16th International Conference on “Cultural Heritage and New Technologies” Vienna, 2011
Multimedia Reconstruction Techniques to communicate the past A study about the Homeric Epic Panaiotis KRUKLIDIS Architect of Mandarino Blu
Abstract: Even though in our time the traditional drawing has been left backward by the computer graphic, the research presented here is a full fusion and interaction between digital and manual artistry techniques. The traditional approach will give a legacy of tension, warm signs, expressive traces, while the digital approach will allow rethinking, unlimited attempts, rich variation and higher performance. The direct reference at the base of this work is the art from eighteenth century artists inspired by archaeological discoveries, represented in their lost time, with a great richness of details, capable to communicate the deep meanings of that age. Thanks to the experience of those painters it is possible to talk about an “archaeological image”, developed starting from the information coming from the knowledge of the ancient times. Taking from them the importance of lighting and the scenic level of detail, this research tries to underline how an image can evoke the “sense of sublime” and inspire the observer behind the simple sight of the shape and size of a town or of an armor in a reconstructive representation. Originally developed as the author’s degree thesis in Architecture, under the direction of prof. Giorgio Verdiani and prof. Anna Margherita Jasink, this research has been taken to the world described by Homer in the Iliad and Odyssey to follow an articulated path between drawing, representation, architectural and archaeological studies to define a sort of “image periegesis”, going behind the narrative aspect to underline and to bring back the cultural depth needed to create a real learning experience.
Keywords: representation, reconstruction, traditional drawing, digital drawing, computer graphic.
Multimedia Reconstruction Techniques to communicate the past A study about the Homeric Epic Outline the main objective, ideas of the project/work: The contemporary digital solutions for the representation allow an almost real way to show the image of the past; this can be done creating realistic environments aimed to virtual or static image creation. This process allows a better and enhanced approach to the learning of the past and at the same time, when combined to the tools for the investigation and for the analysis, creates the conditions to go forward in the knowledge about an age or a period or even about a single fact or item. The object remains to find the best learning path using various learning tools, in the pure “spirit of multimedia”, which means the total interaction between multiple media in a single environment. The approach proposed here will not be limited to the simple use of digital graphic tools, but it will include the traditional drawing techniques enhanced in the computer graphic environment to create livelier, more suggestive and communicative representations. At the same time, the
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development of common and intelligent representation rules becomes quite important while this must be balanced between the language of archeology and the architecture one. In this research, the world from the ancient Greece, narrated by Homer in the Iliad and Odyssey, will be the ideal base ground to develop a special experience aimed to produce high quality representation, supported by a correct scientific background.
Fig. 1 – Ancient navigation in the Bronze Age (copyright: Panaiotis Kruklidis).
Fig. 2 – Various reconstructions (copyright: Panaiotis Kruklidis).
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The setting of the Homeric Epic has always been a fascinating matter for intellectuals of every period (Fig. 1). Even though this argument is one of the most well-known and analysed topics, the intent of our research is that of up dating the information available with the use of new graphic instruments (the contemporary digital solutions). The different type of competence, an architectural point of view, offers a new possible approach to the matter, which at present is almost exclusively archaeological (Fig. 2). The graphic method and the architectural approach to the structures, can help to fill the gap in the available information (Fig. 3). The aim of this new representation, together with the use of the computer, is to produce credible virtual or static reconstructions.
Fig. 3 – Salamina Building IB (copyright: Panaiotis Kruklidis).
Although in our time the traditional drawing has been left backward by the computer graphic, the research presented here is a full fusion and interaction between digital and manual artistry techniques. The traditional approach will give a legacy of tension, of warm signs, of expressive traces, while the digital approach will allow change of mind, unlimited attempts, rich variation and higher performance (Fig. 4). This process allows a better and enhanced approach to the learning of the past, and at the same time, when combined to the tools for the investigation and for the analysis, create the conditions to go forward in the knowledge about an age or a period or even about a single fact or item. The final purpose is to find the best learning path using various tools, in the pure spirit of multimedia, which means the total interaction between multiple media in a single environment.
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Fig. 4 – Digital and manual artistry techniques (copyright: Panaiotis Kruklidis).
