over to you.
01:11Thank you.
01:14Good afternoon, everyone.
01:17My name is Adnan Abassi.
01:19I am the head of communications for Lito.
01:24We're going to tell you a little bit about Lito today.
01:26Lito is a new way of creating, collecting, and experiencing art.
01:34They use their proprietary technology to engineer 3D printed artworks,
01:43limited edition artworks, and 3D rendered metaverse experiences.
01:49We're also going to take you through a little bit about how Lito came to be
01:53and give you some behind-the-scenes look at how they engineered artworks
01:59for a new generation of collectors and art lovers.
02:02And I'm going to hand it over to Thierry.
02:05Hello.
02:06My name is Thierry Morel.
02:08I'm a chief curator and head of collections for Lito.
02:13And traditionally, my job as a curator is to inspect, to research,
02:19to preserve artworks and collections, and of course, to educate.
02:24I also organize exhibitions and work on expertise of attributions.
02:31and in order to validate acquisitions for private collections or foundations or museums.
02:37So by which I mean to ensure that the work that we're looking at is an authentic work by the
02:43artist,
02:44we are told it is.
02:49And Thierry, so how do you attribute painting to an artist?
02:54Well, usually you compare.
02:56So you compare all the works by the artist in museums or collections, and also through books.
03:01I mean, you do a lot of research.
03:02And then there's, I suppose, a DNA of each artist.
03:08I mean, the way he handles the paint, the type of medium he uses.
03:15But finally, it's actually the handling and the texture.
03:19And of course, the palette, the colors that he uses.
03:22And contrary to what we think, a painting is not a 2D object.
03:27A painting is a 3D object.
03:29Of course, we oppose sculpture to painting.
03:31But actually, a painting, if you look at it closely, a painting has relief, has texture.
03:37And the wonderful thing about that is that the litho technology aims to replicate, to capture the texture of a
03:48painting.
03:49Great.
03:50And so printing and facsimile of artworks has been around for quite a long time, hasn't it?
03:56Yes, I suppose the earliest sort of printing technique started in China, in the Tang Dynasty in the 8th century.
04:04And it was a simple sort of printing system.
04:06So whereby you would sculpt an image on a piece of wood, and then you apply some ink on the
04:12wood, and then you would stamp it on paper.
04:14So that's the earliest way of printing.
04:17But as you know, for centuries, the only way to replicate a painting was to paint it by hand.
04:25So an artist would do it himself.
04:28I mean, Caravaggio, for instance, or Titian, did versions of his paintings.
04:33Otherwise, it would be the workshop, or then other artists.
04:36So, but it was never very accurate.
04:39And it was always a unique picture.
04:43But then, in terms of printing technology, I mean, you know, everybody knows about the Gutenberg's Bible.
04:49And so Gutenberg's developed sort of printing process in the 14th century.
04:53And then, in the course of history, in the 19th century, photography appeared, and also lithography.
05:01And so those processes allowed images to be replicated.
05:05And, of course, artists were able to do multiples of their artworks.
05:11And they could sell prints.
05:13I mean, Rembrandt, for instance, used printing.
05:16He did etchings himself.
05:17And then he could produce stamps, sorry, prints, to sell or give to his clients.
05:25So, but that was the beginning of the technology of reproducing artworks.
05:30But that was never really totally successful with paintings.
05:38Yeah.
05:40So, quite a long history for printing.
05:43And so what is a Lito, exactly?
05:46So, that's where Lito really is an absolute revolution.
05:51Because Lito is the only technology that allows a facsimile, sort of, to replicate the texture, the three-dimensionality of
06:02the painting.
06:03So, that's really where the core, the magic is.
06:06So, now we're going to bring you that one.
06:08This is actually an original painting of Delaunay, sort of a French artist.
06:13You can put it on the easel.
06:15You can show it to the public.
06:16So, this is an original artwork that we have been learned.
06:23And it's good for you to look at it.
06:25It's an oil on canvas.
