Scansite

Scansite Apollo project featured in The North Bay Business Journal

David Bassett — Wed, 18 Sep 2019 04:02:55 +0000

San Francisco Giants fans are lining up at Oracle Park these days, looking for the chance to get a picture – not with a player, but with a painstakingly recreated statue of the spacesuit used by Neil Armstrong to walk on the Moon 50 years ago.

The suit, one of 15 on display at major league parks, is the result of a collaboration which included the National Air and Space Museum and Scansite 3D, a San Rafael-based 3D technology company with previous projects including creating props for the movies.

"I was 10 years old when Neil Armstrong walked on the Moon. I remember it so vividly. It's the only time in my life when the entire world just stopped and took notice. I feel really fortunate to have been a part of this," said Lisa Federici, CEO and co-founder of Scansite 3D.

The 12-person Francisco Boulevard firm, located a few miles from Skywalker Ranch, worked with artists from Lake County and Sacramento as well as Form 3D Foundry, a Portland-based studio and fabricator. Together, the group worked to create a statue of the suit using computer-generated models to produce astronaut-sized molds. The effort was part of the Museum's "Apollo at the Park" campaign.

Explaining the creation process

In December 2018, Scansite learned the Smithsonian's National Air and Space Museum had selected it to undertake the project. From then on, Scansite was on a tight schedule, especially with the federal government shutdown that lasted from December to January.

The statues were created through several steps. First, the Smithsonian's Digitization Program Office scanned the suit in Washington, D.C. The office then sent large data files of the 3D scan to Scansite. Scansite edited the data supplied by the office, then used specialized software to reduce the file to a manageable size that could be handled by Form 3D Foundry. Scansite also cleaned up the data. Form 3D Foundry separated the data file into 16 smaller sections. It printed them in a porous acrylic material that was infused with epoxy resin afterwards.

Next, Form 3D Foundry assembled a "master model" of the space suit. This model served as the mold for all the statues through a process called rotocasting. From that mold, Wesco Enterprises, a Sacramento company, rotocast the 15 statues.

hree artists hired by Scansite then hand-painted all of the statues. Finally, Keith Monument Company of Elizabethtown, Kentucky, affixed a granite base to each statue. Keith Monument Company also facilitated installation of the statues at the MLB ballparks.

Scansite served as the primary contractor on the project, with all parties except the National Air and Space Museum under its umbrella.

Challenges in making the suit

Making the statues accurate and durable required patience.

Libby Carruth, lead sculptor for Form 3D Foundry, said her company's task was to print and assemble the master model for the statues.

"We started building it (the master model) on a table, but once we got to the hips and waist, we stood it up on the ground. At one point, a ball bearing from a tool fell into the partially assembled model. We had to hold it upside down and shake it out, like shaking change out of a pants pocket," said Carruth.

Carruth said the finished master model was very light, "only about 50 pounds."

Form 3D Foundry also oversaw the creation of a custom crate for the master model.

"The shipper put the printed spacesuit in the crate and then inflated foam all around it, so it would be protected during transport. It looked like some sort of bizarre coffin," said Carruth.

She said Scansite was an excellent partner all through the process, "providing data that was so good we couldn't see where they had cleaned it up."

Wesco Enterprises then received the master model in its Sacramento warehouse.

Paula Slater, a Lake County sculptor, sculpted refinements onto the master model to ready it for molds and casting in resin. After Wesco cast 15 statues of the master model, she and her husband, Chris Slater, painted many layers of enamel and acrylic paint on the ports, stitching, buckles, and other details of the suit statues.

Olivia Coelho, a Sacramento artist, provided part-time assistance with these tasks. Paula Slater then Photoshopped the NASA patches and decals, which were printed on cloth and cemented onto the statues.

"We (the Slaters) worked closely with the National Air and Space Museum sending photos and videos throughout the creation process. When we were done with the first one, (they) asked us to "dirty it up" a bit. The legs and knees needed to look like they were smudged with moon dust," said Paula Slater.

She attended a July 20 "Apollo 11 Day"at Oracle Park along with the Scansite team. She added people reacted very positively to the statue.

"People posed with it in all different ways, wanting to brush up against it and feel it. Two or three little children were scared because they thought someone was inside the spacesuit. Then when we showed them there wasn't, they had fun posing with it," said Paula Slater.

Coelho, who was born in 1975, said before she helped paint the statues, the Moon landing "was in the realm of Star Wars and Star Trek."

