An evaluation of Substance Painter and Mari as visualisation methods using the Piraeus Lion and its runic inscriptions as a case study

Abstract

This paper explores the effectiveness in the use of texture painting software packages, which are more commonly used in the film and game industries, as a method for detecting and recording carvings on non-planar surfaces. This new approach is demonstrated through a case study of the Piraeus Lion, a sculpture in Venice which has documented engravings that are subtle and have proven difficult to fully recorded and interpret using traditional approaches. Through the creation of a new digital documentation of the Piraeus Lion using Structure from Motion, the model was processed using existing methods and other experimental visualisation techniques. The outputs from these were then compared to the those from two software, Substance Painter and Mari. These software packages helped to visualise the carvings and showed that the method has potential for a wide range of uses, both within epigraphy and other fields of study relating to carvings on stone including rock art and runology. The presented method is intended to be used alongside existing digital and analogue methods as a tool for annotating, evaluating, and discovering new carvings in their original context. In particular, Substance Painter offers a repeatable, easy to use, and intuitive solution to creating easily distributable visualisations and annotated models.