The direct reference at the base of this work is the art from the eighteenth century artists inspired by the archeological discoveries, with a great richness of details, capable to communicate the deep meanings of that age. Thanks to the experience from those painters it is possible to talk about an “archaeological image”, developed starting from the information coming from the knowledge of the ancient times. The main examples come from the work of Lawrence Alma-Tadema, John William Waterhouse, William Bouguereau, and from all the artists of the École de France in Rome taking part to the Grand Tour. All their work, great example of quality in communication and an incoparable experience, creating a sort of “image periegesis”. Taking from them the importance of lighting and the scenic level of detail, this research aims to underline how an image can evoke the “sense of sublime” and to inspire the observer behind the simple sight, of the shape and size of a town or of an armour in a reconstructive representation. There are several instruments including: a vast bibliography with appropriate guide lines for the research, various notions learned on site, free-hand drawings and computer graphic with tablet which together may produce the creation of 3D models compatible with the evidenced hypotheses of reconstruction. During the elaboration, both virtual and graphic, several problems have to be faced and well-interpreted (Fig. 5). In the past, during the studies of this argument, some typological choices have been made in order to identify a better approach. In a field where there is scant archaeological evidence and the possibility of various interpretations, it is really necessary to have specific skills. A collaboration for a more modern and scientific archaeology is very important, giving voice to specialists of different fields.
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Fig. 5 – Digital and manual artistry techniques (copyright: Panaiotis Kruklidis).
In the first part, our research aims to select a bibliography which reduces to the minimum the contrasting opinions, so as to choose the guide-lines for the reconstruction. In this way all the information obtained can contribute to the development of various topics. According to recent studies, we have been made virtual reconstructions in 2D and 3D. Remembering that, these places are alive, rich of history twisted with myth, characterized by their heroes, whose deeds are often plaited with the common people, with their own customs and traditions. All these aspects have been expressed in each drawing, trying to restore the “mood” of the place, the soul that characterizes the environment and makes it alive with little signs. It is part of the mood of the place the people who live, and also crossing gives a happy proportion, “a human scale”. Only the birds’ flight in the distance give us a sense of depth, or a sword or a jar left in the ground are perfect to communicate one of the aspect of the settlement (Fig. 6). The single results will produce tables that are merely graphic and which are not the the final result but just a step in the attempt of putting in evidence the typological choices carried out. The historical period being analysed comprehends the events that paved the way to the War of Troy (which took place in 1200 B.C. ca.). Therefore the reconstructions will deal with a period of time going from one hundred years before and one hundred years after the presumed “fall of Troy”. The elements to be analysed are various like: the common houses (Fig. 7), the Palace with the megaron, the fortifications, the monumental necropolises, the people’s customs and finally the City as a whole. A corrected city by the reconstructive point of view may be obtained (Fig. 8):
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Fig. 6 – House of Lebes building of the Neopalatial period of Haghia Triada (copyright: Panaiotis Kruklidis).
Fig. 7 – The common houses of Bronze Age (copyright: Panaiotis Kruklidis).
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Fig. 8 – Reconstruction of Athens around 1200 b.C. (copyright: Panaiotis Kruklidis).
Generating a terrain with the level. For terrain modeling in 3D, we started from a basic cartography found on specialized texts, proceeding with the acquisition and import into AutoCAD. The contour lines and the plants have been thoroughly redesigned, taking into consideration not only maps but also the aerial photographs of archaeological surveys more targeted (for buildings of particular importance as the megaron). Once obtained the complete acquisition 2D, at each contour line has been assigned a height scale, thus creating a vector model of the ground. Exported to other programs, this model has allowed a threedimensional reconstruction, easily accurate (Fig. 9). Through the programs used for modeling and photorealistic rendering we made other tests in Bryce, Terragen, Prosite, and finally 3DStudio Max and Rhinoceros. These last two programs were found to be more flexible to make and integrate the city's reconstruction.
Creating maps of the latest archaeological discoveries. An operation similar to that for the realization of the contour lines was made through AutoCAD. We started from obtaining archaeological detailed plants with larger scale. With the use of Photoshop, the plants were integrated by the details of small excavation (the scale of single unit) to the scale of the city (the whole area inside fortification walls). The final result was a collage of plants of different detail, returned in the same scale (Fig. 10). Finally, the plant was imported on vector program for redesign the sectioned and sometimes even not sectioned.
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Fig. 9 – Generating a terrain with the level (copyright: Panaiotis Kruklidis).
