Shape Design and Optimization for 3D Printing

In recent years, the 3D printing technology has become increasingly popular, with wide-spread uses in rapid prototyping, design, art, education, medical applications, food and fashion industries. It enables distributed manufacturing, allowing users to easily produce customized 3D objects in office or at home. The investment in 3D printing technology continues to drive down the cost of 3D printers, making them more affordable to consumers. As 3D printing becomes more available, it also demands better computer algorithms to assist users in quickly and easily generating 3D content for printing. Creating 3D content often requires considerably more efforts and skills than creating 2D content. In this work, I will study several aspects of 3D shape design and optimization for 3D printing. I start by discussing my work in geometric puzzle design, which is a popular application of 3D printing in recreational math and art. Given user-provided input figures, the goal is to compute the minimum (or best) set of geometric shapes that can satisfy the given constraints (such as dissection constraints). The puzzle design also has to consider feasibility, such as avoiding interlocking pieces. I present two optimization-based algorithms to automatically generate customized 3D geometric puzzles, which can be directly printed for users to enjoy. They are also great tools for geometry education. Next, I discuss shape optimization for printing functional tools and parts. Although current 3D modeling software allows a novice user to easily design 3D shapes, the resulting shapes are not guaranteed to meet required physical strength. For example, a poorly designed stool may easily collapse when a person sits on the stool; a poorly designed wrench may easily break under force. I study new algorithms to help users strengthen functional shapes in order to meet specific physical properties. The algorithm uses an optimization-based framework — it performs geometric shape deformation and structural optimization iteratively to minimize mechanical stresses in the presence of forces assuming typical use scenarios. Physically-based simulation is performed at run-time to evaluate the functional properties of the shape (e.g., mechanical stresses based on finite element methods), and the optimizer makes use of this information to improve the shape. Experimental results show that my algorithm can successfully optimize various 3D shapes, such as chairs, tables, utility tools, to withstand higher forces, while preserving the original shape as much as possible. To improve the efficiency of physics simulation for general shapes, I also introduce a novel, SPH-based sampling algorithm, which can provide better tetrahedralization for use in the physics simulator. My new modeling algorithm can greatly reduce the design time, allowing users to quickly generate functional shapes that meet required physical standards

Planning Framework for Robotic Pizza Dough Stretching with a Rolling Pin

Stretching a pizza dough with a rolling pin is a nonprehensile manipulation. Since the object is deformable, force closure cannot be established, and the manipulation is carried out in a nonprehensile way. The framework of this pizza dough stretching application that is explained in this chapter consists of four sub-procedures: (i) recognition of the pizza dough on a plate, (ii) planning the necessary steps to shape the pizza dough to the desired form, (iii) path generation for a rolling pin to execute the output of the pizza dough planner, and (iv) inverse kinematics for the bi-manual robot to grasp and control the rolling pin properly. Using the deformable object model described in Chap. 3, each sub-procedure of the proposed framework is explained sequentially

Doctor of Philosophy

dissertationPhysical simulation has become an essential tool in computer animation. As the use of visual effects increases, the need for simulating real-world materials increases. In this dissertation, we consider three problems in physics-based animation: large-scale splashing liquids, elastoplastic material simulation, and dimensionality reduction techniques for fluid simulation. Fluid simulation has been one of the greatest successes of physics-based animation, generating hundreds of research papers and a great many special effects over the last fifteen years. However, the animation of large-scale, splashing liquids remains challenging. We show that a novel combination of unilateral incompressibility, mass-full FLIP, and blurred boundaries is extremely well-suited to the animation of large-scale, violent, splashing liquids. Materials that incorporate both plastic and elastic deformations, also referred to as elastioplastic materials, are frequently encountered in everyday life. Methods for animating such common real-world materials are useful for effects practitioners and have been successfully employed in films. We describe a point-based method for animating elastoplastic materials. Our primary contribution is a simple method for computing the deformation gradient for each particle in the simulation. Given the deformation gradient, we can apply arbitrary constitutive models and compute the resulting elastic forces. Our method has two primary advantages: we do not store or compare to an initial rest configuration and we work directly with the deformation gradient. The first advantage avoids poor numerical conditioning and the second naturally leads to a multiplicative model of deformation appropriate for finite deformations. One of the most significant drawbacks of physics-based animation is that ever-higher fidelity leads to an explosion in the number of degrees of freedom