06:29Very colourful.
06:30It's called The Runners.
06:32And you can see, sort of, the traces of the impasto.
06:36What the impasto is, is the brushwork of the artist.
06:40You know, we're using, I mean, artists, not to be in the 20th and 19th century, used either brushes or...
06:46or even knives, to apply the paint onto the canvas.
06:52And what you see is a beautiful...
06:54The rendering is even more powerful with this impasto.
06:58It gives it depth.
06:59It gives it strength.
07:02So, what I wanted to say is, Lito, that we're going to see Lito later, but Lito is not a
07:08copy of a painting.
07:09It's actually a facsimile.
07:11So, it's actually, it aims to replicate exactly what you're looking at now.
07:17And, in fact, I'm going to call Joachim to bring you a little of this original painting.
07:32Stop a little bit.
07:36And then, you can see the back of it.
07:41So, there's no, no way people can see that it's not an original, it's not a forgery.
07:46It's actually a facsimile.
07:50But, when you look at it from the front, it's as faithful a version of this painting as can be.
08:02And, nobody can do better than that.
08:06And, in fact, we use the most advanced technology to capture everything that goes into the painting.
08:12Every single relief of the painting.
08:15And, of course, the color.
08:17Because that's very important.
08:18The palette needs to be exactly the same.
08:21And, it's so good that the eye, I mean, it goes beyond what the eye can see.
08:30So, with Lito and our propriety technology, anyone can have unparalleled access to paintings all over the world.
08:41So, this sounds more like a revolution than an evolution.
08:44So, you can see here.
08:46I mean, it's, I mean, my job is to, with museums or collections, to look at artworks and see, well,
08:53but look at the colors.
08:55Look at the texture.
08:56I mean, it's, even the craquelure, the craquelure is when the painting gets a bit of damage with age.
09:02You can see, it reproduces even that.
09:04So, it's a hairline.
09:09And, so, how exactly is Lito made, then?
09:13Can you take us through?
09:13Well, the technology started 20 years ago.
09:15So, it's a 20-year-old technology.
09:17And, it started with the scanning of one of the most famous and the largest painting in the Louvre Museum.
09:27And, it's the Wedding at Cana.
09:29It's a painting by the Venetian artist, Paolo Veronese.
09:32And, it was scanned.
09:36It took months to scan.
09:38And, it was a mobile scan.
09:40Scanner.
09:41And, so, the painting was scanned.
09:43And, it was a replica was made.
09:47And, the painting had been taken by Napoleon's troops from Venice, from the monastery called San Giorgio, opposite San Marcos,
09:56San Marcos Square.
09:58So, the painting was reproduced and then reinstalled in the original setting.
10:04So, in this, in the refectory of this monastery.
10:07So, and, I saw that really early on when it was installed.
10:11And, I was astonished at the quality of the reproduction.
10:14And, then, the, then, sort of, the rest is history.
10:18And, where do you, where did they, where did they do the scanning?
10:21So, they did a scanner at the Louvre itself.
10:23So, it got, the Louvre was also astonished at the quality of the process.
10:31And, so, they did it at the Louvre.
10:34And, then, the painting was installed, or the reproduction was installed at, in Venice.
10:40That was, that was nearly, that was two decades ago.
10:43Yes, nearly two decades ago.
10:44Yeah, 15 years ago.
10:46And, of course, the technology is used quite a lot by, by the major institutions and art museums in the
10:52world.
10:53And, right now, at the National Gallery in London, there's a big show on Raphael.
10:57And, the same technology is applied for some paintings that couldn't travel, because they were too fragile, or in churches,
11:05and so forth.
11:06It sounds a bit, it sounds like a complicated process to do the scanning.
11:12Well, it is a complex technology, but it's a very easy complex to explain, because it, you have, sort of,
11:19several stages.
11:19So, the first stage, we don't have the scan here, but it's a mobile scan.
11:23It's quite small.
11:24I mean, it's the size of half this.
