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                <text>Marius Muresan</text>
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              <text>She was born in Rona de Jos commune, in an area where Romanian, Hungarian and Ukrainian ethnic minorities lived as a community. Singing in her family was a usual activity, she was naturally gifted. Her grandmother was the “godmother” of her village and she was invited to all cultural events in the area as a singer, even to funerals as she was the only one entitled to undergo all customs and specific traditions and local practices. In 1987 she makes her debut in folk music when she is accepted in the School of Folk Art from Baia Mare, and she keeps enrolling into schools as to contribute to her future as artist. She moves to Bucharest where she lives for more than 15 years, meanwhile she publishes several albums that explore the native folklore of Maramures, including religious songs called “pricesne”. She is currently running a Foundation called ‘’’Morosanca” where she teaches young talents the secrets of singing, of respecting the statute of an ‘’authentic artist’’ starting with basic knowledge related to historical background, respect towards traditions, clothing, folk culture. She currently teaches over 30 children the elementary skills of canto, her previous generation of students have been accepted in prestigious music schools, in Cluj or Oradea, some of them are also teachers themselves. She restored a traditional house in which she now hosts a museum dedicated to the Maramures traditional costume, as a pledge for the future generations to appreciate of cultural patrimony.</text>
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              <text>She grew up in an environment and in a family where singing was part of their daily life and and music wasn’t a hobby or a distraction but part of their DNA.</text>
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              <text>Singing and particularly singing carols is part of the oral folklore of the region, and in Maramures the carols predict and welcome the birth of Jesus. But, their significance dates even further back in time, when caroling was done as to announce the winter solstice and to celebrate the god of sun. The practitioner believes that in caroling one singer must keep its authenticity. These days singers take canto lessons, concentrate on developing their ambitus, but they lose sight of their particularity and authenticity and soon traditional singing will be universal, not particular.</text>
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              <text>Yes, she simultaneously works at her foundation that is located in Nănești, where her small folk costume museum hase been set up and also works in the second municipality of Maramureș, in Sighetu Marmației at the children's club in close cooperation with the local authorities.</text>
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              <text>to create a compilation of her work, to make it available for the larger public</text>
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              <text>Not directly. Her songs can be part of a tourism experience when visiting Maramures</text>
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              <text>Maramures is about hospitality, people in this area are still good at their hearth and welcome you in their family, athis makes Maramures suc a distinct destinationa amoung other destinations in the world.</text>
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              <text>Yes, she is coordinating also a local Children's Club where herself and other local artisans teach children, adults local cultural practices, and make sure the conservation and transmission of the these practices is ensured.</text>
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              <text>Ileana Matus considers that singing carols, a specific type of artistic act that must reflect the authenticity and specificity of each ethnographic area is threatened by kitsch, by artists that are emerging and that prefer to alter authenticity in order to become commercial. It should be compulsory for children to learn caroling, as to make sure that this practice is not lost. It is like our ancestral memory is being erased and we blame the younger generation that they don’t keep traditions, but in fact it is our fault that we do not make efforts to ensure they learn and preserve these traditions.</text>
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              <text>Singing for me is not a means to ensure a decent living, for me is a form of living itself. I was born singing and I shall die and pass on to the other word listening to my songs. My talent is a gift from Our Good Lord and my meaning is to share it to all those that are willing to listen to it .</text>
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                <text>She was born in Rona de Jos commune, in an area where Romanian, Hungarian and Ukrainian ethnic minorities lived as a community. Singing in her family was a usual activity, she was naturally gifted. Her grandmother was the “godmother” of her village and she was invited to all cultural events in the area as a singer, even to funerals as she was the only one entitled to undergo all customs and specific traditions and local practices.</text>
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              <text>Ileana Matus in her small house that was transformed in a museum</text>
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Photogrammetry Report.
Component

Image Data
Orientation Report
1.

Number of input data

117

2.

Registered images count

117 / 117

3.

Points count

170069

4.

Total projections

760916

5.

Average images per tie point

4.5

6.

Maximum reprojection error [pixels]

2.00

7.

Median reprojection error [pixels]

0.49

8.

Mean reprojection error [pixels]

0.61

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Fig. 1 – Composite 4 Views

Model Data
Poly Report
1.

High Poly Triangle count

24003100

2.

Low Poly Triangle count

74980

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Fig. 2 – High Poly

Fig. 3 – Low Poly

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Texturing Report.
Roughness and Metalness

Fig. 4 – Before texturing with SP

Fig. 5 – After texturing with SPPBR Textures

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Fig. 6 – AO, Diffuse, Normal (top), Metalness and Roughness (bottom)

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Blender Report.
Rendering

Fig. 7 – Rendered image of the final model

rz90

Fig. 8 – Final model rendered in context

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Scaling
This process has been carried out following the size established in the Cer.es, so it may vary slightly.

Fig. 9 – Different views of the 3D model showing front, back, sides, bottom and top perspectives

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Data Sheet.
Data

Bowl /
Escudiella
Site

Muséu del Pueblu d´Asturies / FM007393

Origin

Faro de Arriba

Creator

Alfar de Faro

Technique

Reduction Firing; Glazed Pottery

Material

Glazed pottery

Date

Ca. 1890/1910

Purpose of

Household ware

Production
Size

6x14x14cm

Description
Glazed pottery used as part of household ware. Made of pink clay, the interior is coated with a white
glaze and decorated with a triskelion motif.

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�</text>
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Photogrammetry Report.
Component

Image Data
Orientation Report
1.

Number of input data

148

2.

Registered images count

148/148

3.

Points count

445215

4.

Total projections

1973945

5.

Average images per tie point

4.4

6.

Maximum reprojection error [pixels]

2.00

7.

Median reprojection error [pixels]

0.35

8.

Mean reprojection error [pixels]

0.49

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Fig. 1 – Composite 4 Views

Model Data
Poly Report
1.

High Poly Triangle count

4492880

2.

Low Poly Triangle count

74982

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Fig. 2 – High Poly

Fig. 3 – Low Poly

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Texturing Report.
Roughness, Levels and Texture Correction

Fig. 4 – Before texturing with SP

Fig. 5 – After texturing with SP

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Normal Correction

Fig. 6 – Before correcting

Fig. 7 – After correcting

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�PBR Textures

Fig. 8 – AO, Diffuse, Normal (top), and Roughness (bottom)

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Blender Report.
Mesh Restoration

Fig. 9 – Mesh before restoration

Fig. 10 – Mesh after restoration

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Rendering

Fig. 11 – Rendered image of the final model

rz90

Fig. 12 – Final model rendered in context

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Scaling
This process has been carried out following the size established in the Cer.es, so it may vary slightly.

Fig.13 – Different views of the 3D model showing front, back, sides, bottom and top perspectives

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Data Sheet.
Data

Jar / Xarra
Site

Muséu del Pueblu d´Asturies / FM013456

Origin

Limanes, Oviedo

Creator

Alfar de Faro

Technique

Reduction Firing

Material

Clay

Date

Ca. 1900/1930

Purpose of

Household ware; Cider Drinking and Pouring.

