We are standing by the fact that we actually scanned it, but we don’t want to dismiss the other options at the same time. It can be all of this, it can be everything. Maybe it was a server hack, a copy scan, an inside job, the cleaner, a hoax. The high quality of the scans, however, quickly raised doubts as to whether they could actually have been created under the conditions described.Īl-Badri herself later also called into question the direct connection between the covert scanning operation and the data made available. On their website and in public talks the artists claimed that this data had been produced secretly in 2015 in the North Dome Room of the Neues Museum. The 3D scans of the bust of Nefertiti first attracted public attention in 2016, when the artists Jan Nikolai Nelles and Nora Al-Badri placed a scan of the bust online as part of their intervention The Other Nefertiti. Incorporating the expertise of traditional craftsmanship directly into the digital process will continue to play a central role in the future, in the quest to seccessively improve the quality of the reproduction. The Gipsformerei aims to further perfect this interplay between technology and manual skill. A further mould is then created from this model, and only then can a replica of the original object be created. In order to obtain a mould that meets the Gipsformerei’s requirements, a conventional silicone impression is made from the first 3D print, and the finer details are carefully corrected. This version has been offered for sale since 2009, and in 2015 the colour version was additionally reworked.Īlong with digital modelling and processing of the data, this also applies to the printing process. The full-scale plastic prototype produced in this manner was then used by the Gipsformerei as the model from which to cast a mould, and finally to produce what is currently the most accurate replica of the bust of Nefertiti possible. The data was then formatted for the production process, and printed using a 3D printer. With the continuously improving technology of the contactless 3D structured light scanner, in 2008 a new opportunity arose to have the bust three-dimensionally scanned and documented once again, this time by the firm TrigonArt.įirst, a high resolution, photo-textured digital 3D model of the bust was created based on the scan data. Imaging Using a Structured-Light 3D Scanner The master model of 1971, for example, was produced based on photogrammetric modelling. Each of these improved versions reflect the current state of the art in reproduction technology, although always with the proviso that the sensitivity of the paint on the original artwork precludes the use of a direct mould. In addition to this initial reproduction, which remains impressive to this day, the replicas of the bust of Nefertiti intended for sale have undergone repeated changes. In 2014 it was reissued (PDF, 173 KB) by the Gipsformerei as a “historical replica” based on the old template. For decades the model created by Tina Haim-Wentscher remained the authoritative model. Seventy-five casts based on this master model are documented (PDF, 17,3 MB)in the records of the Gipsformerei for the period between July 1921 and the end of 1922 alone, before the bust was even first publicly exhibited in 1924.Īfter Nefertiti was placed on display in the Neues Museum, the demand for replicas intensified, and the bust was made available for order from the catalogue in a growing range of variations. The artist meticulously followed the measurements and form of the original, and in this model also accurately reproduced the damaged elements, although she once again replaced the missing eye. In the early 1920s the Gipsformerei commissioned Tina Haim-Wentscher to create another replica as a master model, on which all the busts sold by the replica workshop were then based.
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