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A Process for Creating Celtic Knot Work

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A Process for Creating Celtic Knot Work View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Texas A&M University A PROCESS FOR CREATING CELTIC KNOT WORK A Thesis by HUNTER GUYMIN PARKS Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of MASTER OF SCIENCE May 2003 Major Subject: Visualization Sciences A PROCESS FOR CREATING CELTIC KNOT WORK A Thesis by HUNTER GUYMIN PARKS Submitted to Texas A&M University in partial fulfillment of the requirements for the degree of MASTER OF SCIENCE Approved as to style and content by: __________________________ __________________________ Karen Hillier Donald House (Chair of Committee) (Member) __________________________ __________________________ Wayne Smith Phillip Tabb (Member) (Head of Department) May 2003 Major Subject: Visualization Sciences iii ABSTRACT A Process for Creating Celtic Knot Work. (May 2003) Hunter Guymin Parks, B.F.A., Stephen F. Austin State University Chair of Advisory Committee: Prof. Karen Hillier Celtic art contains mysterious and fascinating aesthetic elements including complex knot work motifs. The problem is that creating and exploring these motifs require substantial human effort. One solution to this problem is to create a process that collaboratively uses interactive and procedural methods within a computer graphic environment. Spline models of Celtic knot work can be interactively modeled and used as input into procedural shaders. Procedural shaders are computer programs that describe surface, light, and volumetric appearances to a renderer. The control points of spline models can be used to drive shading procedures such as the coloring and displacement of surface meshes. The result of this thesis provides both an automated and interactive process that is capable of producing complex interlaced structures such as Celtic knot work within a three-dimensional environment. iv TABLE OF CONTENTS Page ABSTRACT……………………………………………………………………………..iii TABLE OF CONTENTS………………………………………………………………..iv LIST OF FIGURES………………………………………………………………………v CHAPTER I INTRODUCTION………………………………………………………..1 II BACKGROUND…………………………………………………………3 Contemporary Works Influenced by the Celtic Culture………………...16 III THE PROCESS...……………………………………………………….28 Maya…………………………………………………………………….30 Renderman………………………………………………………………32 IV RESULTS AND DISCUSSION………………………………………...38 Critique of Visual Output……………………………………………….45 Usage of the Celtic Knot Work Process by Other Artists………………46 V CONCLUSIONS………………………………………………………..47 Future Work.…………………………………………………………….48 REFERENCES………………………………………………………………………….50 VITA…………………………………………………………………………………….52 v LIST OF FIGURES FIGURE Page 1 Ornamental Silver Disc First Half 1st Century B.C………………………2 2 Courtney Davis The Painted Warrior 1996………………………………6 3 Silver Torc Late 3rd-early 2nd Century B.C……………………………….8 4 Gold Torc End 6th-early 5th Century B.C………………………………....9 5 Battersea Shield 1st Century B.C………………………………………....9 6 Bronze Mirror End 1st Century B.C. to Early 1st Century A.D…………10 7 Page from the Book of Kells Late 8th to Early 9th Century A.D…………12 8 Carpet Page from The Book of Durrow About 675 A.D………………..13 9 Eight Elementary Knots…...…………………………………………….15 10 Steven O’Loughlin LA Riots 1992………………………………………17 11 Jen Delyth Gavrinis 1995……………………………………………….18 12 A. Andrew Gonzalez The Summoning of the Muse 1993……………….19 13 Brian Froud Twilight 1976………………………………………………20 14 Output from Knot Assistant……………………………………………..22 15 Mathematical Knots Output from KnotPlot…………………………….24 16 Output from Aaron Otstott’s Procedural Celtic Shader…………………25 17 Output from the Ornamentation Process………………………………..27 18 Spline Curves and their Control Points.............................................…...29 19 Control Panel and Curves Formed within Template Area…….………...31 vi FIGURE Page 20 Finding the Shortest Distance between the Spline and the Current Shading Position……………………………………….36 21 Celtic Knot Work Shader 01………………………………..…………...40 22 Celtic Knot Work Shader 02…………………..………………………...40 23 Celtic Knot Work Shader 03……………………..……………………...41 24 Celtic Knot Work Shader 04……………………..……………………...41 25 Shader with Segmentation………...…………………………………….42 26 Celtic Shader with Threading……………………………..…………….42 27 Computer Animation without Celtic Shaders………………………..….43 28 Computer Animation with Celtic Shaders…………………..