"Being literally inches away from the statues took it (the Moon landing) out of the realm of lore and legend into reality," said Coelho.

Samia Khan, project specialist for the National Air and Space Museum, said Scansite did an amazing job on the statues.

"The surface level of detail is excellent. Public reception to the statues has been incredible," said Khan.

Khan added Scansite's work helped bring the momentum and experience of the Moon landing to people around the country.

"I think this was a very unique and exciting way to share one of our most treasured artifacts. There's a whole generation of children that didn't grow up with the Moon landing. Bringing that excitement to life was really special," said Khan.

Scansite and Apollo at The Park

David Bassett — Fri, 06 Sep 2019 09:06:23 +0000

The sweet spot between technology and craftsmanship

The stakes were high when the Smithsonian Institution’s Air and Space Museum contacted Scansite to create 15 replicas of Neil Armstrong’s iconic spacesuit. Not only did the Museum want the replicas to be truly faithful to the original, they wanted them to be so exact that viewers today could experience the same magic of that fateful day 50 years ago when Armstrong became the first man to walk on the moon. The life-size, interactive “Apollo at the Park” replicas were in made in conjunction with the Museum’s 50th-anniversary celebration. “Baseball parks are the perfect venues for new generations to learn more about that summer night on July 20, 1969,” said Ellen Stofan, director of the National Air and Space Museum. “The spacesuit replicas allow us to bring a piece of Apollo to Americans everywhere.” Making such faithful replicas meant a considerable amount of creative thinking was needed and is exactly the kind of project that Scansite is known for. “The first question we ask,” according to Scansite’s CEO, Lisa Federici, “is where do you want to be at the end of the day? Then we work backwards from there to come up with a reasonable solution within a budget. Often time, with projects like the Smithsonian’s, there’s going to a sweet spot between technology and craftsmanship.”

Breuckmann structured light scanner

The project began in Washington D.C. where high-resolution 3D scanning was conducted on the original spacesuit. The scanning presented significant challenges as the suit was made from several different types of material and included detail such as hand stitching, insignia patches, see‐through gauges, metal ports, gloves, boots, and Velcro. The suit also needed to be scanned upright and could not be moved during the process. This meant the material folded onto itself which created numerous undercuts and hidden surfaces. The heavy lifting portion of the scanning was completed using a Breuckmann structured light scanner and a Faro touch probe. Once the data acquisition was completed, the file size amounted to over 5.3 gigabytes of information! The “Apollo at the Park” replicas are now on display at 15 MLB ballparks around the country and available for augmented reality experiences and photo opportunities throughout the summer and fall at 15 MLB locations:

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Scansite3D Creates Replicas of Neil Armstrong’s Spacesuit

David Bassett — Thu, 29 Aug 2019 21:57:16 +0000

San Rafael, CA

August 14, 2019

Scansite3D Creates Replicas of Neil Armstrong’s Spacesuit for the Smithsonian Institution’s Air & Space Museum’s 50^th Anniversary Celebration.

The life size, interactive “Apollo at the Park” replicas were in made in conjunction with the Museum’s 50^th anniversary celebration. “Baseball parks are the perfect venues for new generations to learn more about that summer night on July 20, 1969,” said Ellen Stofan, director of the National Air and Space Museum. “The spacesuit replicas allow us to bring a piece of Apollo to Americans everywhere.”

Making such faithful replicas meant a considerable amount of creative thinking was needed and is exactly the kind of projects that Scansite is known for. “The first question we ask,” according to Scansite’s CEO, Lisa Federici, “is where do you want to be at the end of the day? Then we work backwards from there to come up with a reasonable solution within a budget. Often time, with projects like the Smithsonian’s, there’s going to a sweet spot between technology and craftsmanship.”

The project began in Washington D.C. where high resolution 3D scanning was conducted on the original spacesuit. The scanning presented significant challenges as the suit was made from several different types of material and included detail such as hand stitching, insignia patches, see-through gauges, metal ports, gloves, boots and Velcro. The suit also needed to be scanned upright and could not be moved during the process. This meant the material folded onto itself which created numerous undercuts and hidden surfaces.

The heavy lifting portion of the scanning was completed using a Breuckmann structured light scanner and a Faro touch probe. Once the data acquisition was complete, the file size amounted to over 5.3 gigabytes of information!

The next step of the process was to edit the data to create a watertight STL file in order to build a 3D print. Data editing on an object where the scanners had so many challenges meant a lot of missing information was going to need to be repaired. By using the surrounding topology of each hole as a guide, the engineers were able to fill in the missing information with the right curvature to get the data ready for 3D printing.

