创建3D谜题的数字工作流程,以吸引观众在考古文物的解释

K. Rodriguez-Echavarria, M. Samaroudi
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引用次数: 3

摘要

3D物理拼图通常用于吸引观众在博物馆展览中解释考古文物。这样做的原因是,谜题既可以被视为一种游戏,也可以被视为考古学家重新组装碎片的复杂活动。本文的贡献是为设计和制作3D文物拼图提供了一种新颖的数字工作流程。工作流程的输入是来自遗产收藏的真实人工制品,然后使用3D扫描和3D建模等技术将其数字化。随后,谜题生成器使用细胞断裂算法生成3D谜题碎片,并生成一组谜题碎片(母)和单个核心碎片(公)用于制作。最后,使用3D打印技术制作碎片并进行后处理,以方便拼图组装。为了演示工作流程,我们部署了提出的方法,为布莱顿博物馆和美术馆的考古画廊创建了一个人工制品的3D拼图,即盐渍瓮。这项研究的意义在于,它简化了在繁忙的博物馆画廊中创造类似谜题的活动并维持它们的任务。CCS概念•计算方法→形状建模;网格几何模型;•应用计算→计算机辅助设计;美术;在卫生部门从保护和展览规划到包装和创意或教育活动的各种过程中实施[NL13, SCP∗14,NRRK14, SCP∗15]。本文关注的是数字制造应用的发展,旨在为CH经验的教育和交流方面做出贡献。特别是,它研究了如何以创造性的方式重新利用人工制品的数字3D模型,以扩大数字化过程的好处。因此,该论文建议使用有趣的3D谜题,让用户体验物理碎片或碎片
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Digital Workflow for Creating 3D Puzzles to Engage Audiences in the Interpretation of Archaeological Artefacts
3D physical puzzles are typically used to engage audiences in the interpretation of archaeological artefacts in a museum exhibition. The reason for this is that a puzzle can be seen as a game but also as a complex activity that archaeologists undertake to re-assemble fragments. The contribution of this paper is a novel digital worfklow for the design and fabrication of 3D heritage puzzles. The input to the workflow is an authentic artefact from a heritage collection, which is then digitised using technologies such as 3D scanning and 3D modelling. Thereafter, a puzzle generator produces the 3D puzzle pieces using a cell fracture algorithm and generates a set of puzzle pieces (female) and a single core piece (male) for fabrication. Finally, the pieces are fabricated using 3D printing technology and post-processed to facilitate the puzzle assembly. To demonstrate the workflow, we deploy the proposed method to create a 3D puzzle of an artefact, the Saltdean urn, for the Archaeological Gallery of the Brighton Museum and Art Gallery. The significance of this research is that it eases the task of creating puzzle-like activities and maintaining them within a busy museum gallery. CCS Concepts •Computing methodologies → Shape modeling; Mesh geometry models; •Applied computing → Computer-aided design; Fine arts; been implemented in a variety of processes in the CH sector from conservation and exhibition planning to packaging and creative or educational activities [NL13, SCP∗14, NRRK14, SCP∗15]. This paper is concerned with the development of an application of digital fabrication which aims to contribute to the educational and communicational aspect of the CH experience. In particular, it examines how digital 3D models of artefacts can be re-purposed in creative ways in order to expand the benefits of the digitisation process. As such, the paper proposes the playful use of a 3D puzzle to enable users to experience the physical pieces or shards of
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