Tools for fluid simulation control in computer graphics

L’animation basée sur la physique peut générer des systèmes aux comportements complexes et réalistes. Malheureusement, contrôler de tels systèmes est une tâche ardue. Dans le cas de la simulation de fluide, le processus de contrôle est particulièrement complexe. Bien que de nombreuses méthodes et outils ont été mis au point pour simuler et faire le rendu de fluides, trop peu de méthodes offrent un contrôle efficace et intuitif sur une simulation de fluide. Étant donné que le coût associé au contrôle vient souvent s’additionner au coût de la simulation, appliquer un contrôle sur une simulation à plus haute résolution rallonge chaque itération du processus de création. Afin d’accélérer ce processus, l’édition peut se faire sur une simulation basse résolution moins coûteuse. Nous pouvons donc considérer que la création d’un fluide contrôlé peut se diviser en deux phases: une phase de contrôle durant laquelle un artiste modifie le comportement d’une simulation basse résolution, et une phase d’augmentation de détail durant laquelle une version haute résolution de cette simulation est générée. Cette thèse présente deux projets, chacun contribuant à l’état de l’art relié à chacune de ces deux phases. Dans un premier temps, on introduit un nouveau système de contrôle de liquide représenté par un modèle particulaire. À l’aide de ce système, un artiste peut sélectionner dans une base de données une parcelle de liquide animé précalculée. Cette parcelle peut ensuite être placée dans une simulation afin d’en modifier son comportement. À chaque pas de simulation, notre système utilise la liste de parcelles actives afin de reproduire localement la vision de l’artiste. Une interface graphique intuitive a été développée, inspirée par les logiciels de montage vidéo, et permettant à un utilisateur non expert de simplement éditer une simulation de liquide. Dans un second temps, une méthode d’augmentation de détail est décrite. Nous proposons d’ajouter une étape supplémentaire de suivi après l’étape de projection du champ de vitesse d’une simulation de fumée eulérienne classique. Durant cette étape, un champ de perturbations de vitesse non-divergent est calculé, résultant en une meilleure correspondance des densités à haute et à basse résolution. L’animation de fumée résultante reproduit fidèlement l’aspect grossier de la simulation d’entrée, tout en étant augmentée à l’aide de détails simulés.Physics-based animation can generate dynamic systems of very complex and realistic behaviors. Unfortunately, controlling them is a daunting task. In particular, fluid simulation brings up particularly difficult problems to the control process. Although many methods and tools have been developed to convincingly simulate and render fluids, too few methods provide efficient and intuitive control over a simulation. Since control often comes with extra computations on top of the simulation cost, art-directing a high-resolution simulation leads to long iterations of the creative process. In order to shorten this process, editing could be performed on a faster, low-resolution model. Therefore, we can consider that the process of generating an art-directed fluid could be split into two stages: a control stage during which an artist modifies the behavior of a low-resolution simulation, and an upresolution stage during which a final high-resolution version of this simulation is driven. This thesis presents two projects, each one improving on the state of the art related to each of these two stages. First, we introduce a new particle-based liquid control system. Using this system, an artist selects patches of precomputed liquid animations from a database, and places them in a simulation to modify its behavior. At each simulation time step, our system uses these entities to control the simulation in order to reproduce the artist’s vision. An intuitive graphical user interface inspired by video editing tools has been developed, allowing a nontechnical user to simply edit a liquid animation. Second, a tracking solution for smoke upresolution is described. We propose to add an extra tracking step after the projection of a classical Eulerian smoke simulation. During this step, we solve for a divergence-free velocity perturbation field resulting in a better matching of the low-frequency density distribution between the low-resolution guide and the high-resolution simulation. The resulting smoke animation faithfully reproduces the coarse aspect of the low-resolution input, while being enhanced with simulated small-scale details

