Pioneering Preservation: Ulrich Museum's Digital 3D Scanning Efforts in the Heart of Tornado Alley
3D printing and scanning technologies are becoming widespread and essential tools for preserving cultural works and items of historical significance. The technology is increasingly finding its place in art preservation, offering innovative solutions for conserving delicate artworks. An instance of this connection between technology and physical art occurred earlier this year at the Ulrich Museum of Art in Wichita, Kansas, where a two-day endeavor was dedicated to scanning a selection of fragile plaster cast sculptures from their esteemed collection in the heart of Tornado Alley.
Kansas leads the nation in F5 tornadoes, though few tornadoes with this much power blow through Wichita. Despite this, Wichita’s location still leaves room for concern.
Kansas experiences numerous tornadoes each year due to its geographic position where warm, moist air from the Gulf of Mexico collides with cold, dry air from the Rockies. The most recent significant tornado to hit Wichita occurred on April 29, 2022. This EF-3 tornado caused considerable destruction, with estimated damages exceeding $100 million. It resulted in the loss of several homes and businesses, and although there were injuries, fortunately, there were no fatalities. The city's preparedness and early warning systems played a crucial role in minimizing the impact on human life.
Guiding the 3D scanning project was Ryan Greis, an accomplished artist and instructor based in St. Louis, who devoted a year to researching and orchestrating the logistics and permissions critical to bringing this endeavor to fruition. His fascination with one plaster sculpture in particular drove his passion to protect a larger collection.
Greis and the museum collaborated closely with Jamie Lester, an experienced 3D scanner and artist from West Virginia, [Vandalia Bronze]. Lester discovered the value of 3D scanning technology when he contracted with a Pittsburgh firm to scan some of his clay sculptures. He now owns several pieces of 3D scanning equipment that led to a revolution in his sculptural practice. Clay was at the center of his craft. But after realizing the power of digital 3D scanning, he sculpts with a stylus and Wacom tablet. The bulk of Lester’s public artwork is now created digitally using the software called Zbrush, by Pixolic. This software is also used to process and edit 3D scans.
Lester uses 3D scanners from Artec 3D to capture details as small as .2 millimeters, using structured light technology, or SLT. A pattern of dots is projected in bursts. The scanner’s camera analyzes these dots, creating a highly accurate mapping of an object’s topology.
From an extensive array of over 100 plaster sculptures housed within the museum's vault, an initial selection of five sculptures was selected, including the sculpture of Ryan’s interest, to create a proof of concept. If the concept proved successful, more of the museum’s sculptures would be considered for scanning documentation and preservation.
These chosen casts constituted some of the most significant achievements of Charles Grafly, a luminary in the realm of sculptural art.
Charles Grafly (1862–1929) was an American sculptor renowned for his contributions to the field of figurative sculpture. Born in Philadelphia, Grafly studied at the Pennsylvania Academy of the Fine Arts and later became an influential teacher at the Pennsylvania Academy and the School of Industrial Art in Philadelphia. He is noted for his mastery of sculptural techniques and his ability to capture the human form with exceptional realism and expressiveness. Grafly's works often depict subjects from everyday life, including portraits, figures, and allegorical compositions. He was a prominent figure in the American Renaissance movement and played a significant role in shaping the development of sculpture in the United States during the late 19th and early 20th centuries. Throughout his career, Grafly received numerous awards and commissions, leaving behind a rich legacy of artistic achievement that continues to inspire sculptors to this day.
Grafly's enduring legacy was furthered by his daughter's philanthropic gesture, bequeathing a substantial portion of his New York studio's contents to the museum for safeguarding. Additionally, a fund was established to facilitate the production of bronze replicas of select plaster works, ensuring their perpetuation for future appreciation and scholarly inquiry.