The 3D scan data was then used to create a full-scale, 3D print of the entire spacesuit. Using a 3D printer called a Voxeljet, the spacesuit was printed in 16 separate panels with a consistent wall thickness of .2″. The panels were printed with tongue and groove edges to aid in the assembly and also to increase the integrity of the seams. Internal ribbing was integrated throughout for additional strength. The print resolution of a Voxeljet is 600 dpi and a full build consists of 3,333 individual layers; each having 150 microns per layer.

After printing the porous acrylic material, the panels were infused with epoxy which made them roughly 80% solid resin after infusion. The 16 separate sections were glued together and the full scale, finely detailed, 3D printed master model was complete!

The master model was then used to create a mold and 15 roto-cast resins were poured. Each casting was fitted with an armature and back filled with rigid foam.

The next step, and where the craftmanship part of the process comes in, was to hand-sand and hand-paint every copy. In 1969, NASA had developed custom paints to protect the metal ports, and particularly the visor, from the effects of the sun. There are no paints available today that are the same colors; therefore, research was conducted to create custom paints to match exactly. The artists also had to take care to make sure that each replica was the same as every other replica; including the hand stitching, see-through gauges, metal ports, gloves, boots, Velcro and moon dust!

The final step was to finish the replicas with a tough, autobody clear coat and mount each one on an engraved granite base.

Once the 15 replicas were completed, the Museum had one last thing they wanted to do to create even more magic for “Apollo at the Park!” An augmented reality app was developed that allows visitors to hold their phone over the spacesuit’s insignia patches and facts about the Apollo 11 moon mission appear!

The “Apollo at the Park” replicas are now on display at 15 MLB ballparks around the country and available for augmented reality experiences and photo opportunities throughout the summer and fall at the following locations:

Atlanta Braves
Boston Red Sox
Chicago Cubs
Cleveland Indians
Cincinnati Reds
Colorado Rockies
Detroit Tigers
Houston Astros
Minnesota Twins
New York Yankees
Pittsburgh Pirates
San Francisco Giants
Seattle Mariners
Tampa Bay Rays
Washington Nationals

Additional photos and videos about the project can be made available upon request.

For more information, please contact:

pr@scansite.com

(1) 415 488-9500

www.scansite3d.com www.3daas.com

3D Scan Data cut into sections for 3D printing

Detail of high resolution 3D scan data

Cast resin models awaiting post-finishing.

Finished model on display at the Atlanta Braves Stadium.

Facebook 3D Feed Enables 3D Content Created by Scansite3D 3DaaS Asset Creation Service to be Displayed on Social Media

David Bassett — Tue, 15 May 2018 04:16:47 +0000

For Immediate Release

San Rafael, California, February 20, 2018 –

Scansite3D 3DaaS (3D-as-a-Service) is an integrated process for creating high resolution, photorealistic, 3D digital assets from client’s existing objects for Retail, E-Merchandising, AR/VR, and the Experience Economy.

Scansite3D’s pioneering 3DaaS^TM 3D assets can now be seamlessly shared as 3D posts on Facebook. With their compelling and lifelike qualities, 3DaaS^TM assets provide the impactful, emotion-driven storytelling that’s needed to capture the attention of consumers. Specifically designed for retail, e-merchandising, AR/VR and the experience economy, 3DaaS^TM assets are agile, flexible and can adapt quickly to companies ever-changing needs.

The new feature, which allows people to interact with 3D objects free from the confines of a headset, will introduce Facebook’s users to the delight and surprise of the 3D experience. With today’s update, Scansite3D’s 3DaaS assets in 3D posts will give merchandisers a universal and powerful tool to interact with their audience through 3D content without having to revamp their workflow.

Merchants need a flexible approach to showcase their goods across all media channels including print, web, mobile and social, without having to bear the burden and expense of creating multiple 2D images for each purpose. Consumer’s expectations of digital experiences that are tailored to their interests and needs are higher than ever before. A seamless, omni-channel marketing program is the new reality for retail.

The Scansite3D – 3DaaS “create once, use again and again” approach allows merchandisers to repurpose 3D images for all applications and greatly reduces the need to photograph or graphically re-create the same item simply to change the color, material, viewing angle, etc. 3DaaS assets created by Scansite3D are also dimensionally accurate and can be used in all consumer-facing shopping tools such as 3D catalogs and websites, animations, touch screen interactives and virtual floor planning.

