Animating Virtual Human for Virtual Batik Modeling

This research paper describes a development of animating virtual human for virtual batik modeling project. The objectives of this project are to animate the virtual human, to map the cloth with the virtual human body, to present the batik cloth, and to evaluate the application in terms of realism of virtual human look, realism of virtual human movement, realism of 3D scene, application suitability, application usability, fashion suitability and user acceptance. The final goal is to accomplish an animated virtual human for virtual batik modeling. There are 3 essential phases which research and analysis (data collection of modeling and animating technique), development (model and animate virtual human, map cloth to body and add a music) and evaluation (evaluation of realism of virtual human look, realism of virtual human movement, realism of props, application suitability, application usability, fashion suitability and user acceptance). The result for application usability is the highest percentage which 90%. Result show that this application is useful to the people. In conclusion, this project has met the objective, which the realism is achieved by used a suitable technique for modeling and animating

Personalities of the Chinese Zodiac

3D animation has been trending for many years now. Many stories and the characters in those stories are being re-designed and represented by 3D. Stories I grew up with in Taiwan are so different from those popular in Western culture. While I enjoyed Snow White, Sleeping Beauty and Mickey Mouse, I also loved many classic Chinese stories, one of them being that of the Chinese Zodiac. This story is about animals having a race to decide who will be the only 12 animals that represent each year. They are rat, ox, tiger, rabbit, dragon, snake, horse, goat, monkey, chicken, dog and pig.1 In most Asian countries, these twelve animals represent each year in the order from rat to pig and then come back to the rat again, which makes 12 years. In fact, the story is not just a bedtime story for kids’ it’s actually used as a calendar in real life for people in some of the Asian countries. Besides that, many people believe that human personalities are influenced by the Chinese Zodiac. For example, rats are considered smart and will get whatever they want at any cost. And in the story, the hard-working ox knows he walks very slowly so he starts walking towards the finish line early in the morning. The rat hides in the ox’s hair the entire way and jumps out to touch the finish line at the last second. At the end, the rat becomes the number one amount the Zodiac sign and the poor hard-working ox only got number two. Since most Asians believe the Chinese Zodiac can affect people’s personalities, I thought it could be interesting to consider those personalities and re-design those characters in 3D. The goal of this project is to design and create a series of characters and show people born in certain years may look like

Example-based wrinkle synthesis for clothing animation

This paper describes a method for animating the appearance of clothing, such as pants or a shirt, that fits closely to a figure's body. Compared to flowing cloth, such as loose dresses or capes, these types of garments involve nearly continuous collision contact and small wrinkles, that can be troublesome for traditional cloth simulation methods. Based on the observation that the wrinkles in closefitting clothing behave in a predominantly kinematic fashion, we have developed an example-based wrinkle synthesis technique. Our method drives wrinkle generation from the pose of the figure's kinematic skeleton. This approach allows high quality clothing wrinkles to be combined with a coarse cloth simulation that computes the global and dynamic aspects of the clothing motion. While the combined results do not exactly match a high-resolution reference simulation, they do capture many of the characteristic fine-scale features and wrinkles. Further, the combined system runs at interactive rates, making it suitable for applications where high-resolution offline simulations would not be a viable option. The wrinkle synthesis method uses a precomputed database built by simulating the high-resolution clothing as the articulated figure is moved over a range of poses. In principle, the space of poses is exponential in the total number of degrees of freedom; however clothing wrinkles are primarily affected by the nearest joints, allowing each joint to be processed independently. During synthesis, mesh interpolation is used to consider the influence of multiple joints, and combined with a coarse simulation to produce the final results at interactive rates

Example-based wrinkle synthesis for clothing animation

This paper describes a method for animating the appearance of clothing, such as pants or a shirt, that fits closely to a figure's body. Compared to flowing cloth, such as loose dresses or capes, these types of garments involve nearly continuous collision contact and small wrinkles, that can be troublesome for traditional cloth simulation methods. Based on the observation that the wrinkles in closefitting clothing behave in a predominantly kinematic fashion, we have developed an example-based wrinkle synthesis technique. Our method drives wrinkle generation from the pose of the figure's kinematic skeleton. This approach allows high quality clothing wrinkles to be combined with a coarse cloth simulation that computes the global and dynamic aspects of the clothing motion. While the combined results do not exactly match a high-resolution reference simulation, they do capture many of the characteristic fine-scale features and wrinkles. Further, the combined system runs at interactive rates, making it suitable for applications where high-resolution offline simulations would not be a viable option. The wrinkle synthesis method uses a precomputed database built by simulating the high-resolution clothing as the articulated figure is moved over a range of poses. In principle, the space of poses is exponential in the total number of degrees of freedom; however clothing wrinkles are primarily affected by the nearest joints, allowing each joint to be processed independently. During synthesis, mesh interpolation is used to consider the influence of multiple joints, and combined with a coarse simulation to produce the final results at interactive rates

