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Digital Sculpting for Historical Representation: Neville Tomb Case Study

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Digital Sculpting for Historical Representation: Neville Tomb Case Study University of Huddersfield Repository Fitzpatrick, Frank Digital sculpting for historical representation: Neville tomb case study Original Citation Fitzpatrick, Frank (2013) Digital sculpting for historical representation: Neville tomb case study. Masters thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/23389/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ Digital Sculpting for Historical Representation: Neville Tomb Case Study Frank Fitzpatrick UNIVERSITY OF HUDDERSFIELD School of Art, Design and Architecture Supervisors: Dr Ertu Unver and Cate Benincassa-Sharman Thesis submitted in partial fulfilment for the Degree of Master by Research April 2013 Acknowledgements I am grateful to the following individuals who have made a contribution to the development and completion of this Masters by Research Thesis and associated project: I would like to sincerely thank my supervisors: Dr Ertu Unver for his unfailing support and advice and Cate Benincassa-Sharman for her thoughtful suggestions and encouragement throughout. I would like to include my thanks to Durham Cathedral and St. Boniface Church, Bunbury Cheshire and also to Professor John Woodwark for his kind assistance. My gratitude also extends to my department colleagues Barry Armstrong and Anne Fox- Kelly and my acknowledgements would not be complete without heartfelt thanks to my wife Sharon and my children Sean and Sarah for their patience, understanding and for allowing me the time and space to complete this submission. Abstract Despite digital 3D polygon modelling applications providing a common and powerful tool-set for archaeological, architectural and historical visualisation over recent years, digital deformation sculpting tools are little used at present within the area of historical visualisation. More commonly applied within the video games and TV/motion picture industries, the intention of this research is to combine such tools and methodologies with existing scanned data and historical knowledge to remediate and re-imagine lost sculptural form. The aim would be to support both academic and public understanding of such missing artefacts. In addition, the research may promote alternative methods of prototyping within traditional stone carving industries and further provide an opportunity to critically evaluate approaches to deliberately mediated sculptural surrogates and their location within historical representation. The intended research will focus on an examination and partial re-construction of the Neville tomb at Durham Cathedral. An example of cultural vandalism, the tomb has been damaged at key moments throughout several hundred years of social and religious upheaval. It will provide the researcher with an opportunity to re-create and interpret some of the lost sculptural forms carved upon it. In addition, it affords the opportunity to further explore the use of polychrome on medieval stone carving. Table of Contents 1. Introduction .................................................................................................................. 1 1.1. Research Objectives ............................................................................................. 2 1.2. Research Methodology......................................................................................... 3 2. Literature Review ......................................................................................................... 5 2.1. Historical Overview ............................................................................................... 5 2.2. Visualisation .......................................................................................................... 6 2.3. Early Digital 3D Visualisation ............................................................................... 7 2.4. Critical Views ........................................................................................................ 9 2.5. The Wider Critical Debate ................................................................................... 10 2.6. The Heritage Industries ...................................................................................... 15 3. Application of Technology to the Field .................................................................... 20 3.1. 3D Surface Data Acquisition .............................................................................. 20 3.2. Digital 3D Modelling ............................................................................................ 24 3.3. Polychrome ......................................................................................................... 26 3.4. Digital Sculpting.................................................................................................. 27 3.5. Rapid Prototyping/3D Printing ........................................................................... 31 4. Experimental Study ................................................................................................... 34 4.1. Project Intentions ................................................................................................ 34 4.2. Hard Surface and Organic Modelling ................................................................ 35 4.3. Background and Context ................................................................................... 35 4.4. Data Capture ....................................................................................................... 37 4.5. Base Modelling ................................................................................................... 39 4.6. Typifaction........................................................................................................... 43 4.7. Application of Polychrome ................................................................................. 44 4.8. Application of Photogrammetry to the Project ................................................. 45 4.9. Further Project Research ................................................................................... 48 4.10. Editing the and combining the Photogrammetry Data.................................. 50 4.11. Modelling and Sculpting the Effigy ................................................................ 52 4.12. Sculpting in Mudbox ....................................................................................... 55 4.13. 3D Printing ....................................................................................................... 58 4.14. 3D Printing of the Sculpt ................................................................................. 62 4.15. PTEX Texturing ................................................................................................ 62 4.16. Please see further rendered images on the attached DVD ........................... 65 5. Findings and outcomes ............................................................................................. 65 6. Conclusions ............................................................................................................... 67 7. References ................................................................................................................. 72 8. Bibliography ............................................................................................................... 74 8.1. Books/eBooks ..................................................................................................... 74 8.2. Catalogue ............................................................................................................ 74 8.3. Conference Papers/Proceedings ....................................................................... 74 8.4. Journal Articles ................................................................................................... 75 8.5. Magazine/Newspaper Article .............................................................................. 77 8.6. Reports/Hearings/Standards .............................................................................. 77 8.7. Thesis .................................................................................................................. 77 8.8. Web Pages........................................................................................................... 78 9. Appendix .................................................................................................................... 78 List of Illustrations Figure 1: The location of the research ............................................................................... 3 Figure 2: A 19th century watercolour representation of part of the Parthenon. ............. 5 Figure 3: Plan and section
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