Combining patent-pending 3D scanning, photogrammetry, CAD, and proprietary techniques, 3DaaS is an end-to-end service that creates rich, optimized, and complex 3D assets for use in any 3D application on any media. Products ranging from household goods to works of art and anything that physically exists can now be beautifully created digitally in 3D with life-like, stunning detail!

“The world is moving to photorealistic 3D digital images and away from “flat” 2D photography across all media types,” said Lisa Federici, CEO of Scansite3D. “We are very excited about using Facebook’s latest technology to bring forth this enhancement to the user experience.” Facebook’s easy to use 3D posts, combined with Scansite3D – 3DaaS assets, lets retailers forget about the technology and focus on sales.

Scansite3D is now offering 3DaaS^TMas an end-to-end service to merchant customers. Depending on volume, 3D digital capture service can also be implemented at the customer’s site or warehouse. For more information, please visit: https://www.scansite-3daas.com/

Scansite3D Founder and CEO, Lisa Federici, Chosen for 2018 Elite Group “50 influential & inspiring women in 3D printing”!

David Bassett — Tue, 15 May 2018 00:56:23 +0000

SAN RAFAEL, California – March 8, 2018

3Ders.org has chosen Scansite3D Founder and CEO, Lisa Federici, for its 2018 elite list “50 influential & inspiring women in 3D printing”

Today is International Women’s Day. A day for women all over the world and from all walks of life to not only celebrate the massive strides in women’s rights and freedoms over the past century, but to acknowledge and recognize the ongoing equality struggles that exist across the globe and in all sectors of society.

I feel this Women’s Day will hold a particular significance, as certain aspect of women’s inequality have been brought to the fore over the past year with the #MeToo campaign. Not only have women loudly announced things that make a woman’s existence unique and challenging, but in voicing these issues, we have been united and determined.

The technology field, still mostly dominated by men, has undergone criticisms over the past year as well for a trend of gender-based discrimination. This past November, The New Yorker’s Sheelah Kolhatkar wrote an illuminating piece on the problem, and we’d be remiss if we didn’t mention engineer Susan Fowler’s account of working for Uber.

In light of these ongoing struggles for women in tech, we at 3Ders want to highlight and celebrate some of the women who have made and are making an impact in the 3D printing industry. These are women who have not only contributed to the advancement of the technology and its applications but who have helped to challenge and begin to break down barriers in the field.

From scientists to company founders, makers, engineers, and designers, women have played a crucial role in the proliferation of 3D printing across a number of industries. To recognize some of these inspiring women, we’ve compiled a (non-exhaustive) list of influential women in the industry: http://www.3ders.org/articles/20180308-womens-day-2018-50-influential-and-inspiring-women-in-3d-printing.html

3D Scanning and Classic Automobiles

David Bassett — Tue, 24 Oct 2017 01:49:51 +0000

October 23, 2017

Author: Somerset Bassett

At Scansite3D, we have seen a marked increase in interest from legacy automobile owners. 3D scanning has fully captured the imagination of the classic car community and for good reason, too! It was 25 years ago that Scansite3D milled its first buck from scan data; and we still mill them, but now we also 3D print replacement parts and even redesign entire engines using the scan data as a starting point.

The growth of rapid prototyping technologies such as 3d printing and the ability to CNC parts in metal with high precision, have vaulted scanning technology to the forefront. Scansite3D has been creating extremely accurate scan data for some time, but now more than ever, machine shops and manufacturers have multiple options to utilize it. In other words, the industry is catching up!

The applications for using 3D scanning on classic cars are varied and growing rapidly. Uses include making replacement parts, repairing broken components or simply documenting the as-built condition of the automobile. And let’s not forget – buck making and sheet metal fabrication! Scanning and reverse engineering facilitates efficiency improvements, inspection, easier production, and even the ability to change materials to create lighter or stronger parts.

However; just like the restoration of a classic car, the success of a project rests entirely on the process and all scanners are NOT created equal. Reproducing a windshield, for instance, which matches the exact dimensions of an existing part, which was made by hand, can only happen if you start with a highly accurate 3D scan. Otherwise, errors that are inherent with inferior data will ‘stack’ and the results can be disastrous.

At Scansite3D, all our scanners are Aerospace certified and our engineers and support staff are the most experienced in the business. Spending time and money on a poor scan, and then manufacturing parts from it, can be a frustrating and expensive experience. Those who bring their engineering projects to Scansite3D, receive 25+ years of scanning and engineering know-how, as well as, the deep understanding of how to use the data once it goes out the door.

