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Using a morph-based animation to visualise the face of Pharaoh Ramesses II ageing from middle to old age
Abstract
Ramesses II was one of the most important Pharaohs to have presided over Egypt during the New Kingdom
period. In 2023 researchers Wilkinson, Saleem, Liu and Roughley produced two digital 3D facial depictions
showing Ramesses II at different ages: one around the age-at-death at 90 years old and the other, an ageregression
at approximately 45 years old, based CT scans of his mummified remains, photographs, and historical
information. The presence of two 3D facial depictions of one ancient individual at different ages affords an
opportunity to show how Ramesses II might have looked during key moments of his lifetime and just prior to
death. This paper describes the workflow adopted to add realistic textures to the facial depictions, and to use a
morph-based animation to represent Ramesses II ageing from 45 to 90 years old.
... However, none of these works were published in the form of a scientific article, at least I could not find them in any journal article database. Another very curious situation is that the new study cited by Prof. Dr. Saleem, in which an animation of the face of Ramses II is presented, is an article entitled "Using a morph-based animation to visualise the face of Pharaoh Ramesses II ageing from middle to old age" (Roughley et al., 2024) 22 of which, coincidentally, I was one of the reviewers and was able, with honor, to contribute with improvements in the final text and for future works with the same approach. I suppose Prof. Dr. Saleem didn't notice, but in the article in question she cited articles I authored and co-authored three times on that occasion. ...
... However, none of these works were published in the form of a scientific article, at least I could not find them in any journal article database. Another very curious situation is that the new study cited by Prof. Dr. Saleem, in which an animation of the face of Ramses II is presented, is an article entitled "Using a morph-based animation to visualise the face of Pharaoh Ramesses II ageing from middle to old age" (Roughley et al., 2024) 22 of which, coincidentally, I was one of the reviewers and was able, with honor, to contribute with improvements in the final text and for future works with the same approach. I suppose Prof. Dr. Saleem didn't notice, but in the article in question she cited articles I authored and co-authored three times on that occasion. ...
... Three quotes of my authorship (Moraes, C.) or co-authorship cited in the article byRoughley et al., (2024), which has Prof. Dr. Saleem as a co-author. ...
Yesterday evening, October 1st in Brazil and October 2nd in Egypt, I had access to the article entitled “Pictures of Amenhotep I in the balance of science” by reporter Rania Saber Rafaee. The content of the article, related to the words of Dr. Hawass and Prof. Dr. Saleem about the facial approximation that I will perform on Amenhotep I, was so full of incoherent arguments that it forced me to compose this response text. In an objective manner, I will quote the original text translated into English by Google, followed by the refutation or commentary.
The use of digital technologies in archaeological research has become considerably more widespread in recent years. While the earliest records of the use of electronic data in archaeology date from the 1950 and 1960s, the field has kept growing with the increasing interest in digital tools such as digital photography, three-dimensional imaging , GIS, virtual and artificial reality applications, CAD and facial reconstruction. Such digitization practices are used frequently for documenting, record keeping, and preserving and representing the data recovered from archaeological contexts, and are linked to other fields, such as cultural heritage studies and museology. Facial reconstruction is used to recreate the faces of individual from the past using their skeletal remains. It has been practiced for different reasons in the fields of forensics, anthropology, and archaeology. This study focuses on the facial reconstruction of a skull unearthed from Juliopolis. The reason for choosing this skull in this study is that it is the first and only known deformed skull dated to the Roman period in Anatolia. For the facial reconstruction application, authors created a 3D modelling of the skull by photogrammetry. Then, the missing parts of the skull are completed using the virtual donor library. The results are presented in different forms, as grayscale, in colour with eyes closed or open. Also, the type of deformation is demonstrated in the skull. This study adopts a digital process and is more strongly linked to data interpolation related to the external surface of the face. The prominent advantage of the methodology is being strongly supported by information obtained from computed tomography (CT) scans of living individuals, leaving a little room for the artistic issue in relation to the basic aspect resulting from the interpolation of data. The benefit of facial reconstruction is especially important since it is a way of preserving and presenting archaeological and anthropological data.
