The paper presents an interdisciplinary approach to the treatment of the FormaViva collection of wooden sculptures exhibited outdoors in a natural environment near the Božidar Jakac Art Museum in Kostanjevica na Krki in Slovenia. The study focuses on 3D graphic representations of sculptures created with photogrammetry and 3D modelling. The results are photorealistic renderings, interactive presentations, 3D printed reproductions, jewellery, and interpretive animations. The research results show that graphic documentation techniques on 3D models allow for a more detailed investigation of the original structural identity of the sculpture. By incorporating 3D and interactive technologies, we are expanding the usability of cultural heritage objects. By using interpretive techniques that have led to jewellery and interpretive animations in our research, we not only breathe new life into the sculptures, but also enrich the stories of the sculptures with our own experiences of the sculptural work.

Images are one of the key elements of the content of the World Wide Web. One group of web images are also photos of people. When various institutions (universities, research organizations, companies, associations, etc.) present their staff, they should include photos of people for the purpose of more informative presentation. The fact is, that there are many specifies how people see face images and how do they remember them. Several methods to investigate person’s behavior during use of web content can be performed and one of the most reliable method among them is eye tracking. It is very common technique, particularly when it comes to observing web images. Our research focused on behavior of observing face images in process of memorizing them. Test participants were presented with face images shown at different time scale. We focused on three main face elements: eyes, mouth and nose. The results of our analysis can help not only in web presentation, which are, in principle, not limited by time observation, but especially in public presentations (conferences, symposia, and meetings).

Porosity, the measure of the open spaces within a fabric structure, is a decisive factor in the performance of textiles. It influences breathability, permeability to liquids or gases, and suitability for various industries such as apparel, medical, and technical textiles. This study compares classical porosity calculation methods with non-destructive image analysis for 24 woven fabric samples that differ in density and weave pattern. Factors such as fabric density, weave pattern, illumination conditions, magnification, and the influence of the Otsu and Yen threshold algorithms were considered. The multifactor ANOVA statistical analysis shows that fabric density and weave pattern significantly influence porosity, with illumination playing an important role, while the threshold algorithm has a minor influence. A strong correlation is found between the actual fabric porosity and the results of the image analysis, except for double-sided illumination (reflective and transmissive), where the correlation is weakest. This comprehensive investigation provides valuable insights into the reliability of different porosity assessment approaches, which is essential for applications in various textile industries.

The aim of the study was to analyse the colour fastness of 3D printed samples that could be used as decorative or household items. Such items are often fabricated with 3D printing. The colour of filaments affects not only the mechanical properties, but also the appearance and user satisfaction. Samples of biocomposite filaments (PLA and PLA with added wood and hemp fibres) were used. First, the morphological properties of the filaments and 3D printed samples were analysed and then, the colour fastness against different agents was tested (water, oil, detergent, light and elevated temperature). Finally, the dynamic mechanical properties of the filaments and 3D printed samples were determined. The differences in the morphology of the filaments and 3D printed samples were identified with SEM analysis. The most obvious differences were observed in the samples with wood fibres. All printed samples showed good resistance to water and detergents, but poorer resistance to oil. The sample printed with filaments with added wood fibres showed the lowest colour fastness against light and elevated temperatures. Compared to the filaments, the glass transition of the printed samples increased, while their stiffness decreased significantly. The lowest elasticity was observed in the samples with wood fibres. The filaments to which hemp fibres were added showed the reinforcement effect. Without the influence on their elasticity, the printed samples can be safely used between 60 and 65 °C.

The research was initiated by the Plečnik House gallery (Ljubljana, Slovenia) and focuses on the 3D architectural reconstruction of the unrealised monument of the Czech military leader Jan Žižka, designed by the Slovenian architect Jože Plečnik. In addition, the experience with the 3D reconstructed monument in the exhibition “Plečnik and the Sacred” was analysed. Using the available references and interpretative approaches, a digital and 3D-printed reconstruction was created that retains Plečnik’s architectural style. The experimental phase included a detailed interpretation of the studied references, 3D modelling, 3D printing, exhibition and experience analysis. The dimensions of the finished 3D-printed model are 52.80 × 55.21 × 44.60 cm. It was produced using stereolithography (SLA) for figurative elements and fused deposition modelling (FDM) for architectural components. The reconstruction was evaluated using participant testing, including semantic differential analysis, comparative studies, and knowledge-based questionnaires. The results showed that architectural elements were reconstructed with an average similarity score of 1.97 out of 5. Statues followed with a score of 1.81, and props, though detailed, met audience expectations, scoring 1.61. Clothing received the lowest score of 1.40. This research emphasises the importance of a hypothetical digital 3D reconstruction of never constructed monument for broader understanding of Plečnik’s legacy.