The art of 3D printing

An image of an image

Working with historical art does not mean rejecting new technology. Since 2017, M has been exploring the possibilities of 3D scanning and printing. Marjan Debaene and Hannah De Moor from the Collection Department are fully up to speed.

Marjan: “At M, we have a strong focus on medieval sculpture, and sculptures are, of course, three-dimensional. As a result, it didn’t take us long to become fascinated by 3D techniques and how they could be applied in an art context. In 2017, we conducted an initial test case in collaboration with the church council of Haasrode. We investigated whether we could scan and print a replica of one of their polychrome medieval sculptures.”

“When you have a replica made – in plaster, for example – the polychromy is always the most expensive part because it’s so labour intensive. That’s why we wanted to see if we could have the colours printed along with the initial sculptures. Although technically possible, the end result was disappointing. Medieval polychromy is usually executed with extraordinary finesse, in multiple layers, and that turned out not to be easily reproducible. But that’s the nature of research: you try something and then realize this may not be the path to follow right now. The case study itself, however, brought us to an international conference on 3D applications in cultural heritage at the British Museum in London. Since then, 3D has become an integral part of our work.”

Database

Hannah: “Creating 3D scans has many advantages. For example, you can conduct research on the digital image without having to actually handle the object. This is far less feasible with photographs. Very often there are markings on the underside of the object, or workbench marks. Thanks to these scans, we can view them at any time, even if the object itself is on display or out on loan. A 3D scan is also easy to share with an expert on the other side of the world, for example.”

“You can also add the scans to a database so they can be printed from anywhere in the world. The prints themselves are perfect for public outreach work: blind or visually impaired people can touch them and gain a clearer sense of what the originals look like.”

“3D prints can also replace valuable objects that are still housed in churches, where climatic conditions are not ideal or where they are at risk of damage or theft. Yet this isn’t a straightforward matter. These objects are sacred and, for many believers, their religious significance is directly linked to their authenticity. A tension exists between preservation and use. What’s the solution? It is a fascinating question, but certainly not an easy one. Each case must be considered on its own merits.”

Kind in de Mee-maak-kamer van museum M Leuven — © Diederik Craps voor M Leuven

Twins

Marjan: “Digital 3D copies are a major topic in heritage circles – not only for museums but also for architectural heritage, ruins, and related sites. The idea is that valuable objects and buildings can be lost through disasters, wars, climate change, or simply the ravages of time, but a digital copy – a so-called digital twin – remains. The European Union has a project devoted to this: 'Twin it! 3D for Europe’s Culture'.”

“As part of this, our Maria Lactans was scanned – a 13th-century Italian sculpture of Mary breastfeeding the baby Jesus. It is a highly valuable work, included on the Flemish list of masterpieces. The print was given a prominent place at a ‘Twin it!’ event in the Berlaymont building in Brussels last May. And in September of this year, the Flemish Community donated it to M so that we can use it in our museum activities. Something to be proud of!”