From January to May this year we here in Digital Scholarship have been happy to host two students, Mili Bhatt and Lingyi Zhang, from the Archaeology department as part of a placement module for their Master’s programmes.
Pictured above, our two placement students hard at work using photogrammetry to create 3D models of artefacts.
For the first few weeks they got to grips with 3D scanning technologies using tools such as a structured light scanner and photogrammetry. Following this they used their newly acquired skills to assist with the digitisation of a number of artefacts located in the National Oceanographic Library, ranging from early prototypes of underwater cameras to sperm whale teeth gifted to researchers aboard scientific expeditions nearly a century ago.
Lingyi kindly agreed to share her experiences on getting to grips with 3D scanning technology.
“The placement I was assigned to was the Digital Scholarship department, located in the Hartley Library on campus. This placement experience has been a fascinating journey filled with exploration and technology, allowing me to deeply appreciate the charm of photography and 3D scanning.
From the very beginning, I was eager to dive into the practical aspects of these techniques, and my first project involved scanning an ‘evil duck’. Initially, I thought the task would be straightforward. I used Artec, the software I had learned earlier, to attempt scanning the duck. However, I quickly encountered challenges due to the duck's uncontrollable feet, which made it difficult to create a stable and accurate digital model. Despite multiple attempts, the results were inconsistent and often unsuccessful.
In the second week, I learned a new technique, using photogrammetry to build models (Figure 1). This technique is rarely used to analyze archaeological material, but for some specific objects, photogrammetric data often replaces data obtained by more expensive and specialized equipment. However, the new technology presents a new problem, the surface of the duck reflects light, resulting in many dents and defects in the digital model. Once again, the model was unsuccessful. Determined to overcome these obstacles, in week 3, we experimented with UV mirrors to reduce reflections and even tied up the duck's feet to minimize movement. Despite these efforts, alignment issues in the software prevented the model from forming a complete and cohesive shape. It truly felt like an ‘evil duck’ that refused to cooperate! Finally, with the help of my supervisor, who personally stepped in to assist, we managed to complete the digital model of the duck.
Figure 1. Photogrammetry setup capturing a duck model. Zhang 2025.
This placement not only allowed me to master more photography and 3D scanning skills, but also gave me a deeper understanding of the combination of technology and art. I look forward to continuing to explore these interesting technologies in future projects and completing a complete exhibition!”
For her final output Lingyi put together a wonderful exhibition combining 3D prints of the objects she scanned from the NOL archive with a device known as a Museum in a Box. This box reads RFID tags that can be stuck to the 3D prints and then play pre-recorded audio. With some archival research and some text-to-speech software, Lingyi has brought the objects to life as they tell you their story once placed on the box. This gallery space was on display at the National Oceanographic Library to the end of July this year.
Left: Lingyi posing with Tales from the NOL Archive, a gallery that brings together 3D prints, authentic artefacts and interactive audio description to bring the story of these artefacts to life.
Right: A photograph of the original 1962 Discovery Bell, a sperm whale tooth, and one of the library hand stamps, above a photograph of the 3D printed versions of these items, all featured in the exhibit.
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