The use of digital technologies in archaeological research has become considerably more widespread in recent years. While the earliest records of the use of electronic data in archaeology date from the 1950s and 1960s, the field has kept growing with the increasing interest in digital tools such as digital photography, three-dimensional imaging, GIS, virtual and artificial reality applications, CAD and facial reconstruction. Such digitization practices are used frequently for documenting, record keeping, and preserving and representing the data recovered from archaeological contexts, and are linked to other fields, such as cultural heritage studies and museology. Facial reconstruction is used to recreate the faces of individual from the past using their skeletal remains. It has been practiced for different reasons in the fields of forensics, anthropology, and archaeology. This study focuses on the facial reconstruction of a skull unearthed from Juliopolis. The reason for choosing this skull in this study is that it is the first and only known deformed skull dated to the Roman period in Anatolia. For the facial reconstruction application, authors created a 3D modelling of the skull by photogrammetry. Then, the missing parts of the skull are completed using the virtual donor library. The results are presented in different forms, as grayscale, in colour with eyes closed or open. Also, the type of deformation is demonstrated in the skull. The benefit of facial reconstruction is especially important since it is a way of preserving and presenting archaeological and anthropological data.
This article offers a novel and original facial reconstruction of pharaoh Tutankhamun based on data published in the biomedical and Egyptological literature. The reconstruction adopts the Blender 3D software, running the add-on OrtogOnBlender, which allows for a refined presentation of the soft tissues. The present reconstruction is also compared to other approaches produced in the past.
The Pernkopf Atlas has posed an ethical dilemma for the past 30 years. Although its illustrations are of an indisputably high quality, its unethical origins yield questions with its use. This study aimed to identify successful methods for creating equal if not higher quality anatomical visualisations through an analysis and comparison of past and present medical illustrator’s techniques. Pernkopf’s illustrations were not used as an anatomical reference to ensure the new visuals were ethical; instead other existing visuals and written sources were compiled and reviewed to create an original 3D model of the posterior cervical triangle using ZBrush 2020. Some visualisation techniques used by Pernkopf were used as a part of this project (i.e. rendering in partial colour) this technique is not unique to Pernkopf and was also used by Henry Carter, the illustrator of Grey’s anatomy. The survey was distributed to 78 participants with a strong anatomical or medical/biological art background. The reception to the new resource was positive; participants favoured it in terms of quality and ease of understanding. However, participants noted that the images in the survey were not the same resolution which may have skewed the results in favour of the new image. When rated for detail compared to the Pernkopf Atlas, the number of structures in the resource need to be increased before it can be ranked equally to the Pernkopf Atlas for detail. Participants did note that they may have selected differently depending on what was inferred by quality and detail in the survey.
Flip through scientific textbooks illustrating ideas about human evolution or visit any number of museums of natural history and you will notice an abundance of reconstructions attempting to depict the appearance of ancient hominins. Spend some time comparing reconstructions of the same specimen and notice an obvious fact: hominin reconstructions vary in appearance considerably. In this review, we summarize existing methods of reconstruction to analyze this variability. It is argued that variability between hominin reconstructions is likely the result of unreliable reconstruction methods and misinterpretation of available evidence. We also discuss the risk of disseminating erroneous ideas about human evolution through the use of unscientific reconstructions in museums and publications. The role an artist plays is also analyzed and criticized given how the aforementioned reconstructions have become readily accepted to line the halls of even the most trusted institutions. In conclusion, improved reconstruction methods hold promise for the prediction of hominin soft tissues, as well as for disseminating current scientific understandings of human evolution in the future.
Digitally sculpting 3D human faces is a very challenging task. It typically requires either 1) highly‐skilled artists using complex software packages for high quality results, or 2) highly‐constrained simple interfaces for consumer‐level avatar creation, such as in game engines. We propose a novel interactive method for the creation of digital faces that is simple and intuitive to use, even for novice users, while consistently producing plausible 3D face geometry, and allowing editing freedom beyond traditional video game avatar creation. At the core of our system lies a specialized anatomical local face model (ALM), which is constructed from a dataset of several hundred 3D face scans. User edits are propagated to constraints for an optimization of our data‐driven ALM model, ensuring the resulting face remains plausible even for simple edits like clicking and dragging surface points. We show how several natural interaction methods can be implemented in our framework, including direct control of the surface, indirect control of semantic features like age, ethnicity, gender, and BMI, as well as indirect control through manipulating the underlying bony structures. The result is a simple new method for creating digital human faces, for artists and novice users alike. Our method is attractive for low‐budget VFX and animation productions, and our anatomical modeling paradigm can complement traditional game engine avatar design packages.
A wide range of archaeological human remains stay, for the most part, anonymous and are consequently treated as objects of analysis; not as dead people. With the growing availability of medical imaging and rapidly developing computer technology, 3D digital facial reconstruction, as a noninvasive form of study, offers a successful method of recreating faces from mummified human remains. Forensic facial reconstruction has been utilized for various purposes in scientific investigation, including restoring the physical appearance of the people of ancient civilizations which is an important aspect of their individual identity. Restoring the identity of the Belgrade mummy started in 1991. Along with the absolute dating, gender, age, name, rank and provenance, we also established his genealogy. The owner of Cairo stela 22053 discovered at Akhmim in 1885, and the Belgrade coffin purchased in Luxor in 1888, in which the mummy rests, have been identified as the very same person. Forensic facial reconstruction was used to reproduce, with the highest possible degree of accuracy, the facial appearance of the mummy Nesmin, ca. 300 B.C., a priest from Akhmim, when he was alive.
