I’m finally at a stage where I can begin to texture the various components.  It has become a slower process than I initially thought, largely due to the amount of existing information in the lower quarter of the temple.  I’ve been hand painting/sculpting each section before I can then go back and apply the hieroglyphs.  I haven’t had a chance to really use Allegorithmic’s Substance Painter before this project, so I thought I would brush up on some new software.  It definitely seems to be allowing me to pick up the pace somewhat.

Below are some of the elements I’ve begun to address.



My first attempt at a limestone ended being a little too pink, and had some odd ridging when scrutinized up close.

Screen Shot 2017-06-25 at 10.24.00 PM

I’ve decided to have exterior surfaces more weathered as they would be constantly exposed to the environmental conditions.

I should point out that I was way off with how I originally though the screen components between the columns were constructed.  I had built the cornice encircling the entire top of the component, not realizing (at the time) how these elements were almost fused with the columns.

column_for_blog copy

Above are the textures I created for the relief on the columns.


I revisited the criosphinx.  Hard to believe it started as this:


I forgot to include this in an earlier posting.  It’s a time-lapse construction of the criosphinx (captured in Zbrush).


I found the front and rear paws to be a little too rounded, so I went through and added more definition.


Screen Shot 2017-06-27 at 12.06.59 AM


The North Criosphinx base.  I might go back (time permitting) and add a small cornice around the top of the pedestals (similar to the ones found at Karnak).

Screen Shot 2017-06-25 at 10.58.44 PM

Using Autodesk Sketchbook (which has some fantastic line creation tools), I created a winged sundisk that can be used throughout the temple.  Variation of this can be made after it’s stencilled onto the geometry.


Screen Shot 2017-06-26 at 10.17.39 PM.png

Screen Shot 2017-06-25 at 10.52.32 AM


Screen Shot 2017-06-25 at 1.22.35 PM


Below are the alpha’s used for the Torus Moulding.

So, the cartouche I used was completely off the mark.  I found it during an initial search (this is from a was at Karnak).


Below is the new cartouche relief (thanks to Jean for pointing me in the right direction) that will be stencilled around the cornice on the outside of the the temple.


The entrance to the first pillar hall.


The covetto cornice at the Royal Ontario Museum is the initial inspiration for the entrance to the first pillar hall.


I’ve been working through the interior temple this past week.


Trying to figure out which pillars go where.



It has become the proverbial two steps forward, one step back as I find I’m constantly rebuilding elements from where I started.

For example, the entire model was built as one continuous shell.

Screen Shot 2017-06-25 at 11.18.57 PM

I thought that this would make it easy to texture.  This approach ended up making modifications a time consuming and tedious task.

Instead, I have been dividing up the various components archetecturally.  Which is also taking a little more time than I thought, but the end result will be more structurally accurate.

I’ve separated out the ceiling into individual slaps.  I’ll need to adjust the size slightly (they might be a little too small at the moment).



Author: Kris Howald

I was immersed into the world of virtual archeology for my Masters Research Project at Ryerson University.  The focus of this project was the digital reconstruction of the el-Hibeh temple in Egypt.  After four months I believe I was able to demonstrate the potential this medium has to offer as a way of bridging the past and present. I'm currently visualizing the past, present, and future of a pre-contact indigenous community.

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