The adoption of open-source digital manufacturing technologies in small art workshops may improve their competitiveness. Pieces modeled by computer and made with FDM (Fused Deposition Modeling) 3D printers that use PLA (polylactic acid) can be implemented in the procedures of artistic casting. However, models printed by PLA are limited to approximate minimum sizes of 3 cm, and the optimal layer height resolution is 0.1 mm. These sizes and resolutions are not suitable for creating microsculptures used, in many cases, in jewelry. An alternative to solve this limitation, is to use a DMLS (Direct Metal Laser Sintering) 3D printer. However, due to its high cost, it is a technology that is difficult to introduce in small artistic foundries. This work detailed the design and validation of a DLP (Digital Light Processing) 3D printer, using backlit LCD (Liquid Crystal Display) screens with ultraviolet light. Its development is totally “open source” and is proposed as a kit made up of electronic components, based on Arduino and easy to access mechanical components in the market. Most parts can be manufactured in low cost FDM (Fused Deposition Modeling) 3D printers. The result is an affordable, high resolution (0.021 mm), and open-design printer that can be implemented in artistic contexts.

The use of digital models of cultural heritage objects obtained from 3D scanning or photogrammetry requires the development of strategies in order to optimise computational resources and enhance the user experience when they are used in interactive applications or virtual museums. Through a case study, this work compares an original photogrammetric model with its optimised version using traditional remeshing techniques and an improved version using Nanite technology, developed by Epic Games. A self-contained executable is created in Unreal^® 5.1 game engine to test the performance of the three models measured in frames per second (FPS). As a result, it was demonstrated that, although there is no substantial difference in the FPS rate, the Nanite technology avoids the need to perform the mesh and texture editing processes that lead to the construction of the optimised model. This saves considerable time and specialised effort, as the photogrammetric model can be converted to a Nanite object automatically. This would be a great advantage in the case of virtualisations of large collections of heritage objects, which is a common case in virtual museums.

Aerospace heritage requires tools that allow its transfer and conservation beyond photographs and texts. The complexity of these engineering projects can be collected through digital graphic representation. Nevertheless, physical scale models provide additional information of high value when they involve full detailed information, for which the model in engineering was normally one more product of the manufacturing process, which entails a high cost. However, the standardization of digital fabrication allows the manufacture of high-detail models at low cost. For this reason, in this paper a case study of the graphic reengineering and planning stages for digital fabrication of a full-scale high-detail model (HDM) of the spatial instrument of the European Space Agency, named the Solar Orbiter mission Polarimetric and Helioseismic Imager (SO/PHI), is presented. After the analysis of this experience, seven stages of planning and graphic reengineering are proposed through collaborative work for the low cost digital manufacture of HDMs.

El alto peso de archivo en los modelos digitalizados de patrimonio cultural mediante escaneado o fotogrametría obliga a la elaboración de estrategias de reducción topológica que permitan la optimización de estos modelos para su uso en entornos como el museo virtual o cualquier otra forma de visualización interactiva. Atendiendo a su accesibilidad, en este trabajo se estudia la eficiencia de cuatro aplicaciones informáticas utilizadas para el remallado de modelos 3D. Utilizando una metodología basada en la observación de los atributos de la malla, se realiza un análisis comparado de su calidad de visualización. La investigación es desarrollada a través de un estudio de caso mediante el cual, se obtiene un modelo que es verificado con del motor de videojuegos UNITY®2022 1.18. Como resultado, se consigue una alta calidad visual con una mejora significativa en la frecuencia de visualización del 55% de media respecto al modelo 3D original, obtenido mediante fotogrametría.

This paper addresses strategies that allow the introduction of computer-designed models as substitutes for the wax models used traditionally in artistic casting. These digital models are manufactured by 3D printing in polylactic acid (PLA), material that due to its properties is a viable substitute to wax, within the processes of artistic casting using Ceramic Shell Casting. To check the viability there have been designed two complex models that are difficult to achieve with traditional techniques. In particular, a hollow figurative bust and a figurative synthesis of plant forms with a gradient structural solution. In addition, a study was made with different techniques to unify the texture of layers presented by the objects manufactured by 3D printing. It is proven that it is feasible to introduce PLA models in the smelting process at lower cost and less time than with traditional techniques. In addition you can melt metal shapes that are not possible to create with manual techniques.

At present it is easy to digitalize sculptural heritage in 3D. Three-dimensional models allow for visualization of the work from all angles. The result can be seen in three-dimensional visors, in virtual reality, or by means of 3D-printed replicas. However, the recipient continues to be, as is also the case in books and videos, a passive spectator of the cultural patrimony. In order to promote participation and to increase interest in local heritage, alternative methods for promotion of the digital patrimony have been developed. In this article, two means of publicizing local (less-known) heritage in an active manner have been described. On the one hand, the transformation of 3D models into cut-outs (paper toys) where it is necessary to make the sculptures by hand, and on the other hand, the incorporation of the models into the video game Minecraft, an immersed 3D world which permits visiting or generating content. To validate these alternatives, two examples based on the sculptures of Santa Cruz de Tenerife (Spain) have been created, and they have been used in pilot studies in schools in order to obtain a first appraisal of user satisfaction.