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1Clear out junk files and repair common Windows errors2Fix the driver behind crashes, sound loss and screen glitches3Repair Windows errors before they cause bigger problemsYes—but only in a narrowly demonstrated way. Researchers developed Digory, a custom synthetic ivory-like composite, and used stereolithography to recreate 18 missing carved capitals on a 17th-century casket in Mauerbach, Austria. The material was engineered to resemble ivory’s appearance and selected measured properties. That restoration is real; a reduction in elephant poaching is not yet demonstrated. Digory remains a research formulation, not a documented retail material or consumer-printer recipe.
What Digory is
Digory combines a dimethacrylate acrylic resin with tricalcium phosphate (TCP) particles and color pigments. It is a purpose-developed composite for stereolithography-based additive manufacturing, not an ivory-colored filament that can be loaded into an ordinary fused-filament printer.
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The final formulation reported by The American Ceramic Society contained 55 wt.% TCP, equivalent to 30 vol.%. That particle loading was selected to help match natural ivory’s translucency. In a stereolithography process, light cures liquid resin layer by layer. The particles alter how light travels through the cured material, which helps create an ivory-like visual effect but also makes exposure control important: excessive scattering can distort geometry, soften fine detail, or damage surface quality.
After printing, the parts were post-cured. The project then used hand finishing, staining and a wax coating. A paint mixture containing black tea was used to imitate the dark veins found in aged ivory. Those are documented project techniques, not a universal conservation recipe; an artifact conservator would need to test any coating for chemical compatibility, reversibility and future cleaning.
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The restoration demonstration: 18 missing capitals
The strongest evidence for Digory is a specific conservation project. Researchers reproduced 18 missing carved capitals—small ornamental elements—on the Mauerbach casket, a 17th-century Austrian artwork. The replacement pieces were fabricated by stereolithography and finished to blend with the surviving decoration.
The workflow illustrates where digital fabrication can help conservation:
- Record the surviving object. Conservators need dimensions, photographs and surface information from the casket and its remaining ornaments.
- Create a digital model. A missing element can be reconstructed from matching capitals, symmetry, archival information or an informed sculptural interpretation. The project documentation describes the printed result, but does not establish a single universal scanning or modelling method.
- Prepare the custom resin composite. Digory’s resin, TCP loading and pigments must be mixed and processed under controlled conditions. The published Digory work does not show that an off-the-shelf resin or generic TCP powder will behave the same way.
- Print by stereolithography. The liquid composite is selectively cured in layers. Exposure and curing must account for particle-related light scattering so edges and small carved features remain accurate.
- Post-cure and finish. Cured parts are cleaned and post-cured, then may be hand-shaped, stained and waxed to match the original object.
- Fit and document the intervention. The replacement should be installed with conservation-appropriate methods and recorded as a modern addition, rather than presented as original ivory.
The project shows that a missing ivory ornament can be recreated without carving a new piece from an animal tusk. It does not establish that every ivory artifact, every carving style or every museum can reproduce the result with the same accuracy.
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How closely does it match natural ivory?
The peer-reviewed paper by Thaddäa Rath and colleagues in Applied Materials Today reports comparable color, translucency, density and mechanical properties. “Comparable” is not the same as identical: ivory varies by species, location within a tusk, age and orientation, and it is anisotropic, meaning its properties change with direction.
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| Property | Digory result or description | Natural-ivory comparison and qualification |
|---|---|---|
| Composition | Dimethacrylate resin with TCP particles and pigments | Engineered synthetic composite; it is not biological ivory. |
| TCP loading | 55 wt.% (30 vol.%) in the final formulation | Reported as the loading used to match translucency; changing the ratio can change optical and processing behavior. |
| Density | 1.78 ± 0.02 g/cm³ | Compared in the cited summary with literature values of about 1.7–1.9 g/cm³ for ivory. Those are literature ranges, not a universal value for every ivory sample. |
| Hardness | 35.7 ± 1.3 HV, measured at a 200 g load | The summary compares it with approximately 35 HV for ivory. The test load and measurement method matter when interpreting the match. |
| Mechanical behavior | Reported as comparable to natural ivory in transversal orientation | Ivory is anisotropic, so a match in one orientation does not prove equivalent behavior in every direction. |
| Color and translucency | Formulated pigments and TCP loading produced an ivory-like appearance | Visual matching still depends on lighting, the original artifact, aging and hand finishing. |
| Long-term aging | Not established by the cited reports | Researchers and outside expert Ulrike Wegst identified aging and polymer brittleness as questions requiring observation. |
The density and hardness numbers are useful engineering benchmarks, not a guarantee of service life. A restoration may experience humidity changes, light exposure, handling and contact stresses for decades. The peer-reviewed report does not provide a decades-long aging study, a universal conservation standard or proof that Digory will weather exactly like the surrounding ivory.
Why stereolithography matters for carved details
Stereolithography can produce small, complex forms because it cures resin with patterned light rather than depositing a relatively thick strand. That makes it suitable for capitals with undercuts, sharp transitions and repeated ornamental geometry. Digital files also make it possible to reproduce a matched set and retain a record of the intervention.
The same process creates technical constraints. TCP particles scatter curing light. If exposure, layer thickness or resin formulation is not tuned, the cured boundary can spread beyond the intended pixel or voxel. Fine grooves may close, corners can become rounded and surfaces may show uneven texture. Sedimentation, viscosity and mixing consistency can also affect a particle-filled resin, although the technical summaries do not provide a consumer-facing process specification.