Production
Size

14x9x11cm

Description
A clay jar like this was commonly used in traditional cider-drinking culture. The pottery workshop in Faro
was one of the most renowned places for crafting household ceramics.

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

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Photogrammetry Report.
Component 1: Body

Image Data
Orientation Report
1.

Number of input data

148

2.

Registered images count

144/148

3.

Points count

111744

4.

Total projections

325157

5.

Average images per tie point

2.9

6.

Maximum reprojection error [pixels]

2.00

7.

Median reprojection error [pixels]

0.4

8.

Mean reprojection error [pixels]

0.54

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Fig. 1 – Composite 4 Views

Model Data
Poly Report
1.

High Poly Triangle count

24387948

2.

Low Poly Triangle count

74996

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Fig. 2 – High Poly

Fig. 3 – Low Poly

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Component 2: Lid

Image Data
Orientation Report
9.

Number of input data

185

10. Registered images count

185/185

11. Points count

300675

12. Total projections

1035249

13. Average images per tie point

3.4

14. Maximum reprojection error [pixels]

2.00

15. Median reprojection error [pixels]

0.37

16. Mean reprojection error [pixels]

0.49

Fig. 4 – Composite 4 Views

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Model Data
Poly Report
3.

High Poly Triangle count

14444214

4.

Low Poly Triangle count

74994

Fig. 5 – High Poly

Fig. 6 – Low Poly

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Texturing Report.
Roughness and Levels

Fig. 7 – Before texturing with SP

Fig. 8 – After texturing with SP

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Fig. 9 – Before texturing with SP

Fig. 10 – After texturing with SP

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Texture Correction

Fig. 11 – Before texturing with SP

Fig. 12 – After texturing with SP

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�PBR Textures

Fig. 3– AO, Diffuse, Normal (top), and Roughness (bottom) from jar

Fig. 3– AO, Diffuse, Normal (top), and Roughness (bottom) from lid

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Blender Report.
Rendering

Fig. 11 – Rendered image of the final model

Fig. 12 – Final model rendered in context

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Scaling
This process has been carried out following the size established in the Cer.es, so it may vary slightly.

Fig.13 – Different views of the 3D model showing, front, back, sides, bottom and top perspectives

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Data Sheet.
Data

Jar
Site

Muséu del Pueblu d´Asturies / RDM1339

Origin

-

Creator

-

Technique

Wood carving

Material

Wood

Date

Ca. 1850-1900

Purpose of

Household ware; Dairy industry

Production
Size

12x17x11cm

Description
Called a Zapica, this jar was used to collect milk in mountainous areas. It is made of carved wood, with
most of the decoration concentrated on the lid, where a geometric sun composed of angular shapes can
be seen

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�</text>
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                <text>Creative Commons Attribution-ShareAlike License</text>
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              <elementText elementTextId="5627">
                <text>Enrique Meléndez Galán</text>
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              <name>Title</name>
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                  <text>Museum: University of St Andrews</text>
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              <name>Identifier</name>
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      <name>Physical Object</name>
      <description>An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.</description>
      <elementContainer>
        <element elementId="130">
          <name>Prim Media</name>
          <description/>
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          <name>Natural Cultural</name>
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        <element elementId="223">
          <name>Function</name>
          <description/>
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          <name>Creation Purpose</name>
          <description/>
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        <element elementId="225">
          <name>Technique</name>
          <description/>
          <elementTextContainer>
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        </element>
        <element elementId="236">
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          <description/>
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          <description/>
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          <element elementId="50">
            <name>Title</name>
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  <item itemId="493" public="1" featured="0">
    <fileContainer>
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                <description/>
                <elementTextContainer>
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                    <text>Jar

Photogrammetry Report.
Component 1: Body

Image Data
Orientation Report
1.

Number of input data

148

2.

Registered images count

144/148

3.

Points count

111744

4.

Total projections

325157

5.

Average images per tie point

2.9

6.

Maximum reprojection error [pixels]

2.00

7.

Median reprojection error [pixels]

0.4

8.

Mean reprojection error [pixels]

0.54

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Fig. 1 – Composite 4 Views

Model Data
Poly Report
1.

High Poly Triangle count

24387948

2.

Low Poly Triangle count

74996

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Fig. 2 – High Poly

Fig. 3 – Low Poly

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Component 2: Lid

Image Data
Orientation Report
9.

Number of input data

185

10. Registered images count

185/185

11. Points count

300675

12. Total projections

1035249

13. Average images per tie point

3.4

14. Maximum reprojection error [pixels]

2.00

15. Median reprojection error [pixels]

0.37

16. Mean reprojection error [pixels]

0.49

Fig. 4 – Composite 4 Views

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Model Data
Poly Report
3.

High Poly Triangle count

14444214

4.

Low Poly Triangle count

74994

Fig. 5 – High Poly

Fig. 6 – Low Poly

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Texturing Report.
Roughness and Levels

Fig. 7 – Before texturing with SP

Fig. 8 – After texturing with SP

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Fig. 9 – Before texturing with SP

Fig. 10 – After texturing with SP

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Texture Correction

Fig. 11 – Before texturing with SP

Fig. 12 – After texturing with SP

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�PBR Textures

Fig. 3– AO, Diffuse, Normal (top), and Roughness (bottom) from jar

Fig. 3– AO, Diffuse, Normal (top), and Roughness (bottom) from lid

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Blender Report.
Rendering

Fig. 11 – Rendered image of the final model

Fig. 12 – Final model rendered in context

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Scaling
This process has been carried out following the size established in the Cer.es, so it may vary slightly.

Fig.13 – Different views of the 3D model showing, front, back, sides, bottom and top perspectives

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Data Sheet.
Data

Jar
Site

Muséu del Pueblu d´Asturies / RDM1339

Origin

-

Creator

-

Technique

Wood carving

Material

Wood

Date

Ca. 1850-1900

Purpose of

Household ware; Dairy industry

Production
Size

12x17x11cm

Description
Called a Zapica, this jar was used to collect milk in mountainous areas. It is made of carved wood, with
most of the decoration concentrated on the lid, where a geometric sun composed of angular shapes can
be seen

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�</text>
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        <description>Specific elements of the Europeana Semantic Elements.</description>
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Photogrammetry Report.
Component

Image Data
Orientation Report
1.

Number of input data

214

2.

Registered images count

214/214

3.

Points count

429040

4.

Total projections

1925323

5.

Average images per tie point

4.5

6.

Maximum reprojection error [pixels]

2.00

7.

Median reprojection error [pixels]

0.39

8.

Mean reprojection error [pixels]

0.48

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Fig. 1 – Composite 4 Views

Model Data
Poly Report
1.

High Poly Triangle count

32247546

2.

