Digitalization of a fountain at Kollar square in Olomouc. The fountain was built between 1968 and 1969, in front of the former directorate of company Sigma, which funded the contract. The fountain´s design was made by Ivan Theimer and the sculpture was created by sculptor Josef Stárek in cooperation with architect Thomas Černoušek. Between 1996 and 1997 it was renovated. These days they are considering to relocate it and the sculptor himself is pondering about its new installation. Digital reconstruction presents the fountain in the form as its known since 1969.
Our proposal for IK prize 2015. We propose digitally scanning sculptures from Tate’s collection and creating full size replicas using 3D printing technology. These replica artworks would be movable like never before, and would be situated in unusual public locations not normally used for displaying aesthetic objects, offering a new way to encounter works of art. A mobile app providing audio and text commentary, and 3D visualisations, to explain the evolution of sculpture in the twentieth century, would accompany the project.
Without a doubt, 3D technology is a phenomenon of our times. Having originated in industrial applications, it now also transfers into other fields, gradually gaining significance in the visual arts for example, as the creative tool in the field of CGI, digital sculpting and sculptural art, but also as a tool to protect cultural heritage in the hands of restorers, museum and galleries. We have progressed from the original capturing of reality through drawing and painting, through photography to technological advancements in the form of 3D scanning and 3D printing. 3D digitalization arrived at the beginning of the 21st century in order to deepen the human perception by another dimension for the future.
A professional 3D scanner was used for the digitalization of the sculptural work of Franta Uprka (1868 – 1929) in the Joža Uprka Gallery in Uherské Hradiště. This enabled obtaining not only an identical virtual copy of the original for the purposes of archiving and sustaining our cultural heritage (ethnographic sculptural work of South Moravian folklore), but also for future inclusion of historic works in catalogues and databases for the purpose of sharing. Both the general public and professionals will be able to learn about the works of world artists and study their works more effectively and in much greater scope than ever before.
Sculpture by the Czech sculptor Otto Gutfreund (1889 – 1927) named Milenci (Lovers) was selected as an example for 3D digitalization in arts using the technology of 3D optical scanning because this year marked 100 years since its creation. The 3D Artec scanner was selected for its digitalization. The Artec 3D scanners work on an optical principle, whereby the scanned object is projected upon a specifically defined pattern that is recorded by a camera. A point cloud is then created based on optical triangulation and transposed to the polygon network. Thanks to algorithms for monitoring the position of the 3D scanner toward the object based on geometry or texture, the scanning takes place in real time and the object doesn’t require manipulation.
Thanks to modern 3D technologies that enable precise recording of the surface of an object, our history is now within reach for all, regardless of location. In the near future, all world art collections and artifacts of historic value, such as antiques or archeological finds will be digitized in this manner. It is possible to make these items accessible to the general public thanks to the fact that the intellectual property law does not apply to them. 3D scanning of antiques enabled us to perform a material study of optical scanning and discover the Artec scanner’s capabilities in imaging various types of surfaces.