3D scanning engine compartment of 1953 Jaguar C-Type with structured light scanner

Scansite3D Creates New ‘Best in Show’ Trophies for Pebble Beach Concours d’Elegance

David Bassett — Fri, 13 Oct 2017 23:53:37 +0000

For Immediate Release

PEBBLE BEACH, CA – August 20, 2017

The ‘Best in Show’ trophy of the Pebble Beach Concours d’Elegance classic car show, was originally found in a Paris antique shop 15 years ago by former show chairman, Jules Heumann. In awe of its classic beauty, Mr. Heumann instantly knew that the two-foot, solid silver cup was the appropriate item to become the perpetual Best in Show award.

Fast forward to 2016, and Mr. Heumann will tell you that as lovely as the perpetual trophy is, it always bothered him that the d’Elegance didn’t have something equally unique to impart on the automobiles that are named Best in Show. It was his thought that the d’Elegance should give the winner something to equal the fame and respect that an automobile earns by winning there. Jules Heumann set out to solve this problem by reaching out to Scansite3D.

The first step in every Scansite3D project is to create unparalleled, tier one 3D data. We accomplish this by using aerospace grade, structured light scanners and employing the most experienced 3D engineers in the industry.

After the cup was scanned, we made a couple of changes as prescribed by Mr. Heumann. We digitally relocated the d’Elegance emblem slightly down from its original spot and decreased the size by 50%. The reduction in size also meant that the handles needed to be redesigned so as to fit properly within the new scale.

We then called upon our one of our manufacturing partners to 3D print the cup in high resolution, using Vero Blue resin material (pictured). The 3D print was used as a positive to create a latex mold for traditional bronze casting. The initial run consisted of six trophies which will supply the d’Elegance for the next six competitions. After that, we will use the mold to create to make additional trophies as needed.

The original trophy is solid silver. To maintain the same feel, the copies had to be silver too. So the last step was to have the new awards plated in silver and polished to a high gloss, just like the original Mr. Heumann found in that Parisian antique store all those years ago.

Scansite3D is well known for accomplishing many unique and unusual projects such as the new Concours d’Elegance, ‘Best in Show’ award and our toolbox of rapid manufacturing techniques are unparalleled in the industry. Contact us now to find out more.

Reverse Engineering Legacy Parts for 1938 Talbot Lago

David Bassett — Wed, 05 Apr 2017 19:18:48 +0000

Author: Somerset Bassett

The 1938 Talbot Lago bevel gear we were asked to reverse engineer required a CAD file to create new parts. These parts wear over time and the originals have not been supported since Lago was sold in 1958. We began by scanning the object with an aerospace grade Breuckmann optical scanner which captures every detail, including the wear, to within 10 +/- microns. From there, the data is transformed through the use of several CAD (computer assisted design) packages. Beginning as an .STL file, which has severe limitations in CAD and CAM software, the data results in a parametric CAD file which can be used in all state of the art design and manufacturing processes. Because of the accuracy of our scanners and accruement of our engineer team, our files are often determined to be better than the original parts.

Many companies do not support their past models with replacement parts, even if the product is still in high demand. This happens for many reasons; companies change hands, drawings and molds are lost, and businesses go under. Mechanics and enthusiasts often anticipate these issues and stock up on many essential parts. Other items, unfortunately, have become increasingly scarce which is why we are called upon to recreate these historic parts.

This is not an uncommon problem. The best example being the A-10 Warthog, a military plane that specializes in close combat air support for ground troops. Prior to the second Gulf War, the plane had been retired and, in classic military fashion, the manufacturing molds were destroyed. However; as the slow speed of the plane made it a favorite of ground troops, the last 10 vehicles in working condition were in extremely high demand. The military contracted extensive 3D scanning and reverse engineering work to recreate functional molds to make replacement parts for those that were worn out or destroyed in combat. With the help of 3D scanning and skilled CAD and CAM work, the planes can continue to support the troops.

Founder and CEO, Lisa Federici, Chosen as One of the Most Influential Women in 3D Printing Industry!

David Bassett — Sat, 11 Mar 2017 01:03:44 +0000

SAN RAFAEL, California – March 6, 2017

In honor of 2017 International Women’s Day, Scansite3D is extremely proud to announce that founder and CEO, Lisa Federici, has been chosen as one of the most influential women in the 3D printing industry!