The University of Dundee's D′Arcy Thompson Zoology Museum houses many fascinating specimens from around the world. Most of them were collected by the celebrated mathematical biologist Sir D′Arcy Wentworth Thompson, the first Professor of Biology at Dundee. 2017 sees the centenary of the publication D′Arcy Thompson's extraordinary book On Growth and Form. During 2016 a project to digitise key specimens from the collection was undertaken as part of the centenary celebrations. Smaller specimens were scanned using a microCT scanner, while larger specimens were captured using hand-held structured light scanners. The resulting 3D models were further processed using the software ZBrush before being hosted online via Sketchfab. They were subsequently embedded on a bespoke webpage (https://www.dundee.ac.uk/museum/collections/zoology/zoology3d/) as an extension of the existing University Museum Services website. This article goes on to discuss the resulting collaborations and benefits of sharing museum collections online.
This work presents the multidisciplinary investigation of the head of Nebiri (Museo Egizio, Turin S_5109), Chief of Stables, a high status elite person from the 18th Dynasty involving MDCT, 3D brain surface and facial reconstructions accompanied by a consideration of previously presented chemical analysis of the embalming materials found in fragments of bandages used on the head and viscera (lung) found in one of the four canopic jars. Comparison of the techniques used for the cosmetic treatment of Nebiri with those used in other elite and high status non-royal persons confirms the validity of the use of the term "high status elite" in the case of Nebiri. This case highlights the importance of using modern forensic techniques both to enhance new technologies of retrospective diagnosis on altered human remains and to increase knowledge of past populations.
Queen Nefertari, the favourite Royal Consort of Pharaoh Ramses II (Ancient Egypt, New Kingdom, 19th Dynasty c. 1250 BC) is famous for her beautifully decorated tomb in the Valley of the Queens. Her burial was plundered in ancient times yet still many objects were found broken in the debris when the tomb was excavated. Amongst the found objects was a pair of mummified legs. They came to the Egyptian Museum in Turin and are henceforth regarded as the remains of this famous Queen, although they were never scientifically investigated. The following multidisciplinary investigation is the first ever performed on those remains. The results (radiocarbon dating, anthropology, paleopathology, genetics, chemistry and Egyptology) all strongly speak in favour of an identification of the remains as Nefertari’s, although different explanations—albeit less likely—are considered and discussed. The legs probably belong to a lady, a fully adult individual, of about 40 years of age. The materials used for embalming are consistent with Ramesside mummification traditions and indeed all objects within the tomb robustly support the burial as of Queen Nefertari.
A gripping analysis of the results of the groundbreaking imaging technology used to examine the royal mummies of the New Kingdom, by leading experts in the field
The royal mummies in the Cairo Museum are an important source of information about the lives of the ancient Egyptians. The remains of these pharaohs and queens can inform us about their age at death and medical conditions from which they may have suffered, as well as the mummification process and objects placed within the wrappings. Using the latest technology, including Multi-Detector Computed Tomography and DNA analysis, co-authors Zahi Hawass and Sahar Saleem present the results of the examination of royal mummies of the Eighteenth to Twentieth Dynasties. New imaging techniques not only reveal a wealth of information about each mummy, but render amazingly lifelike and detailed images of the remains. In addition, utilizing 3D images, the anatomy of each face has been discerned for a more accurate interpretation of a mummy’s facial features. This latest research has uncovered some surprising results about the genealogy of, and familial relationships between, these ancient individuals, as well as some unexpected medical finds. Historical information is provided to place the royal mummies in context, and the book with its many illustrations will appeal to Egyptologists, paleopathologists, and non-specialists alike, as the authors seek to uncover the secrets of these most fascinating members of the New Kingdom royal families.
Zahi Hawass is one of the world’s best known Egyptologists, former Egyptian minister of state for antiquities, and National Geographic Explorer-in-Residence. He is the author of many books on ancient Egypt, including Discovering Tutankhamun: From Howard Carter to DNA.
Sahar Saleem, professor of radiology at Cairo University, is a Professor of Radiology specialized in advanced imaging technology with experience in paleoradiology.