Fig. 10 – Creating maps of the latest archaeological discoveries (copyright: Panaiotis Kruklidis).
Deepening the documentation with proposals reconstructions (Fig. 11). The modeling was made entirely on AutoCAD, through major commands extrusion and boolean operation. Only a few details have been changed more rapidly after importing the model Dwg of 3DStudio Max, acting on modifiers of solids.
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Fig. 11 – Deepening the documentation with proposals reconstructions (copyright: Panaiotis Kruklidis).
One of the first phases of the project concerns the creation of 3D terrain. Once imported the layer contour lines as splines, using the command generates a terrain mesh surface that reproduces the ground. To this is applied a modifier UVW map with planar mapping, which allows to place correctly the texture. The mesh, finally, is associated with the texture prepared with Photoshop. This is made entirely with the help of the tablet, using a Dwg base of the level curves obtained with the Cad. In this way you can save time during application and sizing of the texture, maintaining excellent and professional results. In addition, retouching by hand is useful to give at the map some details, like rocks, rivers and roads, respecting the shape of the territory (Fig. 12). The maps, once finalized, are used on the channel specifically dedicated of 3DStudio Max. Each has its place: in the diffuse channel is added the colored texture (which becomes the basis for the map), to accentuate the effect of material relief is used the channel with a bump map similar (in size and detail) to the previous one but appropriately retouched, in black and white. Other channels may be used, but of great visual impact is the displacement channel maintained on very low values, or exponentially increase the duration calculation.
Creating photographic texture on site. Starting with photographs of the materials made in situ, with the help of digital camera, through Photoshop, cutting out the portion in frontal axis, when adjusted by the Lens Correction filter. Sometimes it's necessary to proceed with rectification with ImageAlign Pro, a specific program for this type of treatment (Fig. 13). Cut the useful part is passed to the correction and contrast color to make the photo more readable, by the
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method Color Balance, Brightness/Contrast, Hue/Saturation, Selective Color Correction. Then it makes perfectly seamless textures, clipping small portions of the side and using the clone stamp element to stabilize the joint. The result is a map that does not present the classic effect of repetition in the render. We create a separate bump map, usually by changing the image to grayscale, then adjust the Brightness/Contrast or Levels, trying to obtain an effect that shows the depths and heights of the relief material. Additionally you can proceed with the Burn and Dodge Tools to enhance or reduce relief. The map can be modified to add elements not in the picture (in the map of the Cyclopean walls was added on the crest of a mud-brick trim).
Fig. 12 – Creating texture map with some real details (copyright: Panaiotis Kruklidis).
Fig. 13 – Creating photographic texture on site (copyright: Panaiotis Kruklidis).
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Generating the render with high resolution. An important phase is the final render. At first you must do several tests (using low resolution for the calculation) to create the desired environment in the reconstructions, placing correctly the maps and give the better lights and shadows. Later, once established the view through the use of the camera, you decide the window size. The calculation procedure is laborious for the computer and the devices to be used are many. First of all, it creates a 3D model with fine detail displayed only in the view. We use a good quality rendering engine, reduces the calculation parameters for the lights and shadows, using the Global Illumination for intermediate parameters, and avoids the Caustics (not necessary for the materials used here), the vegetation is excluded from the model, made separately and then placed on Photoshop.
Ending retouch of the image. A process that should not be underestimated is the rendering post-production. The image obtained by the rendering engine sometimes has defects, which are here adjusted appropriately. It is not, however, only with corrections, each work must be enhanced through the implementation of details and effects (Fig. 14).
Fig. 14 – Retouch of the image of Mycen around 1200 b.C. (copyright: Panaiotis Kruklidis).
At the end, the image will be transferred on Photoshop and almost indispensable, the tablet must be followed by retouching itself. The colors are correct, the method with Color Balance, Brightness/Contrast, Hue/Saturation, Selective Color Correction. The errors will be masked with the Clone stamp tool. With Burn and Dodge Tools you reduce or accentuate highlights and shadows. Finally, you add details that are primarily for the “mood of the place” like: people, vegetation, animals and objects. After this procedure we are ready to deliver the final image. However simplified, a corrected illustration by the historian point of view (Fig. 15): Studing equipements and customs narrated by Homer and ancient sources. Searching archaeological material. Studing iconographic sources, ancient and modern. Finally, creating a sketch, a drawing with colour on a software of retouch image. Adding various techniques of texturing (Fig. 16).
