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Displaying Art in Virtual Environments
Helping artists achieve their vision
Tobias Piechota, Marcel Schmittchen[0000-0002-5511-9020]
and Christopher Lentzsch[0000-0003-3014-629X]
Ruhr-University of Bochum, 44780 Bochum, Germany
{tobias.piechota,marcel.schmittchen,christopher.lentzsch}@ruhr-
uni-bochum.de
Abstract. In this paper, we explore the possibilities posed by the use of the Cry-
tek game engine to display art in interactive virtual environments. Enabling art-
ists, among others, to enhance their creative process by viewing virtual models
of unfinished art pieces and allowing to create and experience a virtual presenta-
tion of the art pieces. Furthermore, we will present our approach during the
phases of our project and the results of a showcase event with artists in which we
presented our prototype.
Keywords: 3D-Models, Art, CryEngine, Game Engine, Interactivity,
Presentation, Virtual Environements, Virtual Exhibitions
1 Introduction
Displaying art always poses a challenge to artists, galleries and museums. The way an
object is presented shapes the way the object is perceived — from static billboards to
videos and animations many forms are used [1,2]. All forms come with their own set
of strengths and limitations. Thus, the presentation of an artwork is always a compro-
mise between the artist's vision, the respective possibilities, and limitations of the used
form and the location of the presentation.
Digital models can be used to facilitate such decisions. Digital models of art pieces
like jewelry, sculptures or statues are already often created early in order to instruct
manufacturers. Placing such models in a virtual showcase enables the artists and other
stakeholders to experiment with different conditions. Using game engines to create vir-
tual museums and enhance the visitor’s experience has already been explored [3]. Our
approach focuses on the support of the decision process during the creation and the
planning of real-world exhibitions.
2 Approaching the Project
The artist showed us an early physical prototype of the art piece and stated clearly how
the object should be presented. To accomplish her vision, we employed the Crytek
The final authenticated version is available online at https://link.springer.com/chapter/10.1007%2F978-3-030-50732-9_43
2
game engine (CryEngine
1
) [4,5]. Game Engines are built to enable interactivity be-
tween the player and the game. We considered this an important aspect as it enhances
the possibilities of engagement with the artwork and thus helps to find new ideas and
consider new aspects.
We structured the project into the following steps (see fig. 1). First, we created a
digital environment in which the artwork can be presented. Step 2: The available digital
version of the art piece already made by the artist needed to be adopted to be compatible
with the used engine. Step 3: The digital art piece can be imported into the engine.
When all the required pieces are in one place the interactive features can be defined and
implemented until the application is finally ready to be presented.
Fig. 1. Structure of the project
3 Implementation of the Prototype
The first step we have taken was to create a so-called map based on the artists’ vision
and wishes. Our map, in particular, should contain a naturalistic landscape. To achieve
that, we used the CryEngine’s given toolsets.
First, we designed the terrain with a hilltop in the middle surrounded by other hills.
Then a material and a texture layer were added to the ground, in our case, green grass.
Since the material and the texture layers are flat, we had to add the actual grass, among
other flowers, using the vegetation-editor toolset. Adding vegetation like that increases
performance costs, which is why we decided to only add this kind of vegetation to the
center of the map, where the art piece would be located. We also added some trees on
the surrounding hills of the map.
1
A game engine by Crytek GmbH, https://www.cryengine.com/
1. Creating a digital landscape in the CryEngine
Application based on the artists’ vision
2. Preparing the digital model of the artwork in
Blender
3. Importing the artwork into the CryEngine
Application
4. Defining and creating the interactive features
for the Application
5.Presenting the Application to the artists
3
Since the game engine will render the artist’s work in realtime, we were able to add
the ability to change lighting conditions during the presentation; thus a script was im-
plemented that would change the sun’s position and time of day when running the ap-
plication. The idea was to present the artwork with different lighting conditions to fur-
ther showcase the object under different conditions. An example of how the application
looks during the night-time setting can be seen in figure 2.
The ability to move the camera using default input methods like keyboard and mouse
or a game controller was also present.
