The Affordances of 3D and 4D Digital Technologies for Computerized Facial Depiction

Abstract

3D digital technologies have advanced rapidly over recent decades and they can now afford new ways of interacting with anatomical and cultural artefacts. Such technologies allow for interactive investigation of visible or non-observable surfaces, haptic generation of content and tactile experiences with digital and physical representations. These interactions and technical advances often facilitate the generation of new knowledge through interdisciplinary and sympathetic approaches. Scientific and public understanding of anatomy are often enhanced by clinical imaging technologies, 3D surface scanning techniques, 3D haptic modelling methods and 3D fabrication systems. These digital and haptic technologies are seen as non-invasive and allow scientists, artists and the public to become active investigators in the visualisation of, and interaction with, human anatomy, remains and histories. Face Lab is a Liverpool John Moores University research group that focuses on creative digital face research; specifically the further development of a 3D computerized craniofacial depiction system, utilizing 3D digital technologies in facial analysis and identification of human remains for forensic investigation, or historical figures for archaeological interpretation.This chapter explores the affordances of such interactions for the non-destructive production of craniofacial depiction, through a case-study based exploration of Face Lab workflow.

The Opportunities and Challenges of Digital Anatomy for Medical Sciences: Narrative Review

“…In this context, virtual or digital dissection provides an alternative and valuable learning experience for medical students [ 27 ] when classic dissection classes are not accessible. Moreover, the ongoing and rapid development of sophisticated digital tools with high fidelity, such as digital anatomy education incorporating haptic technologies [ 76 ], will significantly advance new clinical practices such as robotic surgery for health professionals.…”

From Ta-Kesh to Ta-Kush: The affordances of digital, haptic visualisation for heritage accessibility

“…The CT scans of Ta-Kush and associated mummified material in the same collection have enabled continued academic debate past the opening of the exhibition, opening up new research pathways and associations with items in other collections elsewhere in the world (Onderka and Jungová, 2015). Active use of existing digital technologies in 3D facial depiction, including the data from clinical imaging, and 3D printing, has demonstrated scientifically justifiable interpretation of human remains and production of accurate facial depictions for presentation to public audiences (Roughley and Wilkinson, 2019). Finally, the project highlights the continuing importance of attending to the ethics of conservation and display.…”

“…Ta-Kush can be noted as an example of digital 'unshelving', where 3D digital technologies afford the production of facsimiles of otherwise delicate or significant objects, for museum and gallery visitors to interact with directly. For example, 3D printing technologies afford the production of likenesses of otherwise fragile human remains (Roughley and Wilkinson, 2019), Alternatively, virtual, mixed or augmented reality applications may provide additional ways in which collections and their interpretations might be communicated in an immersive or interactive manner. Within a museum setting, haptic barriers often exist between visitor and artefact, as most artefacts must be displayed behind glass.…”

“…Gaver (1991) notes that "novel 3D digital interfaces, may offer observable affordances because they can offer information about objects that may be acted upon." Devices such as the Touch X interface afford new interactions when sculpting virtual clay by making the interaction of touching appear visually similar to that in life, therefore mimicking the haptic sensations of traditional sculpting with clay and wooden tools (Roughley and Wilkinson, 2019).…”

“…Following a facial depiction texturing method as described by Roughley and Wilkinson (2019), the skin layer of the 3D facial depiction of Ta-Kush produced in Geomagic Freeform© was exported into Pixologic ZBrush 4R8© (https://pixologic.com/get-zbrush-4r8/); a software used in mainstream modelling and animation and capable of handling complicated 3D models (Vernon, 2011), that can produce outputs consistent with photographs or film sequences (Wilkinson, 2005).…”