However, numerous delicate plaster casts, affectionately dubbed "Grafly's Ghosts," remained ensconced within a specially fortified vault on the museum premises, shielded against the ravages of natural calamities such as tornadoes. Recognizing the imperative of exploring alternative preservation methodologies for these fragile masterpieces, the museum embarked on a collaborative endeavor with Lester and Greis.
THE BENEFITS OF 3D SCANNING SCULPTURES
3D scanning technology represents a monumental advancement in the preservation of historical artworks, including sculptures. This technology enables the creation of highly detailed and accurate digital replicas of artworks, capturing even the minutest details that might be missed by traditional preservation methods. These digital replicas can be used for restoration, research, and education, ensuring that the intricate details and original forms of historical pieces are preserved for future generations. Additionally, 3D scanning allows for the creation of physical reproductions through 3D printing, enabling museums and institutions to display replicas while safeguarding the originals. This technology also facilitates the sharing of cultural heritage globally, providing access to rare and delicate artifacts without the risk of damage through transportation. Overall, 3D scanning bridges the gap between preserving the past and embracing the future, offering an innovative solution to the challenges of conserving our cultural legacy.
Taryn Trapani, the museum's registrar, assumed the pivotal role of coordinating the intricate logistics entailed in executing the project, a task that spanned months and necessitated seamless communication with both Ryan and Jamie.
In March 2024, all stakeholders converged for the inaugural meeting at the Ulrich Museum of Art. Concealed behind the impenetrable confines of a tornado-proof, securely locked door lies a veritable treasure trove of priceless artworks, including revered pieces by the likes of Warhol, among others.
The commencement of the project unfolded with a thorough examination of the selected plaster sculptures, akin to an audit aimed at delineating the intricate nuances and idiosyncrasies inherent within each artifact.
Lester set up the scanning equipment quickly and selected an order of operations based on the complexity of each sculpture, choosing to begin with Grafly’s sculpture of Duveneck. With each pass of the handled scanning device, which looked curiously like a household iron or hair dryer, the captured data populated on the computer screen. After a few circumnavigations of the artwork, a thorough model of the sculpture now existed in a visible digital format. Lester examined the scan data closely and found a few holes that required some spot scanning to fill.
In roughly 3 hours, all 5 models had been scanned and the precious models returned to the safety of the vault. The processing of the scan data now began. The scanner creates a complex point cloud from the interpretation of the light pulses, mapping out the geometry of the model. This point cloud must be turned into a topographic mesh in order to be edited or 3d printed. Textural information is also captured, and can be used by the scanning software, along with the geometry to articulate the accuracy of the scan. Artec software is built with an easy to use graphical user interface, but can still be challenging to achieve the desired outcome, especially if the scan data is corrupted due to inexperience or user error.
Once a watertight model is achieved, the 3d mesh can be retopologized and the texture captured during the scan can be applied using uv maps. The captured texture can be very useful when applied to 3d models that will be viewing only. For instance, a textured model adds surface coloration that can convey information like medium, age, and condition of the original model. Retopology results in a low resolution model that is easily emailed, shared or uploaded from a website.
If the end goal is to print the 3d model, then a high resolution model is needed. Texture is not important in this case. Artec software can produce an accurate model down to .2 mm.
The information captured can be shared in a variety of ways and could even be used to build an exact replica of the sculpture at some point in the future, or perhaps a miniature replica done to scale. The data collected can also be very beneficial for study. All of this gives a thorough file that can be used for research, in case the sculpture is destroyed or goes missing. Scan data could be used to recreate a digital print, or for touching up the existing sculpture. The rarity and age of many pieces in his collection lend themselves to further study, and hands-on access that would otherwise be impossible due to their fragility.
Museum vaults, inaccessible to most of the world, could become viewable in virtual galleries, and with rapidly advancing technology, almost like viewing in person. The desire for access to such rare works could generate more museum memberships.
Sharing knowledge and information falls within the mission of the public university.
In the future museums will increasingly use digital technology to present their art in innovative ways, and 3d scanning will be at the heart of it.
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