Location: RCE, Amersfoort
Workshop 1: The application of 3DHOP
Organised by Dr. M. Callieri, ISTI-CNR
This workshop will present the 3DHOP tool from ground up. Features such as multiresolution streaming, configurable viewer, and integration with webpages will be covered. We will look at some viewers made with 3DHOP for different projects, and will comment on their implementation. In the second part we will take a look at the practical use of the tool, from a simple example to more complex functionalities such as loading models, creating scenes, navigation settings, changing visibility/color and rendering options, setting the integrated tools, and creating an interface. Lastly, we will learn how to use the Visual Media Service to simplify the publication.
We will provide 3D models and example files to experiment with the tool. To try the examples and follow the tutorials, you will need a notebook with Chrome installed (or a local web-server). It is easier on a Windows notebook, but MacOS and Linux will do too.
Workshop 2: When and how to use the Extended Matrix
Organised by Dr. E. Demetrescu, ISPC-CNR
This practical workshop will present a complete workflow for the creation of virtual reconstructions in archaeology using the Extended Matrix and open source software (Blender, EMtools).
The Extended Matrix is both a method and a software frame-work for creating, managing and publishing virtual reconstructions in archaeology (http://osiris.itabc.cnr.it/extendedmatrix/).
If you are interested in:
– Transforming archaeological data from excavations or 3d survey into virtual reconstructions;
– Creatig collaboratively validated 3D models;
– Publishing your 3D data with effective visual impact.
Whatever you are:
– An archaeologist without 3D skills
– A 3D modeler in the Cultural Heritage domain
– … or simply interested in exploring a new area of digital archaeology, this is the right workshop for you.
Workshop 3: Dynamic data visualisation in Blender
Organised by the 4D Research Lab, University of Amsterdam
The advantages of rendering in 3D modelling programs remain largely unexplored in archaeological research. In current approaches the go-to software for analysis and data visualization of terrain models is GIS software. But GIS methods are relatively static and non-interactive, while 3D modelling programs with modern real-time rendering capacity offer a more intuitive work-flow. In such programs, shaders and light sources can be edited on the fly, giving immediate feedback to the user. This fast feedback cycle in interactive 3D space can help to improve perception of surface properties of any 3D model. Moreover, 3D modelling software allows the user to share these insights by making animations of light and surface colorization, advancing our capacity to illustrate our archaeological research.
This workshop offers some tips and tricks for handling archaeological datasets, such as LiDAR, in open source 3D modelling software Blender. You will learn how to import various types of data, visualize them in different ways using shaders and light sources, and export an animation of the result.
Workshop 4: 3D printing for research and education
Organised by Loes Opgenhaffen and Dr Madelon Simons
What do a 16th century house from Amsterdam and a Minoan conical cup from the Bronze Age have in common? They can each be printed in 3D. They are printed in 3D to reveal the hidden complexities of the building and the pot respectively to either students in archaeology and art history, while they simultaneously contain the possibility to demonstrate ongoing research to museum visitors in a playful way. In this workshop not only the potential of ‘additive manufacturing’ for research and in (higher) education and public outreach will be demonstrated, but also a practical hands-on experience with 3D prints of pottery and architectural elements will be provided.
3D printing, also known as rapid prototyping and additive manufacturing (AM), is increasingly accepted as a valuable method to valorise archaeological research to a general audience. In research and education, however, it remains a still largely underexplored area and even if deployed, it is mostly to demonstrate finds that otherwise would remain out of reach and intangible. The workshop presents a new way of engaging with material through additive manufacturing by two case studies: 1) the (3D) construction of a late medieval house from Amsterdam by Dr Madelon Simons, art historian at the University of Amsterdam; 2) 3D models and prints of forming traces in pottery, developed by Loes Opgenhaffen and Dr Caroline Jeffra, University of Amsterdam.
In the first case, a digital 3D reconstruction of the flexible wooden construction and relative proportions of a house of around 1500 is ‘shaped’. Kept beside the preconceptions of the work-shop practice of the 16th century painter, an interesting dialogue can be started. Yet, it appears that realistic and detailed 3D visualisations are not enough to demonstrate a real sense of space to peers and students, whereas a tactile and concrete approach by means of a 3D print of the digital reconstruction, could actually provide for this.
In the second case, 3D prints of forming traces of pottery will help students and other interested parties to recognise traces that correspond to different forming techniques of pottery. To reach this, individual forming traces were digitally extracted from 3D scanned material, which were then manipulated and enlarged in order to print. As such, participants can touch, handle and explore the individual traces, which are accompanied QR codes to a 3D reference collection with additional information, such as tagged 3D models and videos of the manufacturing of a pot. After learning through handling the 3D prints, a ceramic example will be provided: can you now understand with which forming technique the vessel was once produced?
The workshop introduces a novel approach to teaching and public outreach, while encouraging critical thinking and creativity through a material interface.
Outline of the workshop:
- How does 3D printing work
- 3D printing in heritage
- Introduction to the case studies
Practical: working with and learning from 3D prints
> The participants choose between architecture and pottery
Discussion: critical reflection towards the use and application of 3D printing in heritage