The authors developed a cool rendering system called ScanView to interactively examine the 3D Michelangelo scans without a license, which students cannot apply for themselves. The quality of the scans is so high that the Italian government does not permit the general public to download the dataset. The model of David with 56 million triangles is at 1.0 mm, but there is also a full resolution 0.25 mm model with about 1 billion polygons released in 2009.
Digital Michelangelo Project: https://accademia.stanford.edu/data/dmich-public/
With modern computer graphics, I imagine that modern sculptors will be able to fist model their sculptures at a very high resolution on a computer and then carve out their sculpture to a very high precision.
jcmchen
This slide reminds me of "The Other Nefertiti" (2015), a project by artists Nora Al-Badri and Jan Nikolai Nelles. They scanned the head of Nefertiti secretly in the Neues Museum Berlin without the permission of the museum by using a hacked Kinect and then materialized the data using 3D-printing technology. They released the data as a .stl file with a density of 9 million polygons during the Chaos Computer Congress 32C3.
"We strived to make this cultural object publicly accessible and to promote a contemporary and critical approach to how the so-called 'Global North' deals with heritage and the representation of 'the Other.'" - Nora Al-Badri and Jan Nikolai Nelles
This slide helped me put in perspective the scale and size of graphics projects in relation to the concepts we learnt before. It was really interesting to see how so many triangles would be used in a human sized sculpture and how efficiency really matters when a single process has to be duplicated for millions and millions of triangles
Alescontrela
This is insanely cool, and reminds me of a few related works which use high resolution photography to detect fake artworks, using details as fine as the bumps and ridges produced by oil painting.
JunoLee128
This is really interesting and helps to conceptualize the underlying reason for using rasterization, meshes, etc. It's also impressive how many triangles they have, and I wonder what technology they used to scan(?) the real-life statue
The authors developed a cool rendering system called ScanView to interactively examine the 3D Michelangelo scans without a license, which students cannot apply for themselves. The quality of the scans is so high that the Italian government does not permit the general public to download the dataset. The model of David with 56 million triangles is at 1.0 mm, but there is also a full resolution 0.25 mm model with about 1 billion polygons released in 2009.
With modern computer graphics, I imagine that modern sculptors will be able to fist model their sculptures at a very high resolution on a computer and then carve out their sculpture to a very high precision.
This slide reminds me of "The Other Nefertiti" (2015), a project by artists Nora Al-Badri and Jan Nikolai Nelles. They scanned the head of Nefertiti secretly in the Neues Museum Berlin without the permission of the museum by using a hacked Kinect and then materialized the data using 3D-printing technology. They released the data as a .stl file with a density of 9 million polygons during the Chaos Computer Congress 32C3.
"We strived to make this cultural object publicly accessible and to promote a contemporary and critical approach to how the so-called 'Global North' deals with heritage and the representation of 'the Other.'" - Nora Al-Badri and Jan Nikolai Nelles
https://alloversky.com/puzzlepieces/the-other-nefertiti
This slide helped me put in perspective the scale and size of graphics projects in relation to the concepts we learnt before. It was really interesting to see how so many triangles would be used in a human sized sculpture and how efficiency really matters when a single process has to be duplicated for millions and millions of triangles
This is insanely cool, and reminds me of a few related works which use high resolution photography to detect fake artworks, using details as fine as the bumps and ridges produced by oil painting.
This is really interesting and helps to conceptualize the underlying reason for using rasterization, meshes, etc. It's also impressive how many triangles they have, and I wonder what technology they used to scan(?) the real-life statue