Low Poly Triangle count

74992

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Fig. 2 – High Poly

Fig. 3 – Low Poly

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Texturing Report.
Roughness and Metallic

Fig. 4 – Before texturing with SP

Fig. 5 – After texturing with SP

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Texture Correction

Fig. 6 – Before texturing with SP

Fig. 7 – After texturing with SP

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�PBR Textures

Fig. 8 – AO, Diffuse, Normal (top), Metalness and Roughness (bottom)

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Blender Report.
Mesh Restoration

Fig. 9 – Mesh before restoration

Fig. 10 – Mesh after restoration

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Rendering

Fig. 11 – Rendered image of the final model

Fig. 12 – Final model rendered in context

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Scaling
This process has been carried out following the size established in the Cer.es, so it may vary slightly.

Fig.13 – Different views of the 3D model showing, front, back, sides, bottom and top perspectives

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Data Sheet.
Data

Jar
Site

Muséu del Pueblu d´Asturies / FM000591

Origin

La Cuesta, Samartino, Siero

Creator

Benjamín Puente Moro “Jamín de la Perucha”

Technique

Wheel-thrown ceramics,

Material

Glazed pottery

Date

1920-30

Purpose of

Household ware

Production
Size

22x15x14cm

Description
Glazed pottery painted with vegetal motifs, especially on the front area. This is combined with two
butterflies in a blend of green and blue. The decoration also extends to the top, around the mouth of
the piece, and around the base, with blue lines that contrast against the white color of the rest of the
object. This type of pottery, which originated in the 18th century, was highly successful in the region of
Asturias, playing a significant role in the development of a competitive pottery industry in the area.

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

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Photogrammetry Report.
Component

Image Data
Orientation Report
1.

Number of input data

214

2.

Registered images count

214/214

3.

Points count

429040

4.

Total projections

1925323

5.

Average images per tie point

4.5

6.

Maximum reprojection error [pixels]

2.00

7.

Median reprojection error [pixels]

0.39

8.

Mean reprojection error [pixels]

0.48

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Fig. 1 – Composite 4 Views

Model Data
Poly Report
1.

High Poly Triangle count

32247546

2.

Low Poly Triangle count

74992

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Fig. 2 – High Poly

Fig. 3 – Low Poly

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Texturing Report.
Roughness and Metallic

Fig. 4 – Before texturing with SP

Fig. 5 – After texturing with SP

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Texture Correction

Fig. 6 – Before texturing with SP

Fig. 7 – After texturing with SP

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�PBR Textures

Fig. 8 – AO, Diffuse, Normal (top), Metalness and Roughness (bottom)

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Blender Report.
Mesh Restoration

Fig. 9 – Mesh before restoration

Fig. 10 – Mesh after restoration

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Rendering

Fig. 11 – Rendered image of the final model

Fig. 12 – Final model rendered in context

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Scaling
This process has been carried out following the size established in the Cer.es, so it may vary slightly.

Fig.13 – Different views of the 3D model showing, front, back, sides, bottom and top perspectives

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Data Sheet.
Data

Jar
Site

Muséu del Pueblu d´Asturies / FM000591

Origin

La Cuesta, Samartino, Siero

Creator

Benjamín Puente Moro “Jamín de la Perucha”

Technique

Wheel-thrown ceramics,

Material

Glazed pottery

Date

1920-30

Purpose of

Household ware

Production
Size

22x15x14cm

Description
Glazed pottery painted with vegetal motifs, especially on the front area. This is combined with two
butterflies in a blend of green and blue. The decoration also extends to the top, around the mouth of
the piece, and around the base, with blue lines that contrast against the white color of the rest of the
object. This type of pottery, which originated in the 18th century, was highly successful in the region of
Asturias, playing a significant role in the development of a competitive pottery industry in the area.

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

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Photogrammetry Report.
Component

Image Data
Orientation Report
1.

Number of input data

485

2.

Registered images count

367/485

3.

Points count

430654

4.

Total projections

1851686

5.

Average images per tie point

4.3

6.

Maximum reprojection error [pixels]

2.00

7.

Median reprojection error [pixels]

0.36

8.

Mean reprojection error [pixels]

0.47

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Fig. 1 – Composite 4 Views

Model Data
Poly Report
1.

High Poly Triangle count

6429470

2.

Low Poly Triangle count

74990

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Fig. 2 – High Poly

Fig. 3 – Low Poly

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Texturing Report.
Roughness, Metalness and Levels

Fig. 4 – Before texturing with SP

Fig. 5 – After texturing with SP

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Texture Correction

Fig. 6 – Before texturing with SP

Fig. 7 – After texturing with SP

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�PBR Textures

Fig. 8 – AO, Diffuse, Normal (top), Metalness and Roughness (bottom)

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Blender Report.
Rendering

Fig. 9 – Rendered image of the final model

Fig. 10 – Final model rendered in context

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Scaling
This process has been carried out following the size established in the Cer.es, so it may vary slightly.

Fig.11 – Different views of the 3D model showing side, front, side. back, bottom and top perspectives

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Data Sheet.
Data

Cheese vat
Site

Muséu del Pueblu d´Asturies

Origin

Allande

Creator

-

Technique

Forging

Material

Iron

Date

Ca. 1850

Purpose of

Vernacular Architecture

Production
Size

4x33x7cm

Description
Object made of iron, used as part of a mechanism to open and close a door. It is composed of two
pieces joined by a handle. This piece features carved decorations with various geometric motifs.

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

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Photogrammetry Report.
Component

Image Data
Orientation Report
1.

Number of input data

485

2.

Registered images count

367/485

3.

Points count

430654

4.

Total projections

1851686

5.

Average images per tie point

4.3

6.

Maximum reprojection error [pixels]

2.00

7.

Median reprojection error [pixels]

0.36

8.

Mean reprojection error [pixels]

0.47

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Fig. 1 – Composite 4 Views

Model Data
Poly Report
1.

High Poly Triangle count

6429470

2.

Low Poly Triangle count

74990

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Fig. 2 – High Poly

Fig. 3 – Low Poly

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Texturing Report.
Roughness, Metalness and Levels

Fig. 4 – Before texturing with SP

Fig. 5 – After texturing with SP

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Texture Correction

Fig. 6 – Before texturing with SP

Fig. 7 – After texturing with SP

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�PBR Textures

Fig. 8 – AO, Diffuse, Normal (top), Metalness and Roughness (bottom)

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Blender Report.
Rendering

Fig. 9 – Rendered image of the final model

Fig. 10 – Final model rendered in context

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Scaling
This process has been carried out following the size established in the Cer.es, so it may vary slightly.

Fig.11 – Different views of the 3D model showing side, front, side. back, bottom and top perspectives

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Data Sheet.
Data

Cheese vat
Site

Muséu del Pueblu d´Asturies

Origin

Allande

Creator

-

Technique

Forging

Material

Iron

Date

Ca. 1850

Purpose of

Vernacular Architecture

Production
Size

4x33x7cm

Description
Object made of iron, used as part of a mechanism to open and close a door. It is composed of two
pieces joined by a handle. This piece features carved decorations with various geometric motifs.