Publisher eprint link: http://www.tandfonline.com/eprint/vh5JWsQ3DKJnSruayvBD/full
Museum displays of faces derived from skeletal remains – typically referred to as facial reconstructions – are extraordinarily popular, and frequently function as iconic representations of a much broader engagement with collections from a particular people, time and place. Their actual ability to meaningfully represent either an individual or a museum collection is questionable, as facial reconstructions created for display and published within academic journals show an enduring preference for applying invalidated methods. Since 2002 there has been an increase in verified skull-soft tissue relationships, and these, together with research findings from related academic fields, can be incorporated within an evidence-based estimation of facial appearance. By illustration, a face given to an individual from the Museo de la Plata collection is critically revised to show how validated relationships result in a different face, and furthermore a face that is more closely aligned to what constitutes knowledge and display within the contemporary museum.
The human face is a highly specialized anatomical entity. Its appearance is a result of evolutionary processes that include biomechanical, physiological, and social influences. The facial approximation is based on the relevance of skeletal and soft tissue anatomy and aims to reconstruct a person's face from the anatomical features of the skull. In forensics, the technique focuses on the estimation of the facial characteristics of unidentified individuals. In archaeological contexts, it has been widely used for the representation of hominins, prehistoric and historic periods individuals. For the facial approximation of the Petralona man, we digitized a cast of the original skull with an Artec Spider 3D scanner of metrological accuracy up to 0.05mm. A digital model of the Mauer mandible (Germany), the holotype of Homo heidelbergensis, was used to virtually complement the skeletal anatomy of the face. Cinema4D (Maxon) was used to place soft tissue depth markers according to standard nomenclature. The digital reconstruction of facial anatomy and skin texture was developed in ZBrush (Pixologic). The facial features were approximated with the use of techniques that are based on anatomical and/or statistical evidence. The facial approximation of the Petralona skull aims to disseminate scientific information and contribute to the public understanding of evolutionary science.
This study investigated individuals' preference for different levels of realism in anatomical 3D scans. Staff and students working with anatomical material at the University of Dundee were asked to look at three versions of a 3D scan of the upper limb as follows: high realism - i.e. minimally altered from the original scan; moderate realism - i.e. a more significantly processed scan; and lower realism - i.e. the most significantly processed scan. Twenty-two participants took part in the study, with the majority preferring the 'moderate realism' scan overall, suggesting however that the 'high realism' scan would be most preferable for use in relation to anatomy (i.e. cadaver) practical sessions.
This paper gives an overview of working with anatomical scan data such as CT and surface scans. The various types of scans are discussed along with their pros and cons, before going on to provide a detailed guide as to how these can be further post-processed. A method for cleaning and enhancing scan data using the 3D modelling software ZBrush is outlined. Finally, a method for sharing the resulting scans online via Sketchfab is presented.
The human face is physically, psychologically, and socially significant, and facial appearance is crucial to social identity. Therefore, the facial depiction of people from the past is a useful tool for the social interpretation of archaeological remains. However, scientific assumptions surrounding the interpretation of ancient remains influence how the individual is depicted, and facial depictions can contribute to and perpetuate confirmation bias. The primary goals of facial depiction of people from the past are humanistic; re-socializing, and re-personifying, and these aims may create an environment where the interests of the museum visitor influence the level of realism presented in a facial depiction, even where there is little evidence to justify many facial details. Enhanced levels of realism have led to the depiction of character and personality through facial expression. Facial depictions will also influence popular notions of race and gender identity, and the application of contemporary gender and population characteristics to ancient populations may not be justifiable. Facial depiction practitioners should be aware of cognitive bias in their work and make all attempts to avoid the effects. Practitioners should be involved in the decision-making process around the presentation of these exhibits in museums or by the police. El rostro humano es fisica, psicologica y socialmente significativo y la apariencia facial es crucial para la identidad social. Por lo tanto, la representacion del rostro de personas del pasado es una herramienta util para la interpretacion social de los restos arqueologicos. Sin embargo, las presunciones que los cientificos toman entorno a la interpretacion de los restos antiguos influyen en como se representa al individuo, asi como las representaciones faciales pueden contribuir y perpetuar el sesgo de confirmacion. Los objetivos principales de la representacion facial de personas del pasado son humanistas; re-socializar y re-personificar. Estos objetivos pueden crear un entorno donde los intereses del visitante del museo influyen en el grado de realismo presentado en una representacion facial, incluso cuando las evidencias son pocas para justificar muchos detalles faciales. Los niveles mejorados de realismo han llevado a la representacion del personaje y la personalidad a traves de la expresion facial. Las representaciones faciales tambien influiran en las nociones populares de identidad de raza y genero, y la aplicacion de las caracteristicas contemporaneas de genero y poblacion a las poblaciones antiguas puede no ser justificable. Los profesionales que crean las representaciones faciales deben ser conscientes del sesgo cognitivo en su trabajo y hacer todo lo posible para evitar los efectos. Los profesionales deben participar en el proceso de toma de decisiones en torno a la presentacion de estas exhibiciones en museos o por la policia.
