3D hair design and key frame animation in real time

Ankara : The Department of Computer Engineering and the Institute of Engineering and Science of Bilkent University, 2008.Thesis (Master's) -- Bilkent University, 2008.Includes bibliographical references leaves 54-57.Computer generated animations of humans, animals and all other kinds of objects have been studied extensively during the last two decades. The key for creating good animations has been to correctly imitate the behaviors of real objects and reflect these into computer generated images. With the rapid development of computer technology, creating realistic simulations has become possible, and the most striking components of these realistic animations happen to be the most dynamic (moving) parts; hair, in the case of human animations. With the development of high quality hair animations, the concern is not only creating physically correct animations, but also controlling these animations. An implementation of a key frame hair animation creation system, supported by a hair design tool, helping to model and animate hair easily, and provide these functionalities in real time is the aim of the proposed system. This work reviews several hair animation and sketching techniques, and proposes a system that provides a complete level of control (capable of controlling even the individual hair strands) of key frame animation and hair design in real time.Başarankut, BarkınM.S

THE REALISM OF ALGORITHMIC HUMAN FIGURES A Study of Selected Examples 1964 to 2001

It is more than forty years since the first wireframe images of the Boeing Man revealed a stylized hu-man pilot in a simulated pilot's cabin. Since then, it has almost become standard to include scenes in Hollywood movies which incorporate virtual human actors. A trait particularly recognizable in the games industry world-wide is the eagerness to render athletic muscular young men, and young women with hour-glass body-shapes, to traverse dangerous cyberworlds as invincible heroic figures. Tremendous efforts in algorithmic modeling, animation and rendering are spent to produce a realistic and believable appearance of these algorithmic humans. This thesis develops two main strands of research by the interpreting a selection of examples. Firstly, in the computer graphics context, over the forty years, it documents the development of the creation of the naturalistic appearance of images (usually called photorealism ). In particular, it de-scribes and reviews the impact of key algorithms in the course of the journey of the algorithmic human figures towards realism . Secondly, taking a historical perspective, this work provides an analysis of computer graphics in relation to the concept of realism. A comparison of realistic images of human figures throughout history with their algorithmically-generated counterparts allows us to see that computer graphics has both learned from previous and contemporary art movements such as photorealism but also taken out-of-context elements, symbols and properties from these art movements with a questionable naivety. Therefore, this work also offers a critique of the justification of the use of their typical conceptualization in computer graphics. Although the astounding technical achievements in the field of algorithmically-generated human figures are paralleled by an equally astounding disregard for the history of visual culture, from the beginning 1964 till the breakthrough 2001, in the period of the digital information processing machine, a new approach has emerged to meet the apparently incessant desire of humans to create artificial counterparts of themselves. Conversely, the theories of traditional realism have to be extended to include new problems that those active algorithmic human figures present

Multi-Scale Models to Simulate Interactions between Liquid and Thin Structures

In this dissertation, we introduce a framework for simulating the dynamics between liquid and thin structures, including the effects of buoyancy, drag, capillary cohesion, dripping, and diffusion. After introducing related works, Part I begins with a discussion on the interactions between Newtonian fluid and fabrics. In this discussion, we treat both the fluid and the fabrics as continuum media; thus, the physical model is built from mixture theory. In Part II, we discuss the interactions between Newtonian fluid and hairs. To have more detailed dynamics, we no longer treat the hairs as continuum media. Instead, we treat them as discrete Kirchhoff rods. To deal with the thin layer of liquid that clings to the hairs, we augment each hair strand with a height field representation, through which we introduce a new reduced-dimensional flow model to solve the motion of liquid along the longitudinal direction of each hair. In addition, we develop a faithful model for the hairs' cohesion induced by surface tension, where a penalty force is applied to simulate the collision and cohesion between hairs. To enable the discrete strands interact with continuum-based, shear-dependent liquid, in Part III, we develop models that account for the volume change of the liquid as it passes through strands and the momentum exchange between the strands and the liquid. Accordingly, we extend the reduced-dimensional flow model to simulate liquid with elastoviscoplastic behavior. Furthermore, we use a constraint-based model to replace the penalty-force model to handle contact, which enables an accurate simulation of the frictional and adhesive effects between wet strands. We also present a principled method to preserve the total momentum of a strand and its surface flow, as well as an analytic plastic flow approach for Herschel-Bulkley fluid that enables stable semi-implicit integration at larger time steps. We demonstrate a wide range of effects, including the challenging animation scenarios involving splashing, wringing, and colliding of wet clothes, as well as flipping of hair, animals shaking, spinning roller brushes from car washes being dunked in water, and intricate hair coalescence effects. For complex liquids, we explore a series of challenging scenarios, including strands interacting with oil paint, mud, cream, melted chocolate, and pasta sauce