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�</text>
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Photogrammetry Report.
Component

Image Data
Orientation Report
1.

Number of input data

164

2.

Registered images count

156/164

3.

Points count

181908

4.

Total projections

739010

5.

Average images per tie point

4.1

6.

Maximum reprojection error [pixels]

2.00

7.

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0.43

8.

Mean reprojection error [pixels]

0.55

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Fig. 1 – Composite 4 Views

Model Data
Poly Report
1.

High Poly Triangle count

25409184

2.

Low Poly Triangle count

74986

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Fig. 2 – High Poly

Fig. 3 – Low Poly

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Texturing Report.
Roughness and Levels

Fig. 4 – Before texturing with SP

Fig. 5 – After texturing with SP

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�PBR Textures

Fig. 6 – AO, Diffuse, Normal (top), and Roughness (bottom)

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Blender Report.
Rendering

Fig. 7 – Rendered image of the final model

Fig.8 – Final model rendered in context

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Scaling
This process has been carried out following the size established in the Cer.es, so it may vary slightly.

Fig.9 – Different views of the 3D model showing front, back, sides, bottom and top perspectives

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Data Sheet.
Data

Cheese vat
Author

Alfar de Llamas del Mouro / Pottery Workshop from Llamas del Mouro

Site

Muséu del Pueblu d´Asturies

Origin

Llamas del Mouro

Creator

Alfar de Llamas del Mouro

Technique

Wheel-thrown; Modeling

Material

Ceramic

Date

Ca. 1925/1950

Purpose of

Cheese Production

Production
Size

20x18x16cm

Description
A cheese vat is used in the initial stage of the cheese-making process, and the holes in the surface are
made to allow the whey to escape through them. Also, this kind of pottery is known as 'black pottery,'
which is due to the smoke used during the firing process.

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�</text>
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Photogrammetry Report.
Component

Image Data
Orientation Report
1.

Number of input data

164

2.

Registered images count

156/164

3.

Points count

181908

4.

Total projections

739010

5.

Average images per tie point

4.1

6.

Maximum reprojection error [pixels]

2.00

7.

Median reprojection error [pixels]

0.43

8.

Mean reprojection error [pixels]

0.55

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Fig. 1 – Composite 4 Views

Model Data
Poly Report
1.

High Poly Triangle count

25409184

2.

Low Poly Triangle count

74986

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Fig. 2 – High Poly

Fig. 3 – Low Poly

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Texturing Report.
Roughness and Levels

Fig. 4 – Before texturing with SP

Fig. 5 – After texturing with SP

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�PBR Textures

Fig. 6 – AO, Diffuse, Normal (top), and Roughness (bottom)

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Blender Report.
Rendering

Fig. 7 – Rendered image of the final model

Fig.8 – Final model rendered in context

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Scaling
This process has been carried out following the size established in the Cer.es, so it may vary slightly.

Fig.9 – Different views of the 3D model showing front, back, sides, bottom and top perspectives

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Data Sheet.
Data

Cheese vat
Author

Alfar de Llamas del Mouro / Pottery Workshop from Llamas del Mouro

Site

Muséu del Pueblu d´Asturies

Origin

Llamas del Mouro

Creator

Alfar de Llamas del Mouro

Technique

Wheel-thrown; Modeling

Material

Ceramic

Date

Ca. 1925/1950

Purpose of

Cheese Production

Production
Size

20x18x16cm

Description
A cheese vat is used in the initial stage of the cheese-making process, and the holes in the surface are
made to allow the whey to escape through them. Also, this kind of pottery is known as 'black pottery,'
which is due to the smoke used during the firing process.

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

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Photogrammetry Report.
Component

Image Data
Orientation Report
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Number of input data

164

2.

Registered images count

156/164

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Points count

181908

4.

Total projections

739010

5.

Average images per tie point

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6.

Maximum reprojection error [pixels]

2.00

7.

Median reprojection error [pixels]

0.43

8.

Mean reprojection error [pixels]

0.55

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Fig. 1 – Composite 4 Views

Model Data
Poly Report
1.

High Poly Triangle count

25409184

2.

Low Poly Triangle count

74986

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Fig. 2 – High Poly

Fig. 3 – Low Poly

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Texturing Report.
Roughness and Levels

Fig. 4 – Before texturing with SP

Fig. 5 – After texturing with SP

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�PBR Textures

Fig. 6 – AO, Diffuse, Normal (top), and Roughness (bottom)

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Blender Report.
Rendering

Fig. 7 – Rendered image of the final model

Fig.8 – Final model rendered in context

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Scaling
This process has been carried out following the size established in the Cer.es, so it may vary slightly.

Fig.9 – Different views of the 3D model showing front, back, sides, bottom and top perspectives

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Data Sheet.
Data

Cheese vat
Author

Alfar de Llamas del Mouro / Pottery Workshop from Llamas del Mouro

Site

Muséu del Pueblu d´Asturies

Origin

Llamas del Mouro

Creator

Alfar de Llamas del Mouro

Technique

Wheel-thrown; Modeling

Material

Ceramic

Date

Ca. 1925/1950

Purpose of

Cheese Production

Production
Size

20x18x16cm

Description
A cheese vat is used in the initial stage of the cheese-making process, and the holes in the surface are
made to allow the whey to escape through them. Also, this kind of pottery is known as 'black pottery,'
which is due to the smoke used during the firing process.

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

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Photogrammetry Report.
Component

Image Data
Orientation Report
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Number of input data

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Registered images count

156/164

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Total projections

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Average images per tie point

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CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Fig. 1 – Composite 4 Views

Model Data
Poly Report
1.

High Poly Triangle count

25409184

2.

Low Poly Triangle count

74986

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Fig. 2 – High Poly

Fig. 3 – Low Poly

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Texturing Report.
Roughness and Levels

Fig. 4 – Before texturing with SP

Fig. 5 – After texturing with SP

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�PBR Textures

Fig. 6 – AO, Diffuse, Normal (top), and Roughness (bottom)

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Blender Report.
Rendering

Fig. 7 – Rendered image of the final model

Fig.8 – Final model rendered in context

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Scaling
This process has been carried out following the size established in the Cer.es, so it may vary slightly.

Fig.9 – Different views of the 3D model showing front, back, sides, bottom and top perspectives

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Data Sheet.
Data

Cheese vat
Author

Alfar de Llamas del Mouro / Pottery Workshop from Llamas del Mouro

Site

Muséu del Pueblu d´Asturies

Origin

Llamas del Mouro

Creator

Alfar de Llamas del Mouro

Technique

Wheel-thrown; Modeling

Material

Ceramic

Date

Ca. 1925/1950

Purpose of

Cheese Production

Production
Size

20x18x16cm

Description
A cheese vat is used in the initial stage of the cheese-making process, and the holes in the surface are
made to allow the whey to escape through them. Also, this kind of pottery is known as 'black pottery,'
which is due to the smoke used during the firing process.

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

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Photogrammetry Report.
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CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Fig. 1 – Composite 4 Views

Model Data
Poly Report
1.

High Poly Triangle count

25409184

2.

Low Poly Triangle count

74986

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Fig. 2 – High Poly

Fig. 3 – Low Poly

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Texturing Report.
Roughness and Levels

Fig. 4 – Before texturing with SP

Fig. 5 – After texturing with SP

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�PBR Textures

Fig. 6 – AO, Diffuse, Normal (top), and Roughness (bottom)

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Blender Report.
Rendering

Fig. 7 – Rendered image of the final model

Fig.8 – Final model rendered in context

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Scaling
This process has been carried out following the size established in the Cer.es, so it may vary slightly.

Fig.9 – Different views of the 3D model showing front, back, sides, bottom and top perspectives

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Data Sheet.
Data

Cheese vat
Author

Alfar de Llamas del Mouro / Pottery Workshop from Llamas del Mouro

Site

Muséu del Pueblu d´Asturies

Origin

Llamas del Mouro

Creator

Alfar de Llamas del Mouro

Technique

Wheel-thrown; Modeling

Material

Ceramic

Date

Ca. 1925/1950

Purpose of

Cheese Production

Production
Size

20x18x16cm

Description
A cheese vat is used in the initial stage of the cheese-making process, and the holes in the surface are
made to allow the whey to escape through them. Also, this kind of pottery is known as 'black pottery,'
which is due to the smoke used during the firing process.

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

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Photogrammetry Report.
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Image Data
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CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Fig. 1 – Composite 4 Views

Model Data
Poly Report
1.

High Poly Triangle count

25409184

2.

Low Poly Triangle count

74986

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Fig. 2 – High Poly

Fig. 3 – Low Poly

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Texturing Report.
Roughness and Levels

Fig. 4 – Before texturing with SP

Fig. 5 – After texturing with SP

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�PBR Textures

Fig. 6 – AO, Diffuse, Normal (top), and Roughness (bottom)

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Blender Report.
Rendering

Fig. 7 – Rendered image of the final model

Fig.8 – Final model rendered in context

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Scaling
This process has been carried out following the size established in the Cer.es, so it may vary slightly.

Fig.9 – Different views of the 3D model showing front, back, sides, bottom and top perspectives

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Data Sheet.
Data

Cheese vat
Author

Alfar de Llamas del Mouro / Pottery Workshop from Llamas del Mouro

Site

Muséu del Pueblu d´Asturies

Origin

Llamas del Mouro

Creator

Alfar de Llamas del mouro

Technique

Wheel-thrown; Modeling

Material

Ceramic

Date

Ca. 1925/1950

Purpose of

Cheese Production

Production
Size

20x18x16cm

Description
A cheese vat is used in the initial stage of the cheese-making process, and the holes in the surface are
made to allow the whey to escape through them. Also, this kind of pottery is known as 'black pottery,'
which is due to the smoke used during the firing process.

