This culminating experience shows a complete and comprehensive skill set in the animation pipeline using three diverse 3D models: Baba Yaga, the Orc, and the Roo Fighter. This work includes reposing, retopology, UV mapping, texturing, and rigging. Each model was selected for its unique attributes and challenges, showing versatility in anatomy, efficiency, and communication. Spurred on by a dubious job market and the improvement of AI tools, this project showcases the author's capabilities to fulfill multiple roles in the animation pipeline, providing an advantage for employment in the digital media industry.

Plumage is a stereoscopic 3D experience showcasing the culmination of a personal exploration and observation of birds: a digitally modeled and rendered, fantastical bird referred to simply as a Phoenix. In many cultures birds are tied to ideas of freedom, power, and the otherworldly. Preconceived notions of a phoenix exist across many cultures as well, but for this project I wanted to create my own interpretation. While working, I drew upon my admiration of birds for their qualities of strength, beauty, and curiosity to infuse into the project. Inspired by the dynamic and detailed works of naturalists like John James Audubon, I took the opportunity to make my own observations and records of birds. I began exploring different processes of digitizing three-dimensional forms by scanning bird skins. However, due to the nature of fibrous and reflective materials (of which birds are often both) I ran into challenges that made accurate and detailed representation difficult if not impossible. From there I made the decision to pursue a more imaginative artistic approach to the project. More than just a homage to feathers and birds, this project represents the continued value of artists in the field of preservation and their ability to push visuals further with their own observations where automation and digitization fall short. Using life references I created my own textures and forms with details meant to emulate my favorite aspects of the birds that inspired me throughout my journey. Larger-than-life, projected stereoscopic 3D allows the audience to see details clearly and enhances the dynamic quality of the piece; both very important elements that needed to shine through in the final artwork. Plumage is made possible through the use of the Cyclorama, a series of convex screens that surround an audience and allow them to appreciate scenes projected in stereoscopic 3D. / Master of Fine Arts / <i>Plumage</i> is a projected 3D experience that uses state-of-the-art projectors, 3D glasses, and a large, cylindrical screen--known as the Cyclorama. My research began with a focus on 3D scanning dead bird specimens from a museum collection as a means to archive them and make them viewable by anyone with access to a computer. Unfortunately, the scanner I used could not effectively capture the intricate shapes and colors of feathers, and the resulting scans were not sufficiently detailed for learning or archival purposes. In the end, I used the observational data I had collected from the bird specimens to digitally sculpt my own ficticious species of bird. I closely studied the feathers and wing structures of the birds available to me to recreate a detailed, digital 3D representation where scanning had failed. Using software, I created still images of the finished digital bird sculpture. To create the 3D effect when projected onto a screen, I created pairs of images for the left and right eyes. The projectors and 3D glasses, coordinated with a powerful computer, allowed the audience to experience convincing 3D effects such as the Phoenix jumping out or sweeping a wing at its audience.

This thesis harnesses 3D modeling to present a contrasting world through Maya 3D models, Substance Painter textures, and Adobe's audio-visual editing tools. Influenced by my childhood experiences and cultural history, the project contrasts the natural environment with a polluted, urban landscape. The paper also discusses future expansions aiming to enhance interactivity and deepening the narrative on human environmental impact. / Master of Fine Arts / This thesis uses 3D modeling to present a contrasting world. Influences include my childhood experience and my hometown's cultural history. The work prompts reflection on our environmental footprint with plans to incorporate interactivity elements in the future.