Fig. 2. A view of the artwork from a distance during night-time settings
A change of lighting conditions or the ability to move the viewport freely has not
been requested by the artist. However, we added these features to enable further per-
spectives the artist would benefit from during her decision process. The artwork was
given to us as a rough digital model – which has only been created as a blueprint for
the manufacturer. We colorized it to make it appealing to the recipient before importing
it into our application. We did this using Blender
2
, a tool that enabled us to modify the
artwork i.e. the piece colorization based on the artist’s vision. After that, the following
step was to use a Plugin called CryBlend
3
to prepare the Object for importing it into the
CryEngine. Thus, the model was imported into the application and the result can be
seen in figure 3.
As requested by the artist, the model was placed in the middle of the map to be the
centerpiece of attention. Additionally, we implemented the ability to rotate the object.
2
3D-Modelling Tool by The Blender Foundation, https://www.blender.org/
3
Blender-Plugin by the CryBlend Team, www.cryblend.weebly.com/
4
Since the application already featured the possibility to move the view, it was possible
to engage with the displayed art piece from every desired point of view.
Fig. 3. A piece of art as seen in the application during day-time settings
4 Showcasing the Prototype
The presentation of the early prototype was held at the University of Applied Sciences
in Bochum. In addition to the artists from the University in Düsseldorf, other research-
ers from different disciplines such as CAD, electrical engineering and art were present.
While explaining the technical aspects of the application, we showcased features like
the dynamic lighting and controllable viewport. We invited the original artist to expe-
rience the application for herself using a standard game controller to move in the digital
environment.
The initial verbal feedback was very positive. A majority of the attendants have told
us that they have never seen such an approach to presenting art before. The interactive
element has left a clear impact as different artists approached us, wanting to try the
application for themselves.
5 Conclusion and Outlook
Though the application is considered to be a prototype in its earliest stages of develop-
ment, based on the attendants’ reactions we conclude that our approach can support
artists in their line of work. Our approach employed a standard game controller to be
used to control the viewport, but other, more intuitive, methods could be explored in
5
the future. By giving the artist more intuitive and interactive tools they could plan their
artworks and the realization of their vision more profoundly.
The rising availability of consumer-grade AR and VR solutions [6] allows for further
engagement with the virtual objects – such as pre-production presentations (even for
groups) or displaying/testing different variants or stages of art pieces as augmented
layers. The use of stereoscopic 3D can also be employed in real-world art exhibitions,
as it holds the potential to further enhance the engagement with the artwork on display.
The presentation mode could allow artists not only to present their artwork in new
ways not possible in the real world i.e. free from constraints like time and space or
gravity. Even virtual art exhibitions online could be possible; Enhancing not only the
possibilities but also the reach for artists worldwide. Also, the application could be used
to plan exhibitions in more detail. Envisioned looks and perspectives could be tried by
the artist in the applications early to be later realized in the real world.
6 References
1. Wojciechowski R, Walczak K, White M, Cellary W. Building Virtual and Augmented Re-
ality museum exhibitions. In: Proceedings of the ninth international conference on 3D Web
technology - Web3D ’04 [Internet]. Monterey, California: ACM Press; 2004 [cited 2020
Jan 30]. p. 135. Available from: http://portal.acm.org/citation.cfm?doid=985040.985060
2. Greenberg R, Ferguson BW, Nairne S. Thinking About Exhibitions [Internet]. 1st ed.
Routledge; 2005 [cited 2020 Jan 29]. Available from: https://www.taylorfran-
cis.com/books/9780203991534
3. Urban R, Marty PF, Twidale MB. A second life for your museum: 3D multi-user virtual
environments and museums. In Toronto: Archives & Museum Informatics; 2007. p. 28.
4. Crytek GmbH. CRYENGINE V Manual [Internet]. CRYENGINE V Manual. Available
from: https://docs.cryengine.com/display/CEMANUAL/CRYENGINE+V+Manual
5. Tracy S, Reindell P. CryENGINE 3 Game Development: Beginner’s Guide. Birmingham:
Packt Publishing Ltd; 2012.
6. Alkhamisi AO, Monowar MM. Rise of Augmented Reality: Current and Future Application
Areas. Int J Internet Distrib Syst. 2013;01(04):25–34.