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

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              <text>Wet felting requires a combination of technical skills, artistic creativity, and knowledge of materials to successfully transform raw wool fibers into durable felted fabric. More complex pieces, such as garments, require some engineering skills such as tailoring, knowledge of materials and shrinkage, and knowledge of shaping felt. While wet felting is accessible to beginners, refining these skills allows artisans to create intricate and high-quality felted pieces.</text>
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              <text>Today, wet felting is primarily practiced by women who have learned the technique through various courses both locally and internationally. In the past, hatters relied on wet felting skills to create their products. However, modern hatmakers now purchase pre-made felt bases (such as cones), making traditional wet felting techniques largely obsolete in their craft.</text>
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              <text>Wet felting is still done using minimal tools, such as wooden boards, different rollers, and manual handwork, with soap to help fibers bond. Today modern felters use bubble wrap, specialized felting needles, and synthetic felting mats, felting machines and various modern tools that are not specifically designed for this use but are adapted by the craftsman to his own needs (e.g. electric sanding machines) to speed up and refine the process.</text>
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              <text>Biodiversity loss could affect breeding practices, especially of the breeds less economically profitable for the wool (on the account of meat). Material deterioration poses a significant threat to wet felting because it directly affects the quality, durability, and longevity of both raw materials (wool and fibers) and finished felted products. Modern wool processing processes can affect the material's abilities, and access to local wool is difficult in Slovenia.</text>
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              <text>Machine-made felt and synthetic alternatives, such as polyester felt, have largely replaced traditional hand-felted wool products, diminishing the demand for handmade felting. The rise of fast fashion and mass production has further shifted consumer interest away from artisanal felted goods, which require more time and craftsmanship. Additionally, modern textiles like acrylic and polyester blends offer a cheaper, more uniform, and durable alternative, making them more commercially appealing than labor-intensive wet felting.</text>
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              <text>A decline in youth engagement poses a significant threat to the future of wet felting, as fewer young people are learning and continuing the craft. The economic viability of handmade felting is uncertain, making it less attractive as a professional pursuit. There is also risk of reducing interest in traditional, time-consuming crafts like wet felting.</text>
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              <text>Products made with the wet felting technique are of a higher price class due to the labour intensive production. There is a limited market for such products in Slovenia, and artisans have to look for financial resources in several activities (e.g. workshops and trainings, selling products in different shops).</text>
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              <text>Traditional wet felting skills once essential for hat-making have been largely replaced by industrial production, leading to a decline in expertise and knowledge transmission. Local Slovenian wool is becoming harder to obtain due to changes in sheep farming, reduced wool processing facilities, and market competition from imported fibers. Wet felting products, once essential for everyday life (e.g., hats, footwear, textiles), are now seen as decorative or artisanal rather than necessities, reducing their cultural relevance and demand.</text>
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              <text>Wet felting supports various aspects of social sustainability by promoting gender equality, inclusivity, education, community development, and well-being. Wet felting is traditionally practiced by women, offering economic independence through small businesses, craft cooperatives, and fair-trade initiatives. Wet felting requires minimal equipment and can be adapted for children, seniors, and people with disabilities, making it an inclusive craft. Teaching wet felting helps safeguard cultural heritage and traditional craftsmanship. Schools, community centers, and art programs incorporate felting into hands-on learning, enhancing artistic expression, fine motor skills, and patience.Felting workshops, group projects, and cooperative ventures bring people together, fostering collaboration, social cohesion, and peacebuilding. The repetitive motions of felting are meditative and stress-relieving, making it useful in art therapy and mental health programs. Engaging in handcrafted work promotes mindfulness and well-being, counteracting the fast-paced digital world.</text>
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              <text>Wet felting aligns with environmental sustainability through its use of natural materials, low-impact production methods, and waste reduction strategies. Sourced from sheep, wool is biodegradable, renewable, and requires less processing than synthetic fibers. Using Slovenian or regionally sourced wool reduces the carbon footprint associated with imported textiles. Unlike synthetic fibers (e.g., polyester), wool does not release microplastics into the environment. Wet felting uses natural soap and water, avoiding toxic dyes or chemicals found in industrial textile production. Wool scraps and leftover fibers can be repurposed into smaller projects, insulation, or composted, minimizing textile waste. Wet felting is done manually, requiring no electricity-intensive machinery, reducing energy consumption compared to factory-based textile production. Felted wool products naturally decompose over time, unlike synthetic fabrics that contribute to landfill waste. Many felted products are sold at local artisan markets, reducing the environmental impact of long-distance transportation. Unlike industrial textile factories, wet felting is often done in small workshops or homes, reducing large-scale manufacturing emissions.</text>
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              <text>Wet felting supports economic sustainability by providing market access, income diversification, fair trade opportunities, and alternative economic systems. Wet felting allows individuals, especially in rural areas, to create and sell unique, handmade products such as accessories, clothing, and home décor. Many artisans practice felting as a secondary source of income, supplementing traditional farming, textile work, or other crafts. Unlike mass-produced textiles, felted products are often sold through fair trade networks, ensuring fair compensation for artisans. Wet felting provides employment opportunities for women, older adults, and rural communities, promoting economic inclusion. Handcrafted felted goods are often produced and sold within local markets, craft fairs, and sustainable shops, reducing reliance on globalized mass production. Felted products promote the slow fashion movement, discouraging disposable, fast-fashion consumption and supporting ethical production. Learning wet felting allows individuals to create their own textiles, reducing dependence on industrial products.</text>
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                <text>Wet felting is a traditional fiber art technique that transforms wool or other natural fibers into a dense, durable fabric by using moisture, heat, and agitation. The process involves layering raw wool, sprinkling it with warm, soapy water, and then repeatedly rolling, rubbing, or pressing the fibers together. As the wool’s tiny scales catch and bond, it forms a tightly interlocked material known as felt. This versatile craft is used to create everything from clothing and accessories to decorative items and art pieces, and it offers a tactile, hands-on way to explore the unique properties of wool.</text>
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                <text>https://www.loski-muzej.si/tovarna-klobukov-sesir/ http://www.amuse.si/opis.html https://www.loski-muzej.si/f/docs/e-publikacije/katalog-KLOBUK---oneline-katalog.pdf</text>
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                <text>Volnen filcan šal</text>
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                <text>Saša Babič</text>
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            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
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              <elementText elementTextId="4978">
                <text>iain</text>
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            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="4980">
                <text>image/jpeg</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="64">
            <name>License</name>
            <description>A legal document giving official permission to do something with the resource.</description>
            <elementTextContainer>
              <elementText elementTextId="4981">
                <text>Creative Commons Attribution-ShareAlike License</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="81">
            <name>Spatial Coverage</name>
            <description>Spatial characteristics of the resource.</description>
            <elementTextContainer>
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                <text>current,46.1664563015287,14.3072202679827;</text>
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        <name>Europeana</name>
        <description>Specific elements of the Europeana Semantic Elements.</description>
        <elementContainer>
          <element elementId="100">
            <name>Europeana Type</name>
            <description>The Europeana material type of the resource.</description>
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                <text>IMAGE</text>
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          <element elementId="99">
            <name>Europeana Rights</name>
            <description>Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal.</description>
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                <text>Saša Babič</text>
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  <item itemId="448" public="1" featured="1">
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          <name>Author</name>
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              <text>iain</text>
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        <element elementId="152">
          <name>Email</name>
          <description>The email address of the museum.</description>
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            <elementText elementTextId="4929">
              <text>anja@musek.eu</text>
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          </elementTextContainer>
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        <element elementId="153">
          <name>Phone</name>
          <description>The phone number</description>
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              <text>+386 31 855 468</text>
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          </elementTextContainer>
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              <text>Anja Musek, a landscape architect by profession, managed her own business for several years, specializing in garden and park design. However, as she sought greater professional fulfillment and creative expression, she discovered the art of wet felting. Driven by a profound passion for the craft, she transitioned from landscape architecture to textile artistry, transforming her hobby into a full-time profession that seamlessly integrates creativity, craftsmanship, and artistic innovation. In pursuit of a dedicated creative space, Anja and her husband (a violin maker) acquired an old house in the medieval town center of Škofja Loka, Slovenia. This building now accommodates her workshop where she designs and produces her handcrafted creations. At the entrance into the building, she has established a showroom and retail space, offering visitors the opportunity to explore and purchase her felted designs. Under her brand AMUSE, Anja Musek specializes in the creation of high-quality, handcrafted fashion accessories and garments, including scarves, bags, jackets, and jewelry. Employing the technique of wet felting, she crafts each piece by hand, ensuring exceptional attention to detail and material integrity.</text>