For a museum project, print resolution is only one part of fidelity. The digital reconstruction, orientation on the build platform, support placement, shrinkage control, post-curing and hand finishing all influence how convincingly a replacement sits beside original material.
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Finishing is part of the visual match
Freshly printed composite does not automatically look like centuries-old ivory. The Mauerbach project used finishing steps to reproduce the visual cues that viewers associate with aged material:
- Color adjustment: Pigments were included in the formulation, then the surface could be stained to align with neighboring pieces.
- Vein imitation: A black-tea paint mixture was reported as a way to reproduce dark lines in the ivory.
- Surface treatment: A wax coating was described in the technical summary to adjust sheen and the tactile appearance.
- Hand refinement: Manual finishing can sharpen or soften details and help the replacement sit visually within the existing carving.
These interventions should be treated as object-specific conservation decisions. A stain that looks convincing under gallery lighting could migrate, fade or interfere with later treatment. Museums normally test materials on mock-ups, keep treatment records and distinguish new work from original fabric.
Can 3D printing replace ivory in antique restoration?
It can replace the material for some missing decorative components, but the evidence supports a qualified answer rather than a blanket promise.
Where the approach is promising
- Reconstructing small missing ornaments when matching examples or digital references exist.
- Producing multiple components with consistent dimensions from one validated digital model.
- Creating a visually and mechanically compatible alternative without acquiring new animal ivory.
- Preserving a digital record that can be revised if a future conservation decision changes.
Where it is not yet proven
- Long-term stability through repeated humidity and temperature cycles.
- Equivalent behavior in every grain direction or under sustained loads.
- Reversibility and compatibility with every historic adhesive, coating or substrate.
- Cost-effective production at the scale of large collections.
- Successful use with consumer stereolithography printers or commercially packaged resin.
- Suitability for structural, load-bearing or high-contact ivory objects without project-specific testing.
A conservator must decide whether a replacement is appropriate at all. In some cases, leaving a loss visible is preferable to introducing a new material; in others, a missing ornament disrupts the object’s stability or interpretation. Digory adds an option to that decision, not a rule that every gap should be filled.
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What the elephant claim does—and does not—mean
The conservation rationale is straightforward: if institutions, artists or manufacturers can obtain an acceptable synthetic substitute, they may have less reason to use animal-sourced ivory. Thaddäa Rath told Chemistry World, “There shouldn’t be a demand for animal-sourced ivory at all. There are so many alternatives,” and, “No piece of jewelry or decoration is worth the death of a single animal.”
Those statements express the project’s ethical motivation. They are not evidence that Digory has already changed the ivory market. The project reports provide no adoption figures, sales data, trade analysis or measured decline in elephant poaching attributable to the material. The most accurate description is prospective: a workable substitute could help reduce demand in applications where it performs adequately.
Conservation outcomes also depend on factors beyond material performance, including law enforcement, consumer behavior, supply chains, provenance rules and whether buyers accept a synthetic replacement. A laboratory match for density or hardness cannot by itself demonstrate a wildlife benefit.
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The cited paper and project reports describe a custom research formulation. They do not establish a retail Digory product, a consumer kit, a public materials data sheet, or compatibility with a particular printer. They also do not show that mixing generic acrylic resin with TCP will reproduce the published result.
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That distinction matters for anyone planning a restoration. An ivory-toned filament for a fused-filament printer is a different material and process. A standard resin marketed as “ivory” is not demonstrated to have Digory’s particle loading, translucency, density or hardness. Substituting either without testing could create a mismatch or damage an artifact.
Professional teams considering this approach would need access to the formulation or an equivalent validated material, a controlled stereolithography system, metrology and conservation expertise. They would also need to confirm current intellectual-property, safety and supply arrangements independently; the cited sources do not provide those details.
Questions a conservation team should answer first
- What is the evidence for the missing form? A scan of a surviving twin, archival drawing or symmetry-based reconstruction is stronger than an unsupported guess.
- What properties actually matter? For a non-structural capital, color and translucency may dominate; for a handled object, hardness, impact resistance and attachment loads become more important.
- Can the replacement be removed safely? Adhesives, coatings and waxes should be selected with future treatment in mind.
- How will the piece be monitored? Record dimensions, color, finish and installation so later conservators can detect cracking, yellowing, delamination or gloss changes.
- Has the material been tested on a mock-up? A replica substrate and accelerated observation can reveal problems before the historic object is involved.
What remains to be learned
Digory’s reported measurements answer an important first question: can a synthetic, printable composite approach the look and selected physical benchmarks of ivory? The Mauerbach casket answers a second: can that material be turned into convincing replacement ornaments?
Further work would need to address aging, brittleness, moisture response, thermal cycling, ultraviolet exposure, color change, adhesion and reversibility. Researchers would also need to test how anisotropy in natural ivory affects side-by-side performance and whether a printed composite can be tuned for different artifact types. None of those open questions diminishes the 18-capital demonstration; they define the evidence needed before broad conservation adoption.
The practical takeaway
Digital ivory is best understood as a promising conservation material demonstrated on one Austrian casket, not as a drop-in replacement for every ivory object. Digory’s custom resin-and-TCP formulation enabled stereolithographic printing, and measured density, hardness, color and translucency were reported as comparable to selected ivory references. The same sources leave long-term aging, commercial availability, consumer-printer compatibility and wildlife impact unresolved.
For museums and conservators, the sensible next step is controlled, documented testing rather than buying a generic “ivory” filament. For the public, the elephant claim should be read as a potential benefit of reducing future demand—not as proof that this project has already reduced poaching.
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