This honor is meant to highlight and celebrate some of the women who have made an impact within the 3D printing industry and who have not only contributed to the advancement of the technology, but who have helped to challenge gender barriers in the tech field.

Hats off to Lisa and to all women around the world that strive to make a difference!

See the entire article at : http://www.3ders.org/articles/20170308-43-influential-women-in-the-3d-printing-industry.html

Scansite3D Creates New American and National League Batting Champion Awards for Major League Baseball

David Bassett — Wed, 20 Jul 2016 01:48:40 +0000

2016 All Star Game – San Diego, CA

For Immediate Release – July 20, 2016

San Rafael, CA Scansite3D presented their contribution to Major League Baseball with the unveiling of two new trophies that were presented during pregame festivities at the 87^th All-Star Game played at Petco Park in San Diego. The new awards honor Baseball Hall of Famers Tony Gwynn and Rod Carew and the players who earn the highest batting averages annually in each League, will now be known as the “Tony Gwynn National League Batting Champion” and the “Rod Carew American League Batting Champion”. The new awards were made by combining the technologies of high resolution 3D scanning and 3D printing with the craftsmanship of lost wax bronze casting.

When MLB first approached Scansite3D to create the awards, there were two potential major complications. The first was that the League was counting on using 3D scan data previously acquired from projects completed in 2007 and 2010 and, secondly, they only had two weeks to get the entire project finished! Luckily for the League, Scansite3D has over two decades of experience doing high profile projects and a reputation for creating the highest resolution 3D scan data available in the industry.

The original Gwynn statue was crafted by William Behrends, who also sculpted the statues of Willie Mays, Willie McCovey and Juan Marichal outside the San Francisco Giants’ ballpark. The original Rod Carew statue was created by Bill Mack, who was also the artist for the Kirby Puckett and Harmon Killebrew statues at the Twin’s stadium.

The first step of the project was to extract the 3D data from Scansite3D’s archive and confirm it was as viable today as it was when it was created. Using 3D scan data made so long ago could have been a problem with how fast technology changes. “We’ve been pushing the boundaries of 3D scanning and 3D printing technology since 1991 so we were confident that the data we made back then would be just as sharp and accurate as any we create today,” says Scansite CEO, Lisa Federici.

Once the 3D scan data was validated, it was scaled appropriately for trophy size and the task turned to creating the highest definition 3D printed prototypes available to use as master patterns for the new bronzes. Whether or not the detail would show up on the 3D prints was completely reliant on the detail that was captured in the original 3D scan file. There was no time in the schedule to work on either, so the scan data needed to be perfect and the 3D prints needed to be crisp. The 3D printed maquettes turned out beautifully!

After the 3D prints were produced, rubber molds were made over each figure and waxes were produced. The wax models made were an exact duplicate of the 3D prints. Once formed, the waxes were pulled from the molds, hand chased, and wax rods (gates) were attached to the wax castings in just the right positions.

The next step was to dip the new waxes into alternating layers of investment liquid and sand several times, creating ceramic molds. Between each dip, the ceramic layer must cure before another layer can be applied. The ceramic shells were then placed in a kiln and fired, and the wax was melted (lost) from the shells creating hollow molds. Thus the term, “Lost Wax”.

The ceramic molds were then removed from the kiln and the molten bronze was immediately poured into them. At the time of pouring, the bronze was 2100 degrees Fahrenheit. After the castings cooled several hours, the shells were carefully broken away leaving the unfinished bronze pieces. Next, the pieces were inspected, welded together, and the weld marks chased and re-detailed. Lastly, the new bronzes were sandblasted, hand polished and patinas were applied.

The finished bronze figures were permanently affixed to handmade, cherry wood bases, brass plaques were placed on the fronts and the new “Tony Gwynn National League Batting Champion” and the “Rod Carew American League Batting Champion” awards were created…. and in less than 2 weeks!

“We’re thrilled to have had the opportunity to work with such a distinguished institution as Major League Baseball”, said Scansite’s Lisa Federici. “And we’re familiar with what it takes to accomplish substantial projects under seemingly impossible circumstances. But the real reward came from the joy expressed by the Carew and Gwynn families and seeing the faces in the crowd react at the ballpark.”

About Scansite3D

Scansite3D is an internationally acclaimed 3D technology company based in San Francisco. With the expertise and attention to detail necessary to cater to world-class museums or aerospace companies, Scansite3D provides state-of-the-art services and meticulous, guaranteed results every time.

CONTACT: MEDIA RELATIONS – pr@scansite.com