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          <name>External ID</name>
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          <name>Knowledge Acquisition</name>
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              <text>She learned the felting technique at workshops at the DUO Škofja Loka Handicraft Centre and is now building on it with her own ideas. She also participates in workshops and training courses abroad. She is always looking for new knowledge in the field.</text>
            </elementText>
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          <name>Knowledge Transfer</name>
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              <text>Anja also conducts various wet felting workshops, offering both group sessions and individual masterclasses. She teaches a range of techniques, from basic to advanced, primarily in her own studio but also as part of programs at the Škofja Loka Craft Center. Additionally, she collaborates with local schools and educational institutions, introducing younger generations to the art of felting. Recently, she has also conducted a workshop for design faculty students, further expanding her engagement in creative education.</text>
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          <name>Field Worker</name>
          <description/>
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              <text>Katarina Šrimpf Vendramin</text>
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              <text>female</text>
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              <text>incomer</text>
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              <text>She moved to Škofja Loka with her family around 2010 due to high housing prices in Ljubljana. She and her partner also saw Škofja Loka as a city of creators and artists.</text>
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              <text>Felting requires specific knowledge of the properties and processing procedures of the base material - wool. Knowledge of the wool of different breeds of sheep is required in terms of suitability for use (coarse wool, e.g. for carpets, furniture pieces, slippers; finer wool for clothing and personal products). It is necessary to know the entire production process (from conceptual design to product layout, shrinkage factor calculation, production of enlarged layout and templates, etc.). Design skills and a sense of aesthetics are also needed for high quality products.</text>
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          <name>material1</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="4945">
              <text>She works exclusively with natural fibers. As a base material, she primarily uses various types of wool, sourced from abroad, but also incorporates wool from indigenous Slovenian sheep breeds, though she notes that it is more difficult to obtain. In addition to wool, she enhances her creations with other natural fibers, such as silk, linen, ramie, and nettle, adding unique texture and depth to her designs. High-quality soap made from olive oil is also essential for her work, as it plays a crucial role in the felting process.</text>
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          <name>material2</name>
          <description/>
          <elementTextContainer>
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              <text>She sources her materials primarily from specialized companies abroad, mainly in Italy, while also obtaining a smaller quantity of wool locally.</text>
            </elementText>
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          <name>material3</name>
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              <text>In her wet felting technique and the way she works, there is no waste. Any material left over from one piece can be repurposed for another. She also designs all her creations according to the zero-waste principle, ensuring that no materials go unused. This approach extends to her seamless garments, which are crafted in a single piece, eliminating fabric waste entirely.</text>
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              <text>She works exclusively with the wet felting technique, which encompasses various subcategories, including nuno felting, cobweb felting, 3D or relief felting, and other specialized methods.</text>
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              <text>She completes most of the work by hand, as her hands are her primary tool. However, she also uses simple tools such as wooden smoothers and rollers, watering cans and sponges, and felting needles to assist in the process. She shortens certain processes using machines adapted for new purposes. For example, she utilizes a grinding machine to accelerate the felting process and a specialized felting machine to enhance efficiency while maintaining the craftsmanship of her work.</text>
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              <text>Tools serve primarily as occasional aids in her creative process, helping to streamline or shorten certain tasks that would otherwise be more time-consuming or physically demanding.</text>
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          <name>production4</name>
          <description/>
          <elementTextContainer>
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              <text>She completes most of the work by hand, but shortens certain processes using electric powered machines.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="259">
          <name>production5</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="4952">
              <text>In wet felting technique and the way she works, there is no waste.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="260">
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          <elementTextContainer>
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              <text>Anja has her own workshop and store, which she has set up in an old house in the historic center of Škofja Loka. The workshop is a spacious area, with storage cabinets along one wall where she keeps her materials. The space includes two large work surfaces, where she both creates her pieces and conducts workshops. On the opposite side, she has a felting machine, as well as a niche with a sink, water access, and a work counter. In the lower part of the house, she has two separate rooms—one slightly larger and the other smaller—both serving as her retail space, where she showcases and sells her handcrafted felted creations.</text>
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        <element elementId="261">
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          <elementTextContainer>
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              <text>She creates a wide range of products, including handbags, scarves (in various techniques), felted soaps, necklaces, brooches, footwear, clothing, bowls, and artistic wall pictures.</text>
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          </elementTextContainer>
        </element>
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              <text>She creates products exclusively for sale, as this is her primary source of livelihood.</text>
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          <description/>
          <elementTextContainer>
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              <text>She primarily sells her creations in her own store, with additional sales through online platforms and various shops specializing in handmade and artisan products.</text>
            </elementText>
          </elementTextContainer>
        </element>
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          <name>products4</name>
          <description/>
          <elementTextContainer>
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              <text>In addition to selling her products, she also offers group workshops, which she regularly conducts in her own studio or at the Škofja Loka Craft Center. She also provides individual, multi-week workshops or masterclasses, available through an online platform as part of the "Vacation with an Artist" experience.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="265">
          <name>products5</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="4958">
              <text>Yes, when customers purchase larger items, she provides guidance on proper care and maintenance, which helps minimize the need for repairs. As a result, she rarely has to make repairs, with the exception of felted slippers, which are the most commonly repaired items.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="266">
          <name>products6</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="4959">
              <text>Her customers are primarily middle-aged women who are highly educated and financially well-situated.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="267">
          <name>products7</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="4960">
              <text>All of her products carry the Art &amp;amp; Craft Slovenia certificate, issued by the Chamber of Craft and Small Business of Slovenia. Originally, this certification was intended to recognize high-quality artisan craftsmanship. However, in recent years, the standards and criteria have become somewhat less stringent.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="268">
          <name>tourism1</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="4961">
              <text>Her activity in leading individual workshops as part of the "Vacation with an Artist" program can also be seen as a tourism-related experience. So far, she has offered these workshops exclusively to international visitors.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="269">
          <name>tourism2</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="4962">
              <text>Polovica žensk, ki je prišla k meni, ni vedela, kje je Slovenija, preden so do mene prišle. Tako da bi rekla lahko, da spodbujamo [turizem] na ta način. So prišle dejansko se k meni učit. (0:46:30)</text>
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        </element>
        <element elementId="270">
          <name>partnership</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="4963">
              <text>Anja is a member of the Chamber of Craft and Small Business and the Škofja Loka Craft Center. She is also part of a textile hub, where she collaborates with three other local textile artisans on group projects. Together, they create large-scale textile installations for festivals such as BIEN (Biennial of Contemporary Textile Art Slovenia). However, she notes that she has limited collaboration with local institutions or academic organizations.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="271">
          <name>challenges1</name>
          <description/>
          <elementTextContainer>
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              <text>Anja highlights that craftsmanship is often perceived as merely a supplementary activity for older generations rather than a viable profession. She points out the widespread belief that one cannot make a living from crafts, a perception reinforced by the education system, which does not present craftwork as a legitimate career path. Another challenge she identifies is that, while handcrafted products are valued, their high price often deters customers, as many people do not fully appreciate the time, skill, and effort required to create such pieces. She also highlights the challenge that artisans often struggle to find time for developing new products or enhancing their skills, as they lack financial compensation or support for the time invested in innovation. Since their livelihood depends on the continuous production and sale of their existing products, dedicating time to creative development and professional growth becomes difficult.</text>
            </elementText>
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        </element>
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          <description/>
          <elementTextContainer>
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              <text>Anja highlights that craftsmanship is often perceived as merely a supplementary activity for older generations rather than a viable profession. She points out the widespread belief that one cannot make a living from crafts, a perception reinforced by the education system, which does not present craftwork as a legitimate career path. Another challenge she identifies is that, while handcrafted products are valued, their high price often deters customers, as many people do not fully appreciate the time, skill, and effort required to create such pieces. She also highlights the challenge that artisans often struggle to find time for developing new products or enhancing their skills, as they lack financial compensation or support for the time invested in innovation. Since their livelihood depends on the continuous production and sale of their existing products, dedicating time to creative development and professional growth becomes difficult.</text>
