Providing access to and the protection of cultural goods—intangible and tangible heritage—is carried out primarily by institutions such as museums, galleries or local cultural centres where temporary exhibitions are shown. The international community also attempts to protect architectural objects or entire urban layouts, raising their status by inscribing them on the UNESCO World Heritage List. Contemporary museums, however, are not properly prepared to make museum exhibits available to the blind and visually impaired, which is confirmed by both the literature studies on the subject and the occasional solutions that are put in place. The development of various computer graphics technologies allows for the digitisation of cultural heritage objects by 3D scanning. Such a record, after processing, can be used to create virtual museums accessible via computer networks, as well as to make copies of objects by 3D printing. This article presents an example of the use of scanning, modelling and 3D printing to prepare prototypes of copies of museum objects from the Silk Road area, dedicated to blind people and to be recognised by touch. The surface of an object has information about it written in Braille before the copy-making process is initiated. The results of the pilot studies carried out on a group of people with simulated visual impairment and on a person who is blind from birth indicate that 3D models printed on 3D replicators with the fused filament fabrication technology are useful for sharing cultural heritage objects. The models are light—thanks to which they can be freely manipulated, as well as having the appropriate smoothness—which enables the recognition of decorative details present on them, as well as reading texts in Braille. Integrating a copy of an exhibit with a description about it in Braille into one 3D object is an innovative solution that should contribute to a better access to cultural goods for the blind.

Historical costumes are part of cultural heritage. Unlike architectural monuments, they are very fragile, which exacerbates the problems of their protection and popularisation. A big help in this can be the digitisation of their appearance, preferably using modern techniques of three-dimensional representation (3D). The article presents the results of the search for examples and methodologies of implementing 3D scanning of exhibited historical clothes as well as the attendant problems. From a review of scientific literature it turns out that so far practically no one in the world has made any methodical attempts at scanning historical clothes using structured-light 3D scanners (SLS) and developing an appropriate methodology. The vast majority of methods for creating 3D models of clothes used photogrammetry and 3D modelling software. Therefore, an innovative approach was proposed to the problem of creating 3D models of exhibited historical clothes through their digitalisation by means of a 3D scanner using structural light technology. A proposal for the methodology of this process and concrete examples of its implementation and results are presented. The problems related to the scanning of 3D historical clothes are also described, as well as a proposal how to solve them or minimise their impact. The implementation of the methodology is presented on the example of scanning elements of the Emir of Bukhara's costume (Uzbekistan) from the end of the nineteenth century, consisting of the gown, turban and shoes. Moreover, the way of using 3D models and information technologies to popularise cultural heritage in the space of digital resources is also discussed.

Three dimensional digitization of cultural heritage resources gains a lot of attention from the European Union and the United Nations, which is clearly revealed in current strategic goals and financing perspectives. Existing methodological approaches to 3D scanning in a prevailing number of cases assume that the procedure of scanning is performed in places that are closed to tourists, at least for the time of scanning. However, closing an exhibition for tourists or moving an artifact to be scanned is not always possible. Thanks to the long-term experience of the authors with 3D scanning of cultural heritage, the special procedure was designed for small and medium size objects to overcome difficulties expected in such cases. The procedure has been successfully implemented during 3D scanning of objects exhibited in the Silk Road region (on the territory of modern Uzbekistan), as well as objects being parts of wooden sacral architecture of the Maramures region (in Romania). It was revealed that the proposed procedure was successfully allowed to counteract organizational problems during 3D scanning of heritage objects being under continuous display, and that the achieved results of scanning were nevertheless of good quality.

The availability of 3D scanning devices allows to perform the process of digitisation of a growing number of diverse museum artefacts. After the properly conducted processing of the acquired point cloud, we get a photorealistic digital copy that can be presented in many ways. With regard to...