In der heutigen Filmindustrie bietet das 3D-Design ein anerkanntes Mittel, um virtuelle Welten oder Charaktere zu erschaffen. Doch das 3D-Design dringt mittlerweile auch in andere Bereiche vor, so etwa der Medizin und der Architektur. Dabei bietet die virtuelle Rekonstruktion auch vielfältige Möglichkeiten für die Archäologie/Ägyptologie. Beispielsweise können von kleineren Objekten oder Papyri virtuelle 3D-Modelle erstellt werden. Der große Vorteil dabei ist, dass die Originale nicht beschädigt werden und mehrere Wissenschaftler zur gleichen Zeit an ein und demselben Objekt forschen können. Selbst für die Bauforschung dürfte das 3D-Design immer bedeutender werden. Gebäude, die sich heute nur in ihren Grundrissen erhalten haben, können mithilfe des 3D-Designs nahezu vollständig rekonstruiert werden. Nicht zu unterschätzen ist dabei auch die Wirkung, die virtuelle Rekonstruktionen von ägyptischen Tempeln, Gräbern, Gebäuden auf die Gesellschaft erzielen. Durch die 3DRekonstruktionen kann nicht nur Wissenschaftlern, sondern auch Interessierten ein anschaulicher Eindruck von der Lebenswelt des Alten Ägypten vermittelt werden. Bislang steht das 3D-Design allerdings in dem Ruf, besonders schwer erlernbar und sehr kostenintensiv zu sein. Doch gibt es neben einigen aufwendigen 3D-Design-Programmen auch nahezu kostenfreie Alternativen, die man sowohl privat wie beruflich nutzen kann. Diese Programme sind dabei sehr anwenderfreundlich gestaltet und relativ leicht zu erlernen. Ziel des Vortrages ist es, diese Programme und ihre Möglichkeiten für die Ägyptologie vorzustellen.

Traditional weaving technologies have been utilised over the past twenty-to-thirty years in producing woven textile components that meet engineering requirements through the interlacement of high performance yarns such as carbon, glass and Kevlar. The end performance properties and lightweight characteristics of these fabrics have been adapted within the development of both flat multilevel and shaped configurations for the composites industry. The purpose of the present research required the employment of conventional weaving technologies with limited modifications for the production of 3D woven textile preforms in a variety of truss like configurations; therefore, generating a generic procedure for all yarn combinations and strut and node dimensions for production on dissimilar jacquard looms. The ultimate driving force behind the research was to produce a truss like configuration for the aerospace industry incorporating the design criterion of solid and hollow woven counterparts. This would enable the end truss configuration to have two functions; the first being a lightweight structure by the elimination of bonding applications, through the utilisation of a fully integrated fabrication process; secondly to incorporate hollow struts for a novel storage solution.

This dissertation investigates a methodology that can be used to design and optimize an energy efficient 3D-integrated image sensing and compression system for network based applications. A system level model that evaluates the effect of design choices and external environmental factors to the power/performance of the system is presented. Three design principles are considered in formulating the system model. First, a multi-segment/multi-core image compression approach is presented as a combined solution with 3D-stacking to reduce the workload of the compression module, effectively increasing power efficiency of the system. Second, vertical stacking reduces the rate of heat removal from the compression module and ADC resulting in higher temperature and noise in the photodiode tier. Therefore, due to the die-to-die thermal coupling, image quality is strongly influenced by image throughput, architectural, and external environment factors. Third, heterogeneous integration of the photosensor module and compression engine is presented as a method to increase power efficiency of the system. Scaling the compression engine to deep sub-micron technology provides substantial power and chip area benefits, while CMOS image sensor retains reliability with less advanced 180nm process. The dissertation concludes that 3D heterogeneous integration can increase power/performance efficiency of an image sensor system, but die-to-die thermal coupling may provide challenges in managing the quality of the compressed images.

This thesis aims to understand visual style in the context of computer science, using traditionally intangible artistic properties to enhance existing content manipulation algorithms and develop new content creation methods. The developed algorithms can be used to apply extracted properties to other drawings automatically; transfer a selected style; categorise images based upon perceived style; build 3D models using style features from concept artwork; and other style-based actions that change our perception of an object without changing our ability to recognise it. The research in this thesis aims to provide the style manipulation abilities that are missing from modern digital art creation pipelines.

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