EG GCH: EUROGRAPHICS Workshop on Graphics and Cultural Heritage
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Browsing EG GCH: EUROGRAPHICS Workshop on Graphics and Cultural Heritage by Author "Andujar, Carlos"
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Item An Annotation Tool for Digital Restoration of Wall Paintings(The Eurographics Association, 2022) Barreiro Díaz, Albert; Munoz-Pandiella, Imanol; Bosch, Carles; Andujar, Carlos; Ponchio, Federico; Pintus, RuggeroAntique paintings are essential to study and understand our past. Paintings, and specifically mural paintings, are delicate artworks that are affected by multiple deterioration conditions. Weathering and human interventions cause different damage problems, and physical and chemical changes degrade their visual color appearance. As a consequence, art historians and archaeologists require a huge effort to attempt to rebuild their original appearance. The annotation of digital images of the paintings is a valuable tool in this process. In this paper we analyze major requirements from art historians concerning the annotation of painting regions from the point of view of digital restoration. We also describe a tool prototype (based on TagLab) intended to facilitate the annotation and segmentation of mural paintings. The tool assists art historians in formulating multiple hypotheses on the original appearance by supporting multiple annotation layers for degradation and color, providing both hand-drawn and semi-automatic segmentation, and offering web-based dissemination and sharing of the annotations through the W3C Web Annotation Data Model.Item Digital Layered Models of Architecture and Mural Paintings over Time(The Eurographics Association, 2020) Guardia, Milagros; Pogliani, Paola; Bordi, Giulia; Charalambous, Panayiotis; Andujar, Carlos; Pueyo, Xavier; Spagnuolo, Michela and Melero, Francisco JavierThe European project Enhancement of Heritage Experiences: The Middle Ages. Digital Layered Models of Architecture and Mural Paintings over Time (EHEM), approved in the call for JPICH Conservation, Protection and Use (0127) in the year 2020, aims to obtain virtual reconstructions of medieval artistic heritage - architecture with mural paintings - that are as close as possible to the original at different times, incorporating historical-artistic knowledge and the diachronic perspective of heritage, as an instrument for researchers, restorers and heritage curators and to improve the visitor's perceptions and experiences. In the digital models elaborated we intend to develop, as concrete objectives: 1. The understanding of architectural complexity, which is usually regularized geometrically. 2. Solving chromatic problems. The analysis of pigments, the arrangement of the pictorial layers and the successive restorations suffered, with the help of conservation and restoration technicians, will allow us to digitally specify the original colouring of the paintings. 3. Raise and propose the resolution of lighting problems. To date, trials have been carried out for the restitution of these problems in digital models based on the analysis of natural lighting, which we intend to improve. We also propose to deal with artificial lighting by chandeliers or oil lamps, which produced effects of painting vibration at the moment when, for liturgical reasons, the images ''acted''. 4. To approach digitally the different perspectives of the medieval building and its paintings according to the categories of users. To this end we have chosen three sites that because of their complexity will serve as case studies: The early medieval church of Santa Maria Antiqua in Rome (Italy), a mural palimpsest, consisting of up to ten layers of overlapping painted plasters, realised during a relatively short period of life (sixth-ninth centuries), which also poses architectural challenges of visual resolution given that it was transformed into a church from the Domitianic entrance hall in the Roman Forum to the imperial Palace on the Palatine hill. The hermitage of Sant Quirze de Pedret (Spain), with its complex architectural genesis from the tenth century, was decorated at the head of the church at two different times by superimposing a layer on the previous one. The discovery of its paintings, their removal and the transfer to two museums took place at two different moments (1921 and 1937) and with very different procedures. At the same time, years later, radical interventions were made to the building, altering the two pictorial phases in its ''virtual'' presentation. The Engleistra or Place of Seclusion founded by Neophytos (Agios Neophytos Monastery, Cyprus) The oratory was excavated in the rock from a natural cave and was decorated, at different times during the Middle Ages, with Byzantine wall paintings. The extreme nature of the site and the irregular nature of the rocky surface that house these cycles, comprising of up to five phases constitute a fundamental challenge for their digital presentation.Item Digital Reintegration of Distributed Mural Paintings at Different Architectural Phases: the Case of St. Quirze de Pedret(The Eurographics Association, 2022) Munoz-Pandiella, Imanol; Argudo, Oscar; Otzet, Immaculada Lorés; Comas, Joan Font; Casademont, Genís Àvila; Pueyo, Xavier; Andujar, Carlos; Ponchio, Federico; Pintus, RuggeroSant Quirze de Pedret is a Romanesque church located in Cercs (Catalonia, Spain) at the foothills of the Pyrenees. Its walls harbored one of the most important examples of mural paintings in Catalan Romanesque Art. However, in two different campaigns (in 1921 and 1937) the paintings were removed using the strappo