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Fig. 15 – Example of reconstruction of Ajax Telamon and Agamemnon (copyright: Panaiotis Kruklidis).
Fig. 16 – Example of reconstruction of Clytemnestra with techniques of texturing (copyright: Panaiotis Kruklidis).
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Originally developed as a degree thesis in Architecture, under the direction of prof. Giorgio Verdiani and prof. Anna Margherita Jasink, this research moves within the world described by Homer in the Iliad and Odyssey. Our proposal is to follow an articulated path between drawing, representation, architectural and archaeological studies to define a sort of “image periegesis”, going behind the narrative aspect, to underline and to bring back the cultural depth which is necessary to create a real learning experience, supported by a correct scientific background. This work is also connected with MUSINT (interactive museum of Aegean collections in Tuscany) of which Anna Margherita Jasink spoke in a previous lecture in this Conference. In that section you have seen the drawing and 3D dimensional of two Minoan sites: Phaistos (Fig. 17) and Haghia Triada (Fig. 18). Now you have seen Mycenaean sites. In this way, you have an idea of the palatial buildings and the people's customs in the Aegean civilizations of the Greek areas in the Second Millennium before Christ.
Fig. 17 – Portion of the Protopalatial period palace of Phaistos (copyright: Panaiotis Kruklidis).
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Fig. 18 – Villa of the Neopalatial period of Haghia Triada (copyright: Panaiotis Kruklidis).
All images are property of the author Panaiotis Kruklidis. Many of this are visible on his personal blog: http://iltaccuinodipan.blogspot.it/.
References Selected Bibliography for the study of the ancient city of Athens and his hero: CASTLEDEN, R. (2005). Mycenaeans. Abingdon/New York: Routledge Taylor & Francis Group. CIOTTA, G. (2005). Architettura Egea. Genova: De Ferrari & Devega S.r.l. Editoria e Comunicazione. CULTRARO, M. (2006). I Micenei. Roma: Carocci Editore. FIELDS, N. (2004). “Troy c. 1700-1250 BC”, Osprey: Fortress 17. HIGGINS, M. e R. (1996). A Geological Companion to Greece and the Aegean. New York: Cornell University Press. HOPE SIMPSON, R. (1981). Mycenaean Greece. Park Ridge: Noyes Press. HOPE SIMPSON, R. (1998). “The Mycenaean Highways”, Échos du monde classique/Classical Views: XLII, n.s. 17: 239–260. HOPE SIMPSON, R. and HAGEL, D. K. (2006). Mycenaean Fortifications, Highways, Dams and Canals. Studies in Mediterranean Archaeology CXXXIII, Sävedalen: Paul Åströms Förlag. HURWIT, J. M. (1999). The Athenian Acropolis/ History, Mythology, and Archaeology from the Neolithic Era to the Present. Cambridge: Cambridge University Press. IAKOVIDIS, S. E. (1983). “Late Helladic citadels on Mainland Greece”. Monumenta Graeca et Romana: 4.
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IAKOVIDIS, S. E. (2001). Gla and the Kopais/in the 13th Century B.C. Athína: Library of Archeological Society of Athens 221. IAKOVIDIS, S. E. (2006). The Mycenaean Acropolis of Athens. Athína: Library of Archeological Society of Athens 240. IMMERWAHR, S. A. (1971). “The Neolithic and Bronze Ages”. The Athenian Agora: Results of Excavations Conducted by the American School of Classical Studies at Athens: XIII. JASINK, A. M. (2004). “Una rilettura della Potnia micenea”, Kadmos 43: 185–195. KORRES, M. (1994). “The History of the Acropolis Monuments”, in: AA.VV., Acropolis Restoration/The CCAM Interventions. London: Academy Editions. MOUNTJOY, P. A. (1995). Mycenaean Athens. Studies in Mediterranean Archaeology and Literature: 127. Jonsered: Paul Åströms Förlag. PAPATHANASSOPOULOS, G. (1991). L’Acropoli/Nuova guida dei monumenti del museo. Athína: Edizioni Krene. WRIGHT, J. C. (1994). “The Mycenaean Entrance System at the West end of the Akropolis of Athens”, Hesperia 63, No. 3: 323–360.
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