Copyright Protection of 3D Digitized Artistic Sculptures by Adding Unique Local Inconspicuous Errors by Sculptors

Abstract

In recent years, digitization of cultural heritage objects, for the purpose of creating virtual museums, is becoming increasingly popular. Moreover, cultural institutions use modern digitization methods to create three-dimensional (3D) models of objects of historical significance to form digital libraries and archives. This research aims to suggest a method for protecting these 3D models from abuse while making them available on the Internet. The proposed method was applied to a sculpture, an object of cultural heritage. It is based on the digitization of the sculpture altered by adding local clay details proposed by the sculptor and on sharing on the Internet a 3D model obtained by digitizing the sculpture with a built-in error. The clay details embedded in the sculpture are asymmetrical and discreet to be unnoticeable to an average observer. The original sculpture was also digitized and its 3D model created. The obtained 3D models were compared and the geometry deviation was measured to determine that the embedded error was invisible to an average observer and that the watermark can be extracted. The proposed method simultaneously protects the digitized image of the artwork while preserving its visual experience. Other methods cannot guarantee this.

Copyright Protection of 3D Digitized Sculptures by Use of Haptic Device for Adding Local-Imperceptible Bumps

“…The main idea is to make the model with built-in protection available to the public for free use, whereby every user could enjoy the artistic experience of a given 3D sculpture, without being aware that the 3D model is minimally different from the original 3D sculpture. Authorsꞌ assumption, that the difference is visually difficult to see, was confirmed by a survey conducted on 195 respondents [2]. As a continuation of that research, the present idea is to perform the digital sculpting and shielding procedure using a haptic device.…”

“…Sculptures as works of art are created using a specific technique closely related to the era in which they originate [1]. In the authors' previous work [2], a new approach for protecting digitized 3D cultural heritage was created. Namely, a sculpture of a man's head which belongs to the Gallery of Matica Srpska was digitized, and instead of the, until then, dominant ways of protecting such statues, a new one was proposed, which boils down to the addition of noise [3][4][5][6][7][8][9][10][11][12][13].…”

“…The aim of this research is to add protection (masses) to a 3D virtual model with the use of a haptic device, instead of physically adding clay masses to cultural heritage objects, to create built-in protection. In authorsꞌ previous paper [2] it is concluded that there are two reasons why the use of a haptic device for creating protection of 3D virtual models is a better solution. The first reason is to avoid physical contact with the artwork, and therefore eliminate the possibility of causing damage to it, and the second one is the reduction of execution time because it is not necessary to digitize the object two times (i.e., the original sculpture and the sculpture with added protection), as was the case in authorsꞌ previous research [2].…”

3D Scanning/Printing: A Technological Stride in Sculpture

“…In the art market, a unique artifact made by the hands of an artist is more valuable than an artifact made in multiple copies. Recent studies introduce methods of copyright protection in 3D digitized artistic sculptures by adding unique local inconspicuous errors by sculptors [144].…”

Evaluation of Geometric Data Registration of Small Objects from Non-Invasive Techniques: Applicability to the HBIM Field

“…Thus, a good part of the engineering sector uses the technology of re-engineering and control of parts of objects as in the field of aeronautics for technological manufacturing equipment [ 2 ]. Research has also compared the growth and erosion results of tufa obtained using hand-held 3D scanners [ 3 ], and has addressed the evaluation of a small sculpture by the Gallery of Matica Srpska to protect 3D models of the original sculpture [ 4 ]. Therefore, long-range active sensors are less used in sculpture, works of art, or other small objects.…”