technique and transferred to museums for safekeeping. This detachment protected the paintings from being sold in the art market, but at the price of breaking the integrity of the monument. Nowadays, the paintings are exhibited in the Museu Nacional d'Art de Catalunya - MNAC (Barcelona, Catalonia) and the Museu Diocesà i Comarcal de Solsona - MDCS (Solsona, Catalonia). Some fragments of the paintings are still on the walls of the church. In this work, we present the methodology to digitally reconstruct the church building at its different phases and group the dispersed paintings in a single virtual church, commissioned by the MDCS. We have combined 3D reconstruction (LIDAR and photogrammetric using portable artificial illumination) and modeling techniques (including texture transfer between different shapes) to recover the integrity of the monument in a single 3D virtual model. Furthermore, we have reconstructed the church building at different significant historical moments and placed actual paintings on its virtual walls, based on archaeological knowledge. This set of 3D models allows experts and visitors to better understand the monument as a whole, the relations between the different paintings, and its evolution over time.Item Easy Authoring of Image-Supported Short Stories for 3D Scanned Cultural Heritage(The Eurographics Association, 2020) Comino Trinidad, Marc; Chica, Antoni; Andujar, Carlos; Spagnuolo, Michela and Melero, Francisco JavierVisual storytelling is a powerful tool for Cultural Heritage communication. However, traditional authoring tools either produce videos that cannot be fully integrated with 3D scanned models, or require 3D content creation skills that imply a high entry barrier for Cultural Heritage experts. In this paper we present an image-supported, video-based authoring tool allowing non- 3D-experts to create rich narrative content that can be fully integrated in immersive virtual reality experiences. Given an existing 3D scanned model, each story is based on a user-provided photo or system-proposed image. First, the system automatically registers the image against the 3D model, and creates an undistorted version that will serve as a fixed background image for the story. Authors can then use their favorite presentation software to annotate or edit the image while recording their voice. The resulting video is processed automatically to detect per-frame regions-of-interest. At visualization time, videos are projected onto the 3D scanned model, allowing the audience to watch the narrative piece in its surrounding spatial context. We discuss multiple color blending techniques, inspired by detail textures, to provide high-resolution detail. The system uses the image-to-model registration data to find suitable locations for triggers and avatars that draw the user attention towards the 3D model parts being referred to by the presenter. We conducted an informal user study to evaluate the quality of the immersive experience. Our findings suggest that our approach is a valuable tool for fast and easy creation of fully-immersive visual storytelling experiences.Item Immersive Geometry-based and Image-based Exploration of Cultural Heritage Models(The Eurographics Association, 2021) Farràs, Arnau; Comino Trinidad, Marc; Andujar, Carlos; Hulusic, Vedad and Chalmers, AlanRecent advances in 3D acquisition technologies have facilitated the inexpensive digitization of cultural heritage. In addition to the 3D digital model, in many cases multiple photo collections are also available. These photo collections often provide valuable information not included in the 3D digital model. In this paper we describe a VR-ready web application to simultaneously explore a cultural heritage model together with arbitrary photo collections. At any time, users can define a region of interest either explicitly or implicitly, and the application retrieves, scores, groups and shows a matching subset of the photos. Users can then select a photo to project it onto the 3D model, to inspect the photo separately, or to teleport to the position the photo was taken from. Unlike previous approaches for joint 2D-3D model exploration, our interface has been specifically adapted to VR. We conducted a user study and found that the application greatly facilitates navigation and provides a fast, intuitive access to the available photos. The application supports any modern browser running on desktop, mobile and VR headset systems.Item VR-assisted Architectural Design in a Heritage Site: the Sagrada Família Case Study(The Eurographics Association, 2018) Andujar, Carlos; Brunet, Pere; Buxareu, Jerónimo; Fons, Joan; Laguarda, Narcís; Pascual, Jordi; Pelechano, Nuria; Sablatnig, Robert and Wimmer, MichaelVirtual Reality (VR) simulations have long been proposed to allow users to explore both yet-to-built buildings in architectural design, and ancient, remote or disappeared buildings in cultural heritage. In this paper we describe an on-going VR project on an UNESCO World Heritage Site that simultaneously addresses both scenarios: supporting architects in the task of designing the remaining parts of a large unfinished building, and simulating existing parts that define the environment that new designs must conform to. The main challenge for the team of architects is to advance towards the project completion being faithful to the original Gaudí's project, since many plans, drawings and plaster models were lost. We analyze the main requirements for collaborative architectural design in such a unique scenario, describe the main technical challenges, and discuss the lessons learned after one year of use of the system.