The aim is to illustrate beyond any shadow of doubt that a 3D object pushed into sand-supported linen can produce scorched-in creasing around major and abrupt changes in relief, and importantly ONLY at those regions.
Postscript: some further predictions that could be made from the sand bed model (although the fourth, a late addition, is perhaps more by way of explanation than prediction):
1. The weave would show greater separation, i.e. stretching, of yarn fibres - warp and weft - over the prominences of a metal effigy - the bridge of the nose etc.
2. There could be adhering or impressed sand (?) particles on the reverse side of each image region.
3. Image regions could have traces of metal oxides, eg those of copper and tin if a bronze effigy had been used
4.The ventral (frontal) image would have to inconveniently end at the tip of a toe with no surplus sheet beyond the foot - since an overlong sheet would have risked imprinting both sides of the feet (think how it would respond to pushing into a sand bed)! It does seem odd that the Shroud ends precisely at a foot in both ventral and dorsal views, which is somewhat unexpected, is it not? Would one not expect a burial cloth to have had sufficient surplus at the two free ends to permit easy sewing up. The total length (over 14 feet) of linen was surely sufficient to allow that?
I have always felt there was something not quite right about the position of the feet, right at the end of the Shroud).