Interactive Virtual Hair Salon

Abstract User interaction with animated hair is desirable for various applications but difficult because it requires real-time animation and rendering of hair. Hair modeling, in cluding styling, simulation, and rendering, is computationally challenging due to the enormous number of deformable hair strands on a human head, elevating the computational complexity of many essential steps, such as collision detection and self-shadowing for hair. Using simulation localization techniques, multi-resolution representations, and graphics hardware rendering acceleration, we have developed a physically-based virtual hair salon system that simulates and renders hair at accelerated rates, enabling users to interactively style virtual hair. With a 3D haptic interface, users can directly manipulate and position hair strands, as well as employ real-world styling applications (cutting, blow-drying, etc.) to create hairstyles more intuitively than previous techniques

3D Hair sketching for real-time dynamic & key frame animations

Physically based simulation of human hair is a well studied and well known problem. But the "pure" physically based representation of hair (and other animation elements) is not the only concern of the animators, who want to "control" the creation and animation phases of the content. This paper describes a sketch-based tool, with which a user can both create hair models with different styling parameters and produce animations of these created hair models using physically and key frame-based techniques. The model creation and animation production tasks are all performed with direct manipulation techniques in real-time. © 2008 Springer-Verlag

Modelling Rod-like Flexible Biological Tissues for Medical Training

This paper outlines a framework for the modelling of slender rod-like biological tissue structures in both global and local scales. Volumetric discretization of a rod-like structure is expensive in computation and therefore is not ideal for applications where real-time performance is essential. In our approach, the Cosserat rod model is introduced to capture the global shape changes, which models the structure as a one-dimensional entity, while the local deformation is handled separately. In this way a good balance in accuracy and efficiency is achieved. These advantages make our method appropriate for the modelling of soft tissues for medical training applications

Multilayered visuo-haptic hair simulation

Over the last fifteen years, research on hair simulation has made great advances in the domains of modeling, animation and rendering, and is now moving towards more innovative interaction modalities. The combination of visual and haptic interaction within a virtual hairstyling simulation framework represents an important concept evolving in this direction. Our visuo-haptic hair interaction framework consists of two layers which handle the response to the user's interaction at a local level (around the contact area), and at a global level (on the full hairstyle). Two distinct simulation models compute individual and collective hair behavior. Our multilayered approach can be used to efficiently address the specific requirements of haptics and vision. Haptic interaction with both models has been tested with virtual hairstyling tool

Spartan Daily, October 10, 2018

Volume 151, Issue 22https://scholarworks.sjsu.edu/spartan_daily_2018/1064/thumbnail.jp

Chain Shape Matching for Simulating Complex Hairstyles

Animations of hair dynamics greatly enrich the visual attractiveness of human characters. Traditional simulation techniques handle hair as clumps or continuum for efficiency; however, the visual quality is limited because they cannot represent the fine-scale motion of individual hair strands. Although a recent mass-spring approach tackled the problem of simulating the dynamics of every strand of hair, it required a complicated setting of springs and suffered from high computational cost. In this paper, we base the animation of hair on such a fine-scale on Lattice Shape Matching (LSM), which has been successfully used for simulating deformable objects. Our method regards each strand of hair as a chain of particles, and computes geometrically derived forces for the chain based on shape matching. Each chain of particles is simulated as an individual strand of hair. Our method can easily handle complex hairstyles such as curly or afro styles in a numerically stable way. While our method is not physically based, our GPU-based simulator achieves visually plausible animations consisting of several tens of thousands of hair strands at interactive rates

A hybrid hair model using three dimensional fuzzy textures

Cataloged from PDF version of article.Human hair modeling and rendering have always been a challenging topic in computer graphics. The techniques for human hair modeling consist of explicit geometric models as well as volume density models. Recently, hybrid cluster models have also been successful in this subject. In this study, we present a novel three dimensional texture model called 3D Fuzzy Textures and algorithms to generate them. Then, we use the developed model along with a cluster model to give human hair complex hairstyles such as curly and wavy styles. Our model requires little user effort to model curly and wavy hair styles. With this study, we aim at eliminating the drawbacks of the volume density model and the cluster hair model with 3D fuzzy textures. A three dimensional cylindrical texture mapping function is introduced for mapping purposes. Current generation graphics hardware is utilized in the design of rendering system enabling high performance rendering.Aran, Medeni ErolM.S

“HAIR IS IT, FOR AFRICANS:” African-Australian Hair Stories

This thesis examines the relationship African-Australian men and women have with their hair. Through open-ended interviews with seven African-Australian men and women, aged 22-63, this thesis analyses the cultural significance of hair and its methods of stylization in the African-Australian diaspora. Building upon empiricism and scholarship from the United States and Britain, this thesis broadens the debate by including the voices of African-Australians. It explores the highly ritualized modes of black hairstyling practices in Australia as intra-racially disciplined, managed and contained. I examine Afro-diasporic hair practices of weaving, braiding, and going ‘natural,’ through established frameworks that psychologise and depsychologise black hair practices. This thesis problematises academic and socio-cultural arguments that situate Afro-diasporic women who choose to process their hair as engaged in ‘inauthentic’ practices engendered by self-hatred, low self-esteem, and the desire to be white. I explore the gendered nature of Afro-diasporic hairstyling, and the significant burden of representation placed upon African-Australian girls and women to perform culture on behalf of the African-Australian diaspora. Finally, this thesis examines the industrial and personal economy of black hair as imbricated with the explicit and implicit labour of African-Australian identity

Digital Hair Creation for Archaeological Facial Approximation: George Dixon, the Last Captain of the Hl Hunley

This study explores the application of digital hair creation techniques in archaeological facial approximation, focusing on the case of George Dixon, the last captain of the HL Hunley submarine. While digital hair creation techniques have been previously employed in facial approximation, this research seeks to investigate further their potential and advantages over traditional methods, particularly regarding flexibility and the ability to create multiple variations. Facial approximation is a critical method for reconstructing the physical appearance of historical individuals. However, accurately recreating their hairstyle presents a significant challenge due to limited information and reliance on artistic interpretation. This research aims to harness digital hair creation techniques to address these limitations by integrating archaeological evidence, historical records, and scientific principles. The methodology involves five steps: data collection, hair modeling, hair simulation, styling and texturing, and integration and evaluation. The data collection phase involves gathering archaeological evidence, historical accounts, and visual references of hairstyles from the relevant time period. Hair modeling involves creating a three-dimensional model of Dixon\u27s head using computed tomography (CT) scans or available data. Hair simulation employs advanced computer graphics techniques to simulate the physical properties of hair. Styling and texturing involve sculpting and manipulating the digital hair strands into the desired hairstyle and adding color and other attributes for a lifelike appearance. Finally, the reconstructed hairstyle is integrated with Dixon\u27s facial approximation model and evaluated for accuracy and realism. One of the key advantages of this digital approach is the ability to easily create alternate versions and conduct look development in consultation with archaeologists. This allows for a more comprehensive exploration of possible hairstyles and facial hair variations for Dixon, enhancing the accuracy and authenticity of the facial approximation. This research contributes to the growing body of work on the application of digital techniques in archaeological facial approximation. The findings from this study will offer valuable insights into the appearance of George Dixon and provide a useful reference for future research in the field. Keywords: digital hair creation, archaeological facial approximation, hairstyle reconstruction, George Dixon, HL Hunley, computed tomography, three-dimensional modeling, hair simulation, styling, texturing, accuracy, authenticity, forensic archaeology