I mitt examensarbete har jag undersökt om det lämpar sig att använda en manuell metod för att skapa normal maps till icke-organiska polygonmodeller avsedda för datorspel. Jag har använt mig av Photoshop för att måla normal maps som jag sedan applicerar på lågdetaljerade modeller jag skapat, för att höja detaljgraden avsevärt.   Då icke-organisk modellering inbegriper modeller som ska representera hårda ytor, och därmed inte animeras med deformation, så antog jag att denna metod skulle lämpa sig väldigt väl åt dessa ytor som ofta har extremt mjuka former och precisa vassare kanter.   Min metod har varit att studera litteratur om Normal Mapping och hur man använder Photoshop för detta. Jag har sedan utfört praktiskt arbete för att utvärdera hur effektiv metoden är samt vilka fördelar den bidrar med. Jag går igenom teori för normal mapping som jag stödjer med hjälp av faktatexter och instruktions-DVDer i ämnet för att sedan redovisa metoden jag använt i mitt arbete. Jag avslutar sedan med en diskussion kring mitt resultat och redovisar vad jag kommit fram till genom mina experiment.   Jag kommer fram till att Normal Mapping med Photoshop är mycket väl lämpat åt hårda ytor och även bidrar med optimeringar i arbetsflödet både vad gäller organisering, tidsåtgång samt kontroll över resultatet. Ytterligare så ges förslag på förbättringar i pluginets funktionalitet för att öka användarvänligheten.

<p><p>I mitt examensarbete har jag undersökt om det lämpar sig att använda en manuell metod för att skapa normal maps till icke-organiska polygonmodeller avsedda för datorspel. Jag har använt mig av Photoshop för att måla normal maps som jag sedan applicerar på lågdetaljerade modeller jag skapat, för att höja detaljgraden avsevärt.</p><p> </p><p>Då icke-organisk modellering inbegriper modeller som ska representera hårda ytor, och därmed inte animeras med deformation, så antog jag att denna metod skulle lämpa sig väldigt väl åt dessa ytor som ofta har extremt mjuka former och precisