![]() ![]() There are several non-contact, active, and passive optical methods for collecting 3D surface data, among which the most popular are laser scanning (LS), structured light (SL) scanning, and structure from motion (SfM). And the use of digital technologies in this regard will accelerate the virtual reconstruction and visualization of complex shape while also maintaining documentation, which is essential.Īdvanced developments in imaging techniques provide many solutions to conservation issues, along with new opportunities and more efficient and adequate support to end-users. ![]() ![]() On the other hand, making a replica is necessary to show museum visitors the actual outcome of the mold casting rather than just the mold. Any attempt to make a replica using traditional methods, such as silicone casts, could expose the original to further damage. Interference in the form of restoration could disrupt the modeling details preserved on the surface of the mold. In the case of advanced damage states, using traditional conservation methods, such as filling in minor surface defects, seems complicated and questionable based on the expected results. The preservation state of a mold determines the techniques that can be used for reconstruction. Due to a lack of access to suitable methods that do not threaten the original matter, museums often decide to wait for an appropriate solution to appear before taking action. This is especially true of abandoned and neglected objects, particularly plaster molds. Many objects in the world provide representations of old manufacturing processes, and thus conditions of these artifacts are deteriorating yearly. We also believe that our use case could be transferred to a broader group of objects that use molding in their production processes. Our estimates show that combining both techniques (traditional and digital) saved approximately 25% of the time that would have been used if the individual techniques had been used separately. From the point of view of museum visitors, the copies are made with sufficient detail that they are indistinguishable from handmade artifacts. This process also enabled us to create educational materials for the Koło museum about old manufacturing technologies. This process took comparatively less time and produced a more realistic result than would have been observed if only 3D software had been used. Finally, the printed fragments were corrected using traditional techniques performed by art conservators. These 3D models were optimized for 3D printing technology and were used to manufacture the mold. Later, we integrated all mold fragments into front and back 3D models. Then, we applied 3D scanning technology using the structured light method. We began with a preservation state evaluation that included a technical analysis of the degradation state of the mold. The entire process involves understanding old manufacturing technology, conservation supervision, and state-of-the-art 3D scanning, data processing, and 3D printing technologies. Our process starts with partially degraded mold fragments and ends with an actual copy of the Venus figurine in three forms: faience kilned to bisque, porcelain, and glazed faience. Moreover, none of the Venus figurines in this collection have been preserved to the present day. Por su abundancia y el hecho de que aparecen haber sido intencionalmente mutiladas y desechadas junto con la basura de las casas, académicos han sugerido dos posibles funciones: como ofrendas en rituales de fertilidad, o como recipiente para los espíritus ayudantes llamados por los chamanes en ceremonias curativas.In this paper, we propose a method for creating a ceramic Venus figurine replica from a mold in the Museum of Ceramic Techniques collection in Koło, Poland stored at the museum for many years. Usualmente representan mujeres desnudas con pechos prominentes, brazos cortos, peinados elaborados y rasgos incisos. Pequeñas figurillas antropomórficas de cerámica son el sello de la antigua cultura Valdivia de las tierras bajas tropicales del oeste de Ecuador. Because of their abundance and the fact that they appear to have been intentionally mutilated and discarded with common household rubbish, scholars have suggested two possible functions: as offerings in fertility rituals or as repositories for spirit helpers summoned by shamans during healing ceremonies. They usually depict nude women with prominent breasts, short arms, elaborate hairstyles, and incised features. Small anthropomorphic ceramic figurines are the hallmark of the ancient Valdivia culture of the tropical lowlands of western Ecuador. ![]()
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