If the mandible is missing, a large section of the lower face must be interpreted and estimated for shape and form. This is the case of Dante Alighieri whose original mandible was never found. In this study a new virtual reconstruction of his mandible was designed based on a mathematical method. In this work a new virtual reconstruction of the mandible was designed based on linear measurements of the skull. A three-dimensional standard mandible was designed and modelled on the size of Dante's skull, previously virtually reproduced by scanning the plaster model made by the anthropologist Fabio Frassetto in 1921 with a 3D scanner and imported into a 3D graphic modelling software. After the preliminary work to reconstruct the mandible, the skull was completed and a new 3D virtual facial reconstruction of Dante was developed according to the methods commonly used in forensic contexts.
Facial reconstruction is a technique that can be used to estimate individual faces from human skulls. The presentation of 3D facial reconstructions as photo-realistic depictions of people from the past to public audiences varies widely due to differing methods, the artists' CGI skillset, and access to VFX software required to generate plausible faces.This chapter describes three digital methods for the addition of realistic textures to 3D facial reconstructions; a 2D photo-composite method, a 3D digital painting and rendering method, and a previously undescribed hybrid 2.5D method.These methods are compared and discussed in relation to artistic proficiency, morphological accuracy and practitioner bias.
Forensic facial reconstruction is a useful tool to assist the public in recognizing human remains, leading to positive forensic investigation outcomes. To reproduce a virtual face, facial soft tissue thickness is one of the major guidelines to reach the accuracy and reliability for three-dimensional computerized facial reconstruction, a method that is making a significant contribution to improving forensic investigation and identification. This study aimed to develop a facial soft tissue thickness dataset for a Thai population, and test its reliability in the context of facial reconstruction. Three-dimensional facial reconstruction was conducted on four skulls (2 males and 2 females, with ages ranging between 51 to 60 years). Two main tools of three-dimensional computer animation and modeling software—Blender and Autodesk Maya—were used to rebuild the three-dimensional virtual face. The three-dimensional coordinate ( x, y, z) cutaneous landmarks on the mesh templates were aligned homologous to the facial soft tissue thickness markers on the three-dimensional skull model. The final three-dimensional virtual face was compared to the target frontal photograph using face pool comparison. Four three-dimensional virtual faces were matched at low to moderate levels, ranging from 30% to 70% accuracy. These results demonstrate that the facial soft tissue thickness database of a Thai population applied in this study could be useful for three-dimensional computerized facial reconstruction purposes.
Forensic anthropology aims at identifying human remains when the skeleton represents the last recourse for forensic evaluation. Facial reconstruction is a multidisciplinary technique combining anatomical, anthropological, artistic and graphic principles to reconstruct the living appearance based on the morphology of the skull for recognition or identification purposes.
The alleged skeletal remains of Raphael Sanzio were recovered in 1833 in the Pantheon in Rome, together with the corpses of some of his disciples. This research, on the five-hundredth anniversary of his death, aims at confirming, through 3D facial reconstruction using a manual computerized technique, that the plaster cast of the cranium engraved following Raphael’s exhumation and now stored at the Museum "Casa Natale di Raffaello" in Urbino, definitively belonged to the great artist.
Comparison of our reconstruction with Raphael’s self-portraits resulted in their total superimposition on the profile of the “divine painter”.
When completed, the approximation was also compared with a controversial painting "Portrait of a man", by Sebastiano del Piombo.
This research provides, for the first time, the concrete proof that the skeleton exhumed from the Pantheon in 1833 belongs to Raphael, paving the way for possible future molecular studies for further validating his identity.
Three-dimensional (3D) scanning of the human skin for 3D medical visualisation and printing does not often produce the desired results due to a number of factors including the specularity of human skin, difficulties in scanning fine structures such as the hair and the capabilities of the scanning technologies utilised. Some additional 3D modelling may be required to make the surfaces more suitable for use in the production of anatomical and medical teaching resources, computerised facial depiction and design of bespoke prostheses. Three-dimensional scanned surfaces can be enhanced through digital sculpting and embossing of high-resolution photographs of the human skin.
This paper describes the 3D facial depiction of a 2700-year-old mummy, Ta-Kush, stewarded by Maidstone Museum, UK, informed by new scientific and visual analysis which demanded a complete re-evaluation of her biography and presentation. This paper describes the digital haptic reconstruction and visualisation workflow used to reconstruct her facial morphology, in the context of the multimodal and participatory approach taken by the museum in the complete redesign of the galleries in which the mummy is displayed. Informed by contemporary approaches to working with human remains in heritage spaces, we suggest that our virtual modelling methodology finds a logical conclusion in the presentation of the depiction both as a touch-object as well as a digital animation, and that this ‘digital unshelving’ enables the further rehumanization of Ta-Kush. Finally, we present and reflect upon visitor feedback, which suggests that audiences respond well to interpretive material in museums that utilizes cutting-edge, multimedia technologies.
This chapter presents a methodological framework which could be used to produce accurate anatomical 3D models and animations of the developing skull, with a focus on the temporal bone. Initial modelling is based on information from core texts and visual references, before optimising these models for use in interactive real-time applications. A series of 3D modelling and animation workflows typically used in computer games and animation industry were tested and compared. Workflows most suitable for the production of a 3D visualisation of the developing temporal bone were documented in detail and used to produce the final 3D models. 3D models of the developing temporal bone were then implemented in an interactive mobile application, which allowed users to explore the 3D models on their Android mobile device and use augmented reality to enhance real-world information. Results of tests conducted in this research suggest that 3D modelling workflows which mimic the processes occurring during development of the temporal bone are most suitable for producing realistic 3D models. Animation workflows tested in this research have all shown potential to produce morphing animations of the developing temporal bone. The significant time required to create deformation setups and animations themselves however suggests that using scripting to automate these workflows would increase their usability in projects with a limited timeframe.
We introduce a method that localizes the direct manipulation of blendshape models for facial animation with a customized sketch-based interface. Direct manipulation methods address the problem of cumbersome weight editing process using the traditional tools with a practical “pin-and-drag” operation directly on the 3D facial models. However, most of the direct manipulation methods have a global deformation impact, which lead to unintuitive and unexpected results. To this end, we propose a new way to localize the theory of direct manipulation method using geodesic circles for confining the edits to the local geometry. Inspired by artists’ brush painting on canvas, we additionally introduce a sketch-based interface as an application that provides direct manipulation and produces expressive facial poses efficiently and intuitively. Our method allows the artists to simply sketch directly onto the 3D facial model and automatically produces the expeditious manipulation until the desired facial pose is obtained. We show that localized blendshape direct manipulation has the potential to reduce the time-consuming blendshape editing process to an easy freehand stroke drawing. Finally, we present a wide range of facial poses on various models that are created rapidly using our method.
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.
Digital characters have been taken an very important role for filmmaking and video games over the last decade. Now we are at the border that the difference between digital characters and real ones are vanishing. In this course we will introduce the fundamental knowledge of how to create digital characters. A state-of-the-art workflow consists of three stages: creating of the facial and body puppet, applying the right deformation techniques to the puppet, and driving the puppet with keyframe animation or motion capture data through retargeting. Our goal is to present the best practice guide in terms of making digital humans for visual production.
We start with an general overview of the process on how to make digital characters. It then focuses on the details about production of facial and body puppets through 3D acquisition of geometry and texture, template registration techniques that are based on generic deformation or morphable models, using deformation transfer to automatically create believable poses, and how to use motion capture data to enhance the current poses. The second part of the course will introduce various important deformation techniques such as skinning, pose space deformation, and how to do volumetric deformation based on real body medical imaging data. Finally several animation techniques will be presented to show how to make puppets perform.
Facial reconstruction (otherwise known as facial approximation) is the process utilised to reproduce the facial appearance of an individual by relating the skeletal structure to the overlying soft tissue (Gerasimov 1971; Prag and Neave 1997; Taylor 2001; Wilkinson 2004). Facial reconstruction has been used to provoke recognition in forensic identification investigations worldwide, and is a powerful forensic tool that significantly enhances the chances of identification of the deceased. The Manchester mummy team has been at the forefront of research into the facial depiction of ancient Egyptians since its conception in 1973 (David 1986; David and Tapp 1992). Initial forensic investigations of Egyptian mummies housed at The Manchester Museum involved Richard Neave, a medical artist from the University of Manchester (Neave 1979). In 1973, Neave reconstructed the faces of the Two Brothers, a pair of twelfth Dynasty (c. 1900 b.c.) Egyptians. This early work followed a rather simple, undeveloped method and Neave stated that ‘whilst a great deal of attention was paid to the areas of muscle insertion and their probable effect upon the face, we put very little effort into developing the muscle groups themselves’ (Prag and Neave 1997). Neave used the tissue depth data produced by Kollman and Buchly (1898) from cadavers of White Europeans for these reconstructions and worked exclusively with skull casts and sculptors' clay and often built the neck structure onto the facial reconstructions to give the finished head a more balanced appearance.