Doctor of Philosophy in Computing

dissertationPhysics-based animation has proven to be a powerful tool for creating compelling animations for film and games. Most techniques in graphics are based on methods developed for predictive simulation for engineering applications; however, the goals for graphics applications are dramatically different than the goals of engineering applications. As a result, most physics-based animation tools are difficult for artists to work with, providing little direct control over simulation results. In this thesis, we describe tools for physics-based animation designed with artist needs and expertise in mind. Most materials can be modeled as elastoplastic: they recover from small deformations, but large deformations permanently alter their rest shape. Unfortunately, large plastic deformations, common in graphical applications, cause simulation instabilities if not addressed. Most elastoplastic simulation techniques in graphics rely on a finite-element approach where objects are discretized into a tetrahedral mesh. Using these approaches, maintaining simulation stability during large plastic flows requires remeshing, a complex and computationally expensive process. We introduce a new point-based approach that does not rely on an explicit mesh and avoids the expense of remeshing. Our approach produces comparable results with much lower implementation complexity. Points are a ubiquitous primitive for many effects, so our approach also integrates well with existing artist pipelines. Next, we introduce a new technique for animating stylized images which we call Dynamic Sprites. Artists can use our tool to create digital assets that interact in a natural, but stylized, way in virtual environments. In order to support the types of nonphysical, exaggerated motions often desired by artists, our approach relies on a heavily modified deformable body simulator, equipped with a set of new intuitive controls and an example-based deformation model. Our approach allows artists to specify how the shape of the object should change as it moves and collides in interactive virtual environments. Finally, we introduce a new technique for animating destructive scenes. Our approach is built on the insight that the most important visual aspects of destruction are plastic deformation and fracture. Like with Dynamic Sprites, we use an example-based model of deformation for intuitive artist control. Our simulator treats objects as rigid when computing dynamics but allows them to deform plastically and fracture in between timesteps based on interactions with the other objects. We demonstrate that our approach can efficiently animate the types of destructive scenes common in film and games. These animation techniques are designed to exploit artist expertise to ease creation of complex animations. By using artist-friendly primitives and allowing artists to provide characteristic deformations as input, our techniques enable artists to create more compelling animations, more easily

Mid-crustal shear zone development under retrograde conditions: pressure–temperature–fluid constraints from the Kuckaus Mylonite Zone, Namibia

The Kuckaus Mylonite Zone (KMZ) forms part of the larger Marshall Rocks–Pofadder shear zone system, a 550 km-long, crustal-scale strike-slip shear zone system that is localized in high-grade granitoid gneisses and migmatites of the Namaqua Metamorphic Complex. Shearing along the KMZ occurred ca. 40 Ma after peak granulite-facies metamorphism during a discrete tectonic event and affected the granulites that had remained at depth since peak metamorphism. Isolated lenses of metamafic rocks within the shear zone allow the P–T–fluid conditions under which shearing occurred to be quantified. These lenses consist of an unsheared core that preserves relict granulite-facies textures and is mantled by a schistose collar and mylonitic envelope that formed during shearing. All three metamafic textural varieties contain the same amphibolite-facies mineral assemblage, from which calculated pseudosections constrain the P–T conditions of deformation at 2.7–4.2 kbar and 450–480 °C, indicating that deformation occurred at mid-crustal depths through predominantly viscous flow. Calculated T–MH2O diagrams show that the mineral assemblages were fluid saturated and that lithologies within the KMZ must have been rehydrated from an external source and retrogressed during shearing. Given that the KMZ is localized in strongly dehydrated granulites, the fluid must have been derived from an external source, with fluid flow allowed by local dilation and increased permeability within the shear zone. The absence of pervasive hydrothermal fractures or precipitates indicates that, even though the KMZ was fluid bearing, the fluid/rock ratio and fluid pressure remained low. In addition, the fluid could not have contributed to shear zone initiation, as an existing zone of enhanced permeability is required for fluid infiltration. We propose that, following initiation, fluid infiltration caused a positive feedback that allowed weakening and continued strain localization. Therefore, the main contribution of the fluid was to produce retrograde mineral phases and facilitate grain-size reduction. Features such as tectonic tremor, which are observed on active faults under similar conditions as described here, may not require high fluid pressure, but could be explained by reaction weakening under hydrostatic fluid pressure conditions