Changing Object Appearance by Adding Fur

Cílem této práce je demonstrovat možnost renderování srsti přímo do existujících obrazů bez toho, aby bylo po uživateli požadováno překreslení všech pixelů nebo dodání kompletní 3D geometrie a osvětlení. Srst je přidána na povrch objektů pomocí extrakce jejich přibližného tvaru a světelných informací z obrazu a takto získaný objekt je poté přerenderován. Tento přístup je nový v tom, že vysokoúrovňové úpravy obrazu (jako např. přidání srsti), mohou úspěšně vést k vizuálně korektním výsledkům a to i přes omezení nepřesnou geometrií a světelnými podmínkami. Relativně velká množina technik použitých v této práci zahrnuje obrazy s velkým dynamickým rozsahem, metody extrakce 3D tvaru z obrazu, výsledky výzkumu vnímání tvaru a osvětlení a fotorealistické renderování. Hlavním cílem práce je potvrdit koncept popsaný výše. Hlavním implementačním jazykem bylo C++ s použitím knihoven wxWidgets, OpenGL a libTIFF. Renderování bylo realizováno v software 3Delight kompatibilním se standardem Renderman, za pomoci množiny shaderů implementovaných v nativním jazyce Rendermanu.The aim of this thesis is to demonstrate the feasibility of rendering fur directly into existing images without the need to either painstakingly paint over all pixels, or to supply 3D geometry and lighting. The fur is added to objects depicted on images by first recovering depth and lighting information, and then re-rendering the resulting 2.5D geometry with fur. The novelty of this approach lies in the fact that complex high-level image edits, such as the addition of fur, can successfully yield perceptually plausible results, even constrained by imperfect depth and lighting information. A relatively large set of techniques involved in this work includes HDR imaging, shape-from-shading techniques, research on shape and lighting perception in images and photorealistic rendering techniques. The main purpose of this thesis is to prove the concept of the described approach. The main implementation language was C++ with usage of wxWidgets, OpenGL and libTIFF libraries, rendering was realised in 3Delight, a Renderman-compatible renderer, with the help of a set of custom shaders written in Renderman shading language.

Hairwork in Victorian Literature and Culture: Matter, Form, Craft

This thesis is a study of hairwork—the crafting of decorative objects from human hair—in Victorian literature and culture. Hairwork constitutes not only the hair of an individual, but is hair worked into a suggestive form for a particular purpose, whether commemorative, mournful, romantic, reconciliatory or aesthetic and which may be exchanged to reify a relationship. I argue that, in this way, hairwork is a means and process of representation in which hair at once figures its donor while its working signifies a more complex set of associations that are frequently in tension with one another. Hairwork expresses seemingly conflicting or incompatible ideas but holds them in equipoise: body and object; present and past; life and death; presence and absence; nature and craft; sentiment and fashion; authenticity and artifice. This set of antithetical qualities are specific to hairwork, emphasised in forms of hairwork that became popular in the mid-nineteenth century, and represent its unique place in Victorian material culture. As hair was physically worked and worn, it imaginatively shaped and framed the tensions between the affects, relationships, and identities of its donor, maker, and wearer, which rendered it a compelling subject of representation in Victorian fiction. The thesis begins with a chapter addressing the history of hairwork in Britain which is followed by studies of the writings of Charlotte and Emily Brontë, Robert and Elizabeth Barrett Browning, Wilkie Collins, and Margaret Oliphant. Through analysis of how hairwork was represented in the fiction of these authors, I demonstrate that hairwork was not just a relatively frequently represented object in Victorian literature but a rich subject of representation in its matter, form, and craft. Considerations of hairwork artefacts are positioned throughout this thesis at points at which they aid and develop my reading of literary texts: they prompt or emphasise ideas latent in textual representations or illuminate something of hairwork’s significations. Thus, as I analyse representations of hairwork in literature, I trace the tensions underlying hairwork, whether real or represented

Spatialising Illustration

As an illustrator I reflect on human behaviour and the psychological effects of space through drawing. I use people I have met and whose lives intrigue me. Taking a woman I know, I observe and draw. ‘She sat at the table in the sparse kitchen. It had belonged to her grandmother, and her mother before her.’ (Regan, 2012) This quote is taken from the illustrated book I have created ‘The Set,' it is significant in introducing what I discovered about space. Space is not physical and universal. It is personal and formed in the mind. ‘The Set’ explores a woman and the spaces she inhabits. I visualise and try to make sense of this by drawing

Where My Girls At?

The essays, artistic pieces, and interviews gathered in this anthology explore both the role of art and visual culture as well as artistic practices in contemporary feminist movements. The art historians, literary scholars, artists, activists, and students and scholars of American Studies included in this collection examine contemporary art and artivism and its capacity to inspire change, reformulate feminist ideas, and reimagine feminist aesthetics. With contributions by young scholars, students, activists, and artists, the collection seeks to display a broad range of perspectives. Recurring themes are the ambivalent labeling of art and artistic or activist practices as ‘feminist’ as well as the role of intersectionality in feminism and art. This edited volume brings together the diverse strands of thought and practice that contemporary feminist art and culture embrace and hopes to contribute to ongoing discussions at the intersection of art and feminist politics

Styling by painting and real time animation of hair using basis-dependent hair strands

Techniques to simulate hair in virtual humans focus on hair modeling, hair animation and hair rendering. We propose a system for modeling and animating in real time using standard OpenGL on commodity graphic cards. For styling, we propose a paint tool to determine a set of gray scale images that allow us to establish hair density and hair length values, as well as other useful parameters, and for animation, we use a simplified physically based method that computes physics only on some hairs, which we call basis hairs, calculating other dependent hairs from them

The Woman Behind the Bather

Marthe de Méligny is the long term partner, wife and muse of the painter Pierre Bonnard. Her familiar figure – dark bob, heavy fringe, stooped shoulders - is a constant presence in the painter’s depiction of domestic interiors, daily rituals and garden scenes. The pair met in 1893 and until her death in 1942 de Méligny’s figure recurs within Bonnard’s work to an extent which is remarkable in modern painting. Over the last fifty years there has been much speculation about de Méligny’s character and the nature of the Bonnard marriage. This speculation is based on historical rumour, leaving contemporary audiences with many questions. Who is the woman behind the myth of Marthe and why is she critical to understanding Bonnard’s art