            </elementText>
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        <element elementId="273">
          <name>references</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="4966">
              <text>http://www.amuse.si/my-story.html https://www.centerduo.eu/kreativnice/anja-musek/ https://365.rtvslo.si/arhiv/vizionar-obrtnik-in-podjetnik/175079215 https://www.ra-sora.si/razstava-anja-musek-amuse/</text>
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        </element>
        <element elementId="109">
          <name>Social Media</name>
          <description>The social media links.</description>
          <elementTextContainer>
            <elementText elementTextId="4968">
              <text>facebook,https://www.facebook.com/AMUSEbyAnjaMusek;instagram,https://www.instagram.com/amusebyanjamusek/;</text>
            </elementText>
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        </element>
        <element elementId="108">
          <name>Wiki</name>
          <description>A link to a wiki entry about this item.</description>
          <elementTextContainer>
            <elementText elementTextId="4969">
              <text>https://culturality.museum/wiki/index.php/Musek,_Anja</text>
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          <name>AI Content</name>
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          <elementTextContainer>
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              <text>Chat GPT was used to summarise and translate the text</text>
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                <text>current,46.1663222982793,14.307308507957;</text>
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                <text>Musek, Anja</text>
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                <text>http://www.amuse.si/</text>
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              <text>Artist Anja Musek in her shop</text>
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| BA (Hons) | | Professional member of Visual Arts Scotland | | Member of Crafts Scotland | | Professional member of Applied Arts Scotland | | Professional member of Scottish Artists Union |&#13;
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| Inches Carr Award winners 2019 |&#13;
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| Publications &amp; Features |  | Elle Decoration | Elle Country | Homes and interiors |  Vogue | Modern Rustic| Country Living | Scotland on Sunday | Herald | Scotsman | Financial times | FX Magazine |</text>
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            <description>The name of the country of the data provider or “Europe” in the case of Europe-wide projects.</description>
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                <text>Sweden</text>
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          <name>Institutional nature</name>
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              <text>Cultural Heritage</text>
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          <name>Social Media</name>
          <description>The social media links.</description>
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                <text>&amp;Aring;motfors Folkets Hus</text>
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                <text>141</text>
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            <description>Spatial characteristics of the resource.</description>
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            <description>Date on which the resource was changed.</description>
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        <description>Specific elements of the Europeana Semantic Elements.</description>
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            <description>The Europeana material type of the resource.</description>
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                <text>Åmotfors Folkets Hus</text>
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                <text>https://www.fhamotfors.se</text>
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          <name>Social Media</name>
          <description>The social media links.</description>
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            <description>An account of the resource</description>
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        <description>Specific elements of the Europeana Semantic Elements.</description>
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            <name>Description</name>
            <description>An account of the resource</description>
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            <description>Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal).</description>
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            <description>An entity responsible for making contributions to the resource</description>
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            <description>Spatial characteristics of the resource.</description>
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        <description>Specific elements of the Europeana Semantic Elements.</description>
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            <name>Europeana Type</name>
            <description>The Europeana material type of the resource.</description>
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            <description>The name of the country of the data provider or “Europe” in the case of Europe-wide projects.</description>
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        <element elementId="187">
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              <text>AAS_PR_02</text>
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        <element elementId="130">
          <name>Prim Media</name>
          <description/>
          <elementTextContainer>
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              <text>920</text>
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        <element elementId="152">
          <name>Email</name>
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              <text>Mark Stockl is a traditional boat builder who restores, repairs, designs and builds traditional timber boats. Based near Ullapool in the highlands of Scotland he has been working on a self-employed basis since 2006 after working at Ullapool Boat Buulders and prior to that completing an intensive, traditional boat building course in Lowestoft, Suffolk.</text>
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              <text>Mark "messed around in boats" throughout his childhood but his first career was as musican (classical guitarist). After becoming disillusioned with the music industry he chose to study traditional boat building at a boat building school Lowestoft in Suffolk. This was a year-long, intensive course where students spent at least 6 - 8 weeks leanring high-level joinery skills before being shown boat building techniques. after this course, Mark applied for and got a job advertised at The Ullapool Boat Builders in Scotland. In 20026 he established his own business after the Ullapool Boatbuilders closed.</text>
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              <text>Extensive. An understanding of the traditional wooden boat building techniques and ability to apply them through thousands of hours of practice. The sequence in which the techniques need to applied and how to accommodate solo working to accomplish the highest quality. There is an aesthetic quality to wooden boats but fundamnetally thay are a functional item used to carry people in water. The traditonal wooden 'Sgoths'. that Mark can build from start to finish, or repair, are used for sailing in some of the most challenging sea areas in Scotland.</text>
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              <text>Due to traditional techniques being used there are are very little leftovers, with the long thinner pieces of the planks being used in the final fittings of the boat. When the edges of the planks are trimmed, these are burnt and not used in the build becasue they are weaker.</text>
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              <text>The Making process of a New Boat requires the following techniques / stages of production (recorded from -35.00 on AAS_PR_002(INTVW)). SHAPE Determining the shape of the boat is the first stage. The client has an input at this point and Mark has a selection of moulds/temporary forms that he uses to create these shapes. Mark ‘builds by eye.’ Although he has in the past worked from technical drawings, he finds the process restrictive. Once a shape has been determined the backbone or the ‘keel’ is placed with three of the selected moulds at the stern, bow and in the middle. The structure is braced/racked to retain the shape. PLANKING Planking can then commence. The height and ‘sheer’ of the boat will have been calculated at this stage. The ‘sheer’ is the shape of the boat from the bow to the stern. If a boat rises slightly at the bow and the stern they can throw more water off, this makes them good sea boats. Planking (the process of layering the lengths of wood that form the sides of the boat) is completed in pairs. Retention of symmetry is important at this stage. There are also different planking techniques. For example, on AAS_AR_10 (the boat being restored in the AAS_PR_02(INTVW)) is a ‘clinker’ boat. This means the planks overlap each other. In other wooden boats, such as ‘Carvel’ ones, the planks are layered on top of each other. RIBS After planking, the moulds can be removed and the ribs placed and fixed. The ribs are made from oak and after being cut by machine they are put in a steam box for 30 – 45 minutes. Once removed from the steamer there is a window of 15 seconds for them to be placed and fixed. Because of this, their positions are pre-marked on the hull of the boat and placement nails are positioned in pre-drilled holes, ready for one person to hold the rib in place and another working on the underside of the boat to hammer the copper nails through the planks and into the rib. The steamed oak accepts these nails and shaping. A process of ‘Roving’ – application of copper rivets on the ends of the nails, completes the fixing of the ribs. After this process the boat retains its own rigidity. FITTING OUT This process involves the fitting of the seats, gunnels, rub strips etc and is the longest stage of the process. It takes six months to build a wooden boat using traditional techniques (as described).</text>
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              <text>Very little waste is generated due to traditional build techniques being used. The thinner pieces of the planks are used in the finishing of the boat. Any left over sections which are mostly the edge of the planks (which is weaker and less stable for boat building) is used as fuel in Mark's stove - this provides heat for the workshop.</text>
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          <element elementId="61">
            <name>Date Modified</name>
            <description>Date on which the resource was changed.</description>
            <elementTextContainer>
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                <text>11/25/2025 03:07:16 pm</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
      <elementSet elementSetId="4">
        <name>Europeana</name>
        <description>Specific elements of the Europeana Semantic Elements.</description>
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          <element elementId="100">
            <name>Europeana Type</name>
            <description>The Europeana material type of the resource.</description>
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                <text>TEXT</text>
              </elementText>
            </elementTextContainer>
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          <element elementId="93">
            <name>Europeana Data Provider</name>
            <description>The name or identifier of the organisation that contributes data to Europeana.</description>
            <elementTextContainer>
              <elementText elementTextId="2696">
                <text>Isle of Harris Distillery</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="92">
            <name>Country</name>
            <description>The name of the country of the data provider or “Europe” in the case of Europe-wide projects.</description>
            <elementTextContainer>
              <elementText elementTextId="25572">
                <text>Scotland</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
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    </elementSetContainer>
  </item>
</itemContainer>