Facial Aesthetics: Concepts and Clinical Diagnosis is a unique new illustrated resource for facial aesthetic surgery and dentistry, providing the comprehensive clinical textbook on the art and science of facial aesthetics for clinicians involved in the management of facial deformities, including orthodontists, oral and maxillofacial surgeons, plastic and reconstructive surgeons and aesthetic dentists. It aims to provide readers with a comprehensive examination of facial aesthetics in the context of dentofacial and craniofacial diagnosis and treatment planning. This aim is achieved through coupling meticulous research and practical clinical advice with beautifully drawn supporting illustrations and diagrams. Structured over 24 logically arranged and easy-to-follow chapters, Part I of Facial Aesthetics covers the historical evidence for facial aesthetic canons and concepts in depth. It incorporates all aspects relevant to the work of the clinician, including the philosophical and scientific theories of facial beauty, facial attractiveness research, facial expression and the psychosocial ramifications of facial deformities. Part II of the book then goes on to examine clinical evaluation and diagnosis in considerable detail under four sections, from the initial consultation interview and acquisition of diagnostic records (section 1), complete clinical examination and analysis of the craniofacial complex (section 2), in depth analysis of each individual facial region using a top-down approach (section 3) and finally focussing on smile and dentogingival aesthetic evaluation (section 4). An in-depth, thoughtful, practical and absorbing reference, Facial Aesthetics will find an enthusiastic reception among facial aesthetic surgeons and aesthetic dentists with an interest in refining their understanding and appreciation of the human face and applying practical protocols to their clinical diagnosis and treatment planning. Key features: Examines facial aesthetics in a clinical context. Promotes an interdisciplinary approach to facial aesthetic analysis. Detailed description of the systematic clinical evaluation of the facial soft tissues and craniodentoskeletal complex. Detailed, step-by-step aesthetic analysis of each facial region. In-depth analysis of 2D and 3D clinical diagnostic records. Evidence-based approach, from antiquity to contemporary scientific evidence, to the guidelines employed in planning the correction of facial deformities. Treatment planning from first principles highlighted. Clinical notes are highlighted throughout. Clearly organized and practical format. Highly illustrated in full colour throughout.
In this paper, we present a powerful novel 3D animation tool for generating composite 3D facial expressions, using a set of already existing ones. The main idea is to select several patches of the face mesh and then morph each one of them towards a different facial expression target model, thus obtaining a new lifelike facial expression with mostly no human interaction. Our algorithm automatically determines how the selection should be expanded around each part of the selection border, and with what span and falloff, depending on the level of dissimilarity which the two models reach at that specific area. The major improvement of our algorithm is that it treats this matter automatically, while other approaches require the user to manually define the final shape of the selection. Our algorithm proposes an energy minimization approach, using the concept of Hausdorff distance.
Egyptian mummies have always aroused popular and scientific interest; however, most modern studies, although significantly increased in number and range, have been published in specialist journals. Now, this unique book, written by a long-established team of scientists based at the University of Manchester (England), brings this exciting, cross-disciplinary area of research to a wider readership. Its main aim is to show how this team's multidisciplinary, investigative methods and the unique resource of the Egyptian Mummy Tissue Bank are being used for the new major international investigations of disease evolution and ancient Egyptian pharmacy and pharmacology. It also assesses the current status of palaeopathology and ancient DNA research, and treatments available for conserving mummified remains. Descriptions of the historical development of Egyptian mummifications and medicine and detailed references to previous scientific investigations provide the context for firsthand accounts of cutting-edge research by prominent specialists in this field, demonstrating how these techniques can contribute to a new perspective on Egyptology.
The promotion of CCTV surveillance and identity cards, along with ever heightened security at airports, immigration control and institutional access, has seen a dramatic increase in the use of automated and manual recognition. In addition, several recent disasters have highlighted the problems and challenges associated with current disaster victim identification. Discussing the latest advances and key research into identification from the face and skull, this book draws together a wide range of elements relating to craniofacial analysis and identification. It examines all aspects of facial identification, including the determination of facial appearance from the skull, comparison of the skull with the face and the verification of living facial images. With sections covering the identification of the dead and of the living, it provides a valuable review of the current state of play along with the latest research advances in this constantly evolving field.
