Digital 2D, 2.5D and 3D Methods for Adding Photo-Realistic Textures to 3D Facial Depictions of People from the Past.

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.

The Surgical Art Face©: Developing a Bespoke Multimodal Face Model for Reconstructive Surgical Education.

Surgical and educational challenges exist in relation to the teaching of facial reconstructive surgery due to the complexities of the facial landscape and training models available. This chapter will describe the development and implementation of alternative modes of teaching facial reconstructive techniques in a multi-disciplinary setting, pioneered by Surgical Art ( www.surgical-art.com ), through the use of a bespoke multimodal training model-the Surgical Art Face©.

Pores, Pimples and Pathologies: 3D Capture and Detailing of the Human Skin for 3D Medical Visualisation and Fabrication.

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.

Cystic Fibrosis: A Pocket Guide.

In 2010, an iPad app titled 'A Patient's Guide to Cystic Fibrosis' was developed for use by Cystic Fibrosis (CF) clinical nurse specialists during a patient's annual review. Feedback from pseudo-CF patients and NHS staff including CF clinical nurse specialists and respiratory consultants about the appearance, usability and content of the app and iPad interface, and the appropriateness of the app for CF patients was positive. The visual images, animations and interactive elements of the app were sufficient in providing an engaging experience for the user. The app was deemed suitable for patients and set a foundation for the development of comprehensive and interactive CF patient information learning tools. Since 2010, the prevalence and popularity of iPad apps in healthcare have soared and apps now have the capability to include more interactive touch-based experiences with digital content such as 3D models. The original iPad app was re-developed as an Apple iBook and an Android app titled 'Cystic Fibrosis: A Pocket Guide'. This paper describes the design, development and feedback on the original iPad app and its subsequent variants, and concludes with reflections from the specialist CF nurses, who have continued to use pocket guide over 10 years.

'To donate or not to donate? that is the question!': an organ and body donation comic.

Conversations surrounding end of life and death can be difficult or taboo for some, meaning that matters of organ and body donation are not widely discussed. To Donate or Not to Donate? That is the Question! is a comic developed to raise awareness and challenge common misconceptions about donation by encouraging the publics to engage in informed discussions about the different options available. This case study proposes graphic medicine as an alternative method of presenting donation information to a public audience, and illustrates how the comic medium can communicate body donation information in an accessible and engaging way.

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

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.

Assessment of accuracy and recognition of three-dimensional computerized forensic craniofacial reconstruction.

Facial reconstruction is a technique that aims to reproduce the individual facial characteristics based on interpretation of the skull, with the objective of recognition leading to identification. The aim of this paper was to evaluate the accuracy and recognition level of three-dimensional (3D) computerized forensic craniofacial reconstruction (CCFR) performed in a blind test on open-source software using computed tomography (CT) data from live subjects. Four CCFRs were produced by one of the researchers, who was provided with information concerning the age, sex, and ethnic group of each subject. The CCFRs were produced using Blender® with 3D models obtained from the CT data and templates from the MakeHuman® program. The evaluation of accuracy was carried out in CloudCompare, by geometric comparison of the CCFR to the subject 3D face model (obtained from the CT data). A recognition level was performed using the Picasa® recognition tool with a frontal standardized photography, images of the subject CT face model and the CCFR. Soft-tissue depth and nose, ears and mouth were based on published data, observing Brazilian facial parameters. The results were presented from all the points that form the CCFR model, with an average for each comparison between 63% and 74% with a distance -2.5 ≤ x ≤ 2.5 mm from the skin surface. The average distances were 1.66 to 0.33 mm and greater distances were observed around the eyes, cheeks, mental and zygomatic regions. Two of the four CCFRs were correctly matched by the Picasa® tool. Free software programs are capable of producing 3D CCFRs with plausible levels of accuracy and recognition and therefore indicate their value for use in forensic applications.