…………..43 29 Shading Error 01………………………………………………………...44 30 Shading Error 02………………………………………………………...44 1 CHAPTER I INTRODUCTION Since the beginning of recorded history, there have existed many cultures, each having a unique presence. Artists and art forms of the present are influenced and inspired by exposure to these cultures. One such culture was that of the Celts, which produced mysterious works of art containing complex interlacing designs. The Celtic culture was among European Iron Age peoples who shaped metal, stone, wood, and other natural materials into sculpture, weaponry, and ornamentation (Figure 1). These works represent a transitional period between primitive art of prehistoric times and advanced art forms of the Renaissance. During this transitional period the technology and skills of Celtic peoples were evolving. This is reflected in the execution of many works containing imperfections which give them a loose and painterly appearance. These artifacts also held a truth to materials, meaning the artist worked with the material in order to create something new but also preserved the natural essence of the medium. The subject matter of Celtic Art usually involves mythical themes which was a result of their unique state of mind. The Celts felt a supernatural presence within the natural forms that surrounded them. These beliefs were echoed in creations referencing the forests and creatures that dwelled within them. The combination of such beliefs and methods of execution seem to capture a sense of mysticism within Celtic work. It is a _______________ This thesis follows the style and format of ACM SIGGRAPH. 2 sense of mysticism that this thesis project attempts to capture within its visual output. The cultural myths and aesthetic elements of Celtic Art have inspired this thesis project to create Celtic forms in Computer Graphics. The difficulty in exploring Celtic designs is that they contain complicated interlacing forms that require substantial human effort to create. One method of exploration is to create a digital process that collaboratively uses interactive and procedural methods. Interactive methods give artists the freedom to create desired forms, while procedural methods can be used to automate the production of complex and repetitive detail. The goal is to give artists high level control and relief from tedious modeling tasks. Figure 1: Ornamental Silver Disc First Half 1st Century B.C. 3 CHAPTER II BACKGROUND The term Celtic Art is generally applied to both the art produced in Europe between the fifth century B.C. and the first century A.D. by Iron Age peoples commonly labeled Celts and the art created in Britain and Ireland between the fifth and the twelfth centuries A.D. outside of the areas of Anglo-Saxon settlement. The word Celt is derived from the Greek name for barbarians living in Europe, and the cultural concept of Celts is defined as speakers of a group of related languages. Although there is no such a thing as a Celtic race or Empire, there existed a Celtic culture that began in prehistoric times and ended in post-Medieval Age. Reminders of the Celtic culture can still be seen across Europe in the names of towns, rivers, and mountains: London, Dublin, Milan, and Paris [14]. The origin of the Celtic Culture is dated around the fourth century B.C. The Celts were Pagan until introduced to Christianity in the fourth and fifth centuries A.D. The Pagan Celts included two casts of people, the tribes and the druids. The druids were the unifying force between different Celtic tribes. The origin of the druids and their religion likely came from the megalithic priesthood. Megalithic priests were those who used large stone monuments such as Stonehenge within their rituals, and were most likely in existence prior to 2000 B.C. Around 600 B.C. the druids abandoned the great stones and reverted to natural shrines such as trees. Their name is thought to have come from “Drus”, the ancient name for an oak tree that is sacred to them. Druids were the 4 teachers, seers, poets, judges, and doctors of the Celtic culture and were recruited among the ranks of nobility. Their education was long and involved decades of memorizing sacred texts which religious taboo prevented from being in written form. In their religious roles, the druids insured the conduct of religious practices and presided over sacrificial rites. The specifics of their religious activities remain shrouded in mystery because information was transmitted orally. What is generally known about their religion, taken from classical writings, is that they held a close attunement to nature, the seasons, and all aspects of the natural world. They associated natural features like springs, rivers, and mountains with super-natural deities who controlled them. They also believed that the life of the soul was not interrupted by death but would continue in two ways, either dwelling in a spiritual realm or returning to earth in the reincarnation of the soul. This belief was reinforced by the cycle of the seasons. Every year the trees shed their leaves, vegetation withered, and once winter came there was little sign of life from nature. Yet with the coming
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