The technique of forensic facial approximation, or reconstruction, is one of many facets of the field of mummy studies. Although far from a rigorous scientific technique, evidence-based visualization of antemortem appearance may supplement radiological, chemical, histological, and epidemiological studies of ancient remains. Published guidelines exist for creating facial approximations, but few approximations are published with documentation of the specific process and references used. Additionally, significant new research has taken place in recent years which helps define best practices in the field. This case study records the facial approximation of a 3,000-year-old ancient Egyptian woman using medical imaging data and the digital sculpting program, ZBrush. It represents a synthesis of current published techniques based on the most solid anatomical and/or statistical evidence. Through this study, it was found that although certain improvements have been made in developing repeatable, evidence-based guidelines for facial approximation, there are many proposed methods still awaiting confirmation from comprehensive studies. This study attempts to assist artists, anthropologists, and forensic investigators working in facial approximation by presenting the recommended methods in a chronological and usable format. Anat Rec, 298:1144-1161, 2015. © 2015 Wiley Periodicals, Inc.
© 2015 Wiley Periodicals, Inc.
It has been widely disseminated in the literature that subcutaneous packing, as part of mummification, was not usually done until the 21st dynasty. We aimed to study by computed tomography (CT) if subcutaneous packing was part of mummification of royal Egyptians dated to 18th to 20th dynasties.
We analyzed the 2- and 3-dimensional CT images of 13 royal mummies dated to circa 1550 to 1153 BC for presence of subcutaneous embalming materials. Among the studied mummies were Amenhotep III, Tutankhamun, Seti I, and Ramesses II. We reported the CT characters of any detected subcutaneous embalming materials and noted their impact on the morphology of the involved body part. We correlated the CT findings with the archeological literature.
Computed tomographic images showed subcutaneous packing in 12 (92.3%) mummies; whereas the mummy that was previously known as "Thutmose I" showed no such evidence. Subcutaneous packing involved the faces (n = 11), necks (n = 4), torsos (n = 5), and/or extremities (n = 4) of the mummies. Subcutaneous filling materials showed variation in homogeneity and CT densities and they were likely composed of resin, bits of linen with resin, or other substances. Subcutaneous packing procedure succeeded in providing uniform full contour of the involved body regions without causing significant tissue damages.
Subcutaneous packing procedure was used as part of mummification of royal Ancient Egyptians dated to 18th to 20th dynasties earlier than what was believed in archaeology. The Ancient Egyptian embalmers must have been skilled in dissection and possessed surgical tools that enabled them to perform this fine procedure.
Objective: We aimed to study the computed tomography (CT) scans of the royal Ancient Egyptian mummies dated to the eighteenth to early twentieth Dynasties for the claimed diagnoses of Ankylosing spondylitis and diffuse idiopathic skeletal hyperostosis (DISH) and to correlate the findings with the archaeology literature.
Methods: We studied the CT images of thirteen royal Ancient Egyptian mummies (1492–1153 BC) for ankylosing spondylitis and DISH diseases. We correlated the findings with the archaeology literature.
Results: CT findings excluded the diagnosis of ankylosing spondylitis based on absence of sacroiliac joints erosions, or fusion of the facet joints. Four mummies fulfilled the diagnostic criteria of DISH: Amenhotep III (18th Dynasty), Ramesses II, his son Merenptah, and Ramesses III (19th to early 20th Dynasties). Diagnosis of DISH, a commonly asymptomatic disease of the old age, in the four Pharaohs concord the longevity and active life styles that they have lived.
Conclusion: CT findings excluded the diagnosis of ankylosing spondylitis in the studied royal Ancient Egyptian mummies and questioned the antiquity of the disease. CT features of DISH in this ancient period were similar to those commonly seen in modern populations and likely they will be in the future. Affection of Ramesses II and his son Merenptah supports familial clustering of DISH. The process of mummification may induce changes in the spine that should be considered during investigations of mummy diseases
Ageing is a biological process that results from changes at a cellular level, particularly modification of mRNA. The face is affected by the same physiological process and results in skeletal, muscular, and cutaneous ageing; ligamentous attenuation, descent of fat, and ageing of the appendages. I describe these changes on a structural and clinical basis and summarise possible solutions for a rejuvenation surgeon. © 2013 Published by Elsevier Ltd on behalf of The British Association of Oral and Maxillofacial Surgeons.
This paper addresses traveling are expositions which are itinerant events whose main characteristics are that they come to a site and have lifespan that can extend weeks or months. The Mint Museum of Charlotte, NC was one of the sponsors of the Ramesses The Great traveling Egyptian exposition. Prior to sponsoring the Ramesses exposition, the Mint Museum conducted market research, which led to the development of marketing and public relations plans to promote the exposition. The show was deemed successful and 634,643 visitors attended the exposition's 121 days of operation. The exposition helped generate the highest rate of hotel occupancy in the history of Charlotte, NC.