Multifarious Hierarchies of Mechanical Models for Artist Assigned Levels-of-Detail

International audienceWe present a new framework for artist driven level of detail in solid simulations. Simulated objects are simultaneously embedded in several, separately designed deformation models with their own independent degrees of freedom. The models are ordered to apply their deformations hierarchically, and we enforce the uniqueness of the dynamics solutions using a novel kinetic filtering operator designed to ensure that each child only adds detail motion to its parent without introducing redundancies. This new approach allows artists to easily add fine-scale details without introducing unnecessary degrees-of-freedom to the simulation or resorting to complex geometric operations like anisotropic volume meshing. We illustrate the utility of our approach with several detail enriched simulation examples

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

New technologies for urban designers: the VENUE project

In this report, we first outline the basic idea of VENUE. This involves developing digital tools froma foundation of geographic information systems (GIS) software which we then apply to urbandesign, a subject area and profession which has little tradition in using such tools. Our project wasto develop two types of tool, namely functional analysis based on embedding models of movementin local environments into GIS based on ideas from the field of space syntax; and secondlyfashioning these ideas in a wider digital context in which the entire range of GIS technologies werebrought to bear at the local scale. By local scale, we mean the representation of urban environmentsfrom about 1: 500 to around 1: 2500

Physically Interacting With Four Dimensions

Thesis (Ph.D.) - Indiana University, Computer Sciences, 2009People have long been fascinated with understanding the fourth dimension. While making pictures of 4D objects by projecting them to 3D can help reveal basic geometric features, 3D graphics images by themselves are of limited value. For example, just as 2D shadows of 3D curves may have lines crossing one another in the shadow, 3D graphics projections of smooth 4D topological surfaces can be interrupted where one surface intersects another. The research presented here creates physically realistic models for simple interactions with objects and materials in a virtual 4D world. We provide methods for the construction, multimodal exploration, and interactive manipulation of a wide variety of 4D objects. One basic achievement of this research is to exploit the free motion of a computer-based haptic probe to support a continuous motion that follows the \emph{local continuity\/} of a 4D surface, allowing collision-free exploration in the 3D projection. In 3D, this interactive probe follows the full local continuity of the surface as though we were in fact \emph{physically touching\/} the actual static 4D object. Our next contribution is to support dynamic 4D objects that can move, deform, and collide with other objects as well as with themselves. By combining graphics, haptics, and collision-sensing physical modeling, we can thus enhance our 4D visualization experience. Since we cannot actually place interaction devices in 4D, we develop fluid methods for interacting with a 4D object in its 3D shadow image using adapted reduced-dimension 3D tools for manipulating objects embedded in 4D. By physically modeling the correct properties of 4D surfaces, their bending forces, and their collisions in the 3D interactive or haptic controller interface, we can support full-featured physical exploration of 4D mathematical objects in a manner that is otherwise far beyond the real-world experience accessible to human beings

The impact of technology: value-added classroom practice: final report

This report extends Becta’s enquiries into the ways in which digital technologies are supporting learning. It looks in detail at the learning practices mediated by ICT in nine secondary schools in which ICT for learning is well embedded. The project proposes a broader perspective on the notion of ‘impact’ that is rather different from a number of previous studies investigating impact. Previous studies have been limited in that they have either focused on a single innovation or have reported on institutional level factors. However, in both cases this pays insufficient attention to the contexts of learning. In this project, the focus has been on the learning practices of the classroom and the contexts of ICT-supported learning. The study reports an analysis of 85 lesson logs, in which teachers recorded their use of space, digital technology and student outcomes in relation to student engagement and learning. The teachers who filled in the logs, as well as their schools’ senior managers, were interviewed as part of a ‘deep audit’ of ICT provision conducted over two days. One-hour follow-up interviews with the teachers were carried out after the teachers’ log activity. The aim of this was to obtain a broader contextualisation of their teaching

Sculpting multi-dimensional nested structures

Special Issue: Shape Modeling International (SMI) Conference 2013International audienceSolid shape is typically segmented into surface regions to define the appearance and function of parts of the shape; these regions in turn use curve networks to represent boundaries and creases, and feature points to mark corners and other shape landmarks. Conceptual modeling requires these multi-dimensional nested structures to persist throughout the modeling process, an aspect not supported, up to now, in free-form sculpting systems. We present the first shape sculpting framework that preserves and controls the evolution of such nested shape features. We propose a range of geometric and topological behaviors (such as rigidity or mutability) applied hierarchically to points, curves or surfaces in response to a set of typical free-form sculpting operations, such as stretch, shrink, split or merge. Our method is illustrated within a free-form sculpting system for self-adaptive quasi-uniform polygon meshes, where geometric and topology changes resulting from sculpting operations are applied to points, edges and triangular facets. We thus facilitate, for example, the persistence of sharp features that automatically split or merge with variable rigidity, even when the shape changes genus. Sculpting nested structures expands the capabilities of most conceptual design workflows, as exhibited by a suite of models created by our system

Music in motion: the synthesis of album design and motion graphics for downloadable music

In an age when downloading media is increasing at an exponential rate, static album art has become obsolete. Current digital album artwork does not take advantage of the available technology. Nor does it provide the user with an integrated experience. Previous attempts at linking music to moving imagery have resulted in uninspiring visualizer plugins. These types of media player add-ons do not produce emotionally or narratively relevant imagery for the user. Furthermore, the limited selection of downloadable media that includes a digital booklet, separates the booklet contents from the album cover. More importantly, these disconnected elements do not compensate for their lack of tangible assets. The objective of this thesis project was to create a hybrid of album design and motion graphics for downloadable music. By creating a prototype, this project demonstrates the concept that a library-style package of interchangeable moving images linked with audio media, can enhance the narrative and emotional elements of the user experienc

Visualization for Biological Models, Simulation, and Ontologies

In this dissertation, I present three browsers that I have developed for the purpose of exploring, understanding, and analyzing models, simulations, and ontologies in biology and medicine. The first browser visualizes multidimensional simulation data as an animation. The second browser visualizes the equations of a complex model as a network and puts structure and organization on top of equations and variables. The third browser is an ontology viewer and editor, directly intended for the Foundational Model of Anatomy (FMA), but applicable to other ontologies as well. This browser has two contributions. First, it is a lightweight deliverable that lets someone easily dabble with the FMA. Second, it lets the user edit an ontology to create a view of it. For the ontology browser, I also conduct user studies to refine and evaluate the software

Pro-Design: Digital Media Pack for Professional Graphic Designers

The importance of developing a comprehensive digital design presence as well a as digital business strategy has become a necessity for graphic design practitioners. In this report I review how this could be achieved and document the development of a coherent digital presence that has a more inclusive approach to client/designer communication and that better suits the needs of a graphic designer in industry. This document provides a detailed overview of my research and development for this MA Project. It sets down the course of action and the directions that the project took and identifies the aims and objectives I hoped to fulfil during the development of the project. It documents the process that I followed to achieve this including research, analysis and development, realisation, presentation and reflection. It also provides a description of the projects deliverables and the relevant functionality and content