11:25You can see it, also, on the, on the video, over there, where they're about to scan.
11:30So, the first stage is to scan the original painting.
11:33So, and rather than taking the painting to the scanner, the scanner comes to the painting, which makes it much
11:39easier.
11:40And, also, it doesn't damage the painting.
11:41So, it's, it's a totally, um, um, damage-free, sort of, uh, process.
11:47So, the painting is scanned.
11:48It's, it runs, sort of, three centimeters away.
11:50And it's the most advanced, uh, scanning technology.
11:54So, it's, it scans up to 100 microns.
11:56So, it scans, so it can take up to two hours to, to scan an image of that size.
12:01So, it tells you how precise it is.
12:03And then, the, the data, so it's, it's digitalized.
12:09And, uh, and our teams of experts in, in Austria, the engineers, um, so, process the data.
12:15And then, we print the relief of the painting.
12:19You can see it on screen.
12:20So, we print a white, the white surface, the landscape of the painting.
12:24So, so, exactly what, what you see on the, on the raising light.
12:28The relief of the painting.
12:29So, that's printed first.
12:31And then, the color is applied.
12:34So, it's printing, so, in, in, in other words, it's printed twice.
12:37First, the texture, the surface of the painting.
12:40And second, the colors.
12:43And then, that's it.
12:44And then, it's framed.
12:44And it's shipped.
12:46Wherever it can be.
12:48So, it, is it really authentic?
12:50How, how can you tell?
12:54Well, the best way is to judge it, you know, and, and to, to look at, to look.
12:58And, and I invite all of you to, to look out, our, at, at all the pictures we have on
13:03our stand.
13:04We have also a game.
13:05So, we, we can see five different pictures.
13:07And you have to guess which one is the original.
13:09And I can tell you, most of us have been fooled.
13:13Um, but, effectively, um, um, our, our litters are limited editions.
13:19And, um, uh, but, um, uh, but, uh,
13:22all of them remain, sort of, faithful to the original.
13:24And each of them is, is an individual artwork.
13:28And what about, what about the value?
13:31So, the value of litters vary.
13:32And we'll continue to vary.
13:34Because it depends on the, on the size.
13:36It depends on the complexity of, of, of the image.
13:39Because it, it takes more time to, to process.
13:42Um, but, on the whole, I would say that the value goes from 1,000 euros or dollars to 10
13:49,000.
13:49But then, if, if, if, if a work is very desirable, and because we are limited editions, it might go
13:54up.
13:55And the idea also is that maybe a second market, secondary market on the, for these images.
14:01And are there, are there other images, or are there other, uh, Lito examples out there right now that people
14:10can go see?
14:11Uh, yes, uh, yes, where the images don't understand.
14:13Yeah.
14:13But, and, and also, of course, we have, uh, um, we, we, um, we, um, we, um, we, we have
14:19deals or agreements with museums and private collections
14:23to scan all sorts of, uh, of paintings.
14:25So, from all masters to contemporary, uh, pictures.
14:28And we have also collaborations with artists who want to edit their works in, in multiples.
14:34So, we, we, they agree, we say, well, let's do 100.
14:36And we edit 100, uh, versions of their paintings.
14:40And then, let me look at it.
14:42There's, about security, you should, uh, the question about, uh, yeah, each, each of, uh, each Lito is, is protected.
14:48And I'm going to ask you to turn the painting.
14:52Because each, each Lito is equipped, you can see here, with a blockchain, uh, coded QR code that is individual
15:01to each painting.
15:02So, you can't lose track of it.
15:05And, um, and it makes it virtually impossible to replicate.
15:09And this particular work is an edition of 35.
15:12Exactly.
15:13One of 35.
15:14Great.
15:14And made in Austria.
15:16So, yes, made in Austria.
15:17What's interesting is that it's a beautiful state-of-the-art, um, um, um,
15:21factory, uh, or watch-off.
