Academic website of Geert J. Verhoeven - Bildbasierte 3D-Modellierung

Journal article

Geert J. Verhoeven, Markus Santner, Immo Trinks
Österreichische Zeitschrift für Kunst und Denkmalpflege, vol. 75(1/2), 2021, pp. 163-174

DOI: 10.5281/zenodo.5029639

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APA Click to copy
Verhoeven, G. J., Santner, M., & Trinks, I. (2021). Bildbasierte 3D-Modellierung der Wandmalerei in der Bischofstorvorhalle im Wiener Stephansdom. Österreichische Zeitschrift Für Kunst Und Denkmalpflege, 75(1/2), 163–174. https://doi.org/10.5281/zenodo.5029639

Chicago/Turabian Click to copy
Verhoeven, Geert J., Markus Santner, and Immo Trinks. “Bildbasierte 3D-Modellierung Der Wandmalerei in Der Bischofstorvorhalle Im Wiener Stephansdom.” Österreichische Zeitschrift für Kunst und Denkmalpflege 75, no. 1/2 (2021): 163–174.

MLA Click to copy
Verhoeven, Geert J., et al. “Bildbasierte 3D-Modellierung Der Wandmalerei in Der Bischofstorvorhalle Im Wiener Stephansdom.” Österreichische Zeitschrift Für Kunst Und Denkmalpflege, vol. 75, no. 1/2, 2021, pp. 163–74, doi:10.5281/zenodo.5029639.

BibTeX Click to copy

@article{verhoeven2021a,
  title = {Bildbasierte 3D-Modellierung der Wandmalerei in der Bischofstorvorhalle im Wiener Stephansdom},
  year = {2021},
  issue = {1/2},
  journal = {Österreichische Zeitschrift für Kunst und Denkmalpflege},
  pages = {163-174},
  volume = {75},
  doi = {10.5281/zenodo.5029639},
  author = {Verhoeven, Geert J. and Santner, Markus and Trinks, Immo}
}

Abstract
The surface of most heritage objects holds important clues about their creation. To answer specific research questions about the creation of a mural painting located in the Bishop's Gate porch of St. Stephen's Cathedral in Vienna, the three-dimensional geometry of the entire painted surface was digitised in minuscule detail using thousands of overlapping photographs. After a brief introduction to the basics of image-based surface digitisation, this paper describes in detail how the photographs were taken and how they were processed to create a digital three-dimensional surface. To appreciate the subtle surface variations encoded in this digital model, various relief visualisation techniques have been applied. The paper ends with a discussion of the new insights into the creation of this painting that are enabled by these visualisations.