3D digital conservation and restoration skills for the 21st century

Abstract: Emerging technologies offer many advantages for cultural heritage preservation, and as such, 3D technologies can also be considered a new tool in the conservator-restorer\u2019s toolbox. 3D scanning and printing are particularly useful for reconstructing missing parts on cultural heritage objects. However, the application of these innovative methods and materials is difficult for inexperienced users such as emerging, academic and professional restorers. The aim of this research is to make 3D technologies more comprehensible, by bridging the gap between the restorers\u2019 expertise and 3D specialists, and to make them more applicable to the restoration practice, by aligning 3D technologies to the needs of restoration theory and practice. The research has enabled the construction of a digital toolbox, containing relevant information and previous case studies to guide the target audience in the generation of knowledge on the applied and suitable use of 3D technologies for loss compensation of missing parts. This toolbox consists out of three tools and is presented online on www.3drestorationtoolbox.com: the first tool, the Mind maps for decision-making, lay out the documented pros and cons of using 3D technologies, the second tool is an Overview of possibilities, which guides the restorer in a 3D restoration workflow that combines traditional, digital, and hybrid restoration methodologies, and the third tool is an Inventory of cases of the cases consulted in the other tools. This dissertation and the 3D Restoration Toolbox are as such presented as a contribution to the integrated implementation of 3D technologies in the restoration practice

Comprehensive educational framework on the application of 3D technologies for the restoration of cultural heritage objects

Abstract: Over the past decade, the use of 3D scanning, virtual reconstruction and digital manufacturing in the preservation of cultural heritage (CH) has gained significant attention, among other for the restorative intervention of loss compensation. These techniques have been explored both in conservation-restoration (CR) practices and research facilities. However, despite this progress, there is a notable absence of an educational framework specifically designed for virtual restoration methods aimed at physical restoration. As a result, CR practitioners motivated to execute a virtual restoration are either challenged to find their way in a wealth of information or have to rely on 3D experts for guidance and digital tasks. This article discusses this gap by detailing the construction and validation of an educational framework for loss compensation on CH objects. Drawing upon an extensive review of past case studies, an \u201cOverview of possibilities on the application of 3D technologies for restoration of CH objects\u201d (shortened to Overview OP) is compiled of involved reasons, processes, methods and materials to consider within a virtual restoration workflow. The composed Overview consists of eight phases, distinguishing 22 steps, encompassing both traditional restorations steps, virtual steps and combined steps in which material, object, device and product-related possibilities are displayed. To assess its effectiveness, an experimental set-up was devised, incorporating a pre and post-test, short-term and long-term usability testing, and an evaluation questionnaire. This set-up was implemented within an educational context involving third-year bachelor students in CR at the University of Antwerp (n = 17). Although the Overview OP does require a learning curve and may initially appear overwhelming, the experimental results demonstrated it organisational structure. It was found to be highly useful, time-saving and capable of efficiently guiding CR practitioners towards relevant information tailored to their specific cases. Following the validation process, the Overview OP was improved based on the received feedback. Additionally, a literature update was conducted, expanding the Overview OP to include cases executed between 2020 and 2023. The finalised version, along with the accompanying \u201cInventory of cases\u201d is now accessible open-source on an online platform

Microbeam X-ray fluorescence and X-ray absorption spectroscopic analysis of Chinese blue-and-white kraak porcelain dating from the Ming dynasty

Microbeam X-ray fluorescence (XRF) spectroscopy is applied, next to an art-historical analysis, to determine the time and place of origin of Chinese blue-and-white porcelain. In the performed experiments, two groups of kraak porcelain samples (A and B) have been analyzed with XRF spectroscopy to obtain quantitative data, (trace) elemental distributions and fingerprints within different regions of interest. The outcome was processed with Principal Component Analysis (PCA), and with the obtained results it was possible to conclude that the two groups show similar elemental fingerprints and were manufactured in the same time period with a comparable use of raw materials. Additionally, X-ray absorption spectroscopy (XAS) measurements have been performed on the pigment layer, confirming the use of Cobalt Blue as an underglaze pigment

Treatise of digital reconstruction and restauration of lace porcelain

Lace porcelain is a fragile type of ceramics that is used to be in fashion in 19th century Dresden artworks. It is known to break easily while manual repair is nearly impossible. Instead, we considered digital scanning, reconstruction, and 3D printing of the damaged areas towards new digital restauration methodologies. One reference case was used throughout testing the enabling technologies, and the combination of micro CT and polyjet 3D printing proved to be most useful. However, defining a proper workflow are specifically digital modeling of porcelain lace requires complex modelling strategies, especially to make it fit for 3D printing