15:23And, um, and what's wonderful about it also, that all the energy that is used, uh, in the course of,
15:28of, of the process is actually green energy.
15:31Because it's, it's produced by, um, by sort of, uh, uh, hydroelectric.
15:36Yeah.
15:38Fascinating.
15:39Thank you.
15:40Um, really, really exciting.
15:43So, for those of you who want to learn more about Lito, um, please come and join us.
15:48We're at J43, just over here, a few meters away.
15:52Um, are there any questions?
15:55Yes?
15:59Yes.
15:59Well, the feel of the touch, you can, I could almost invite you on the stand.
16:02You'll see the touch.
16:03Well, it replicates the, the, the, the texture of the painting.
16:06So, you indeed have the impact to the, the, the, the, the real, the relief of the painting.
16:14No, it doesn't feel like it.
16:15It feels like the paint.
16:17Really.
16:18Yeah.
16:19It feels, but what, most importantly, what you have is you experience the work of art as you would with
16:25the original.
16:26So, as an expert, I can tell you that I have the same pleasure looking at a Lito version of,
16:33of an original.
16:34Another question?
16:36And here we're showing the packaging, how it's, how it's packaged and shipped.
16:41Can you tell us where you sell them?
16:43Where, how do you?
16:44So, we sell them online and, and I think at some stage we'll have also physical, um, physical sort of
16:51shops or presents.
16:52And also museums, uh, museums who, uh, agree to share, um, some of their pictures will also sell them, uh,
16:59in their, in their museum shops.
17:01Does the museum, uh, get some money from the sale of, yes, and what's very important also, it's, it's actually
17:06a very virtual sort of scheme that whereby the, the collectors or the museums that, that allow us to scan
17:14their paintings, their collections, um, they will receive royalties from the sale of the pictures.
17:19So, rather than having sort of a, um, um, painting standing and doing nothing, their paintings, first of all, are
17:25exposed to a wider public, you know, worldwide.
17:29And secondly, uh, that generates funds for museums and, uh, and, uh, cultural organizations.
17:36And then, of course, there are many applications because, uh, such, such wonderful, uh, litters can be used to, to,
17:44to, to, to, to, to, to, to display paintings in places where the climate is, is, is difficult or, or
17:50where the, the museums don't have the facilities, um, the climate control, uh, to exhibit, um, very precious works of
17:58art.
17:58And some works of art cannot travel because they're too fragile.
18:01So, this is actually a wonderful way of, of exhibiting, um, like-for-like, uh, pictures without incurring, damaging those,
18:10or risking those, the, the, the, those works.
18:15Thank you. Again, where did you say your booth were?
18:18Sorry?
18:19Your booth. Where is it?
18:20Ah, J43, which is just over here, um, just on, on that side. It's a few meters away.
18:27And that way, we, we, we have a little, uh, game. So, you, you actually, you may, you may play
18:31and win an original artwork, an original, uh, uh,
18:35You, you can win an, uh, an original Lito. You can win a Lito. You can win, uh, a trip
18:40to Austria to go visit the manufacturer with a dinner for two and a night at the opera, um, and,
18:48uh, a few other prizes.
18:49So, yeah.
18:51Thank you.
18:52Thank you.
18:53Thank you very much.
18:54Actually, I have, I have a, one more question for you before you leave. Um, so this is, is it
18:59exactly the same materials from an original painting used in the 3D version, like the linseed oil?
19:04It's, it's, it's, it's, it, no, it's, it cannot be. No, it's, it's not all on canvas, but it's just
19:09replicates the image of the, right? It's on canvas, but it's actually not oil, because otherwise you couldn't do that.
19:14Because each artist uses different pigments. Right. So what we, when we produce, of course, is the exact color and
19:22the exact effect.
19:23Yes.
19:23But you can never reproduce the, the, the, the pigments because each artist uses different pigments.
19:30Thank you very much. Ladies and gentlemen, Lito, very exciting stuff.
19:34Thank you.
19:34Thank you.
19:34Thank you.
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