Editing Fluid Simulations with Jet Particles

Fluid simulation is an important topic in computer graphics in the pursuit of adding realism to films, video games and virtual environments. The results of a fluid simulation are hard to edit in a way that provide a physically plausible solution. Edits need to preserve the incompressibility condition in order to create natural looking water and smoke simulations. In this thesis we present an approach that allows a simple artist-friendly interface for designing and editing complex fluid-like flows that are guaranteed to be incompressible in two and three dimensions. Key to our method is a formulation for the design of flows using jet particles. Jet particles are Lagrangian solutions to a regularised form of Euler’s equations, and their velocity fields are divergence-free which motivates their use in computer graphics. We constrain their dynamics to design divergence-free flows and utilise them effectively in a modern visual effects pipeline. Using just a handful of jet particles we produce visually convincing flows that implicitly satisfy the incompressibility condition. We demonstrate an interactive tool in two dimensions for designing a range of divergence-free deformations. Further we describe methods to couple these flows with existing simulations in order to give the artist creative control beyond the initial outcome. We present examples of local temporal edits to smoke simulations in 2D and 3D. The resulting methods provide promising new ways to design and edit fluid-like deformations and to create general deformations in 3D modelling. We show how to represent existing divergence-free velocity fields using jet particles, and design new vector fields for use in fluid control applications. Finally we provide an efficient implementation for deforming grids, meshes, volumes, level sets, vectors and tensors, given a jet particle flow

Mid-crustal shear zone development under retrograde conditions: pressure–temperature–fluid constraints from the Kuckaus Mylonite Zone, Namibia

The Kuckaus Mylonite Zone (KMZ) forms part of the larger Marshall Rocks–Pofadder shear zone system, a 550 km-long, crustal-scale strike-slip shear zone system that is localized in high-grade granitoid gneisses and migmatites of the Namaqua Metamorphic Complex. Shearing along the KMZ occurred ca. 40 Ma after peak granulite-facies metamorphism during a discrete tectonic event and affected the granulites that had remained at depth since peak metamorphism. Isolated lenses of metamafic rocks within the shear zone allow the P–T–fluid conditions under which shearing occurred to be quantified. These lenses consist of an unsheared core that preserves relict granulite-facies textures and is mantled by a schistose collar and mylonitic envelope that formed during shearing. All three metamafic textural varieties contain the same amphibolite-facies mineral assemblage, from which calculated pseudosections constrain the P–T conditions of deformation at 2.7–4.2 kbar and 450–480 °C, indicating that deformation occurred at mid-crustal depths through predominantly viscous flow. Calculated T–MH2O diagrams show that the mineral assemblages were fluid saturated and that lithologies within the KMZ must have been rehydrated from an external source and retrogressed during shearing. Given that the KMZ is localized in strongly dehydrated granulites, the fluid must have been derived from an external source, with fluid flow allowed by local dilation and increased permeability within the shear zone. The absence of pervasive hydrothermal fractures or precipitates indicates that, even though the KMZ was fluid bearing, the fluid/rock ratio and fluid pressure remained low. In addition, the fluid could not have contributed to shear zone initiation, as an existing zone of enhanced permeability is required for fluid infiltration. We propose that, following initiation, fluid infiltration caused a positive feedback that allowed weakening and continued strain localization. Therefore, the main contribution of the fluid was to produce retrograde mineral phases and facilitate grain-size reduction. Features such as tectonic tremor, which are observed on active faults under similar conditions as described here, may not require high fluid pressure, but could be explained by reaction weakening under hydrostatic fluid pressure conditions