Animating Virtual Human for Virtual Batik Modeling

This research paper describes a development of animating virtual human for virtual batik modeling project. The objectives of this project are to animate the virtual human, to map the cloth with the virtual human body, to present the batik cloth, and to evaluate the application in terms of realism of virtual human look, realism of virtual human movement, realism of 3D scene, application suitability, application usability, fashion suitability and user acceptance. The final goal is to accomplish an animated virtual human for virtual batik modeling. There are 3 essential phases which research and analysis (data collection of modeling and animating technique), development (model and animate virtual human, map cloth to body and add a music) and evaluation (evaluation of realism of virtual human look, realism of virtual human movement, realism of props, application suitability, application usability, fashion suitability and user acceptance). The result for application usability is the highest percentage which 90%. Result show that this application is useful to the people. In conclusion, this project has met the objective, which the realism is achieved by used a suitable technique for modeling and animating

Realistic Virtual Human Character Design Strategy and Experience for Supporting Serious Role-Playing Simulations on Mobile Devices

Promoting awareness of social determinants of health (SDoH) among healthcare providers is important to improve the patient care experience and outcome as it helps providers understand their patients in a better way which can facilitate more efficient and effective communication about health conditions. Healthcare professionals are typically educated about SDoH through lectures, questionaries, or role-play-based approaches; but in today’s world, it is becoming increasingly possible to leverage modern technology to create more impactful and accessible tools for SDoH education. Wright LIFE (Lifelike Immersion for Equity) is a simulation-based training tool especially created for this purpose. It is a mobile app that would be available on both Google Play and Apple Store for easy access to the providers. This highly realistic, interactive, and captivating app is essential for creating mindfulness about SDoH and generating long-lasting compassion and empathy in health care workers for their real patients and helping them to build a good clinician-patient relationship. An important aspect of this simulation is the realism of the characters and their behavior. This thesis specifically focuses on the strategy and experience of designing and developing realistic human character models and animations so that the players connect naturally and deeply with the virtual characters. This contributes to the generation of a greater level of empathy in the providers and decreases the level of biases. In addition to its contribution to creating efficient design methodologies, this effort also resulted in a portfolio of high-quality, low-memory multi-modal avatars resembling diverse people of various ethnicities, ages, body types, and gender

Darning Mark’s Jumper: Wearing Love and Sorrow

Some garments demand a narrative of their own. Such was the case with a jumper that I darned for my partner in the winter of 2010. The jumper was old and moth-eaten; Mark was gravely ill with only a few months left to live. In the process of darning, each stitch was an act of love, each passage of the needle restoring something that had been eaten away.This article explores the multiple levels of meaning that run through the narrative I have woven around darning Mark’s jumper – an irreplaceable garment – at once priceless but worthless, worn but unwearable, empty yet embodied. It explores the concept of the fetish and draws on Igor Kopytoff’s analysis of our relationship to commodities and things in the modern, capitalist economy, where discarding and replacing old clothes with new is the default option. The theoretical heart of this paper, however, lies with Elizabeth Wilson’s writings on the ‘quasi-magical properties and meanings’ of a garment and with the work of Peter Stallybrass, who has written brilliantly on how in moments of crisis, in the ruptures of our lives, in mourning, it is to these irrational attachments that we turn.

THREE DIMENSIONAL MODELING AND ANIMATION OF FACIAL EXPRESSIONS

Facial expression and animation are important aspects of the 3D environment featuring human characters. These animations are frequently used in many kinds of applications and there have been many efforts to increase the realism. Three aspects are still stimulating active research: the detailed subtle facial expressions, the process of rigging a face, and the transfer of an expression from one person to another. This dissertation focuses on the above three aspects. A system for freely designing and creating detailed, dynamic, and animated facial expressions is developed. The presented pattern functions produce detailed and animated facial expressions. The system produces realistic results with fast performance, and allows users to directly manipulate it and see immediate results. Two unique methods for generating real-time, vivid, and animated tears have been developed and implemented. One method is for generating a teardrop that continually changes its shape as the tear drips down the face. The other is for generating a shedding tear, which is a kind of tear that seamlessly connects with the skin as it flows along the surface of the face, but remains an individual object. The methods both broaden CG and increase the realism of facial expressions. A new method to automatically set the bones on facial/head models to speed up the rigging process of a human face is also developed. To accomplish this, vertices that describe the face/head as well as relationships between each part of the face/head are grouped. The average distance between pairs of vertices is used to place the head bones. To set the bones in the face with multi-density, the mean value of the vertices in a group is measured. The time saved with this method is significant. A novel method to produce realistic expressions and animations by transferring an existing expression to a new facial model is developed. The approach is to transform the source model into the target model, which then has the same topology as the source model. The displacement vectors are calculated. Each vertex in the source model is mapped to the target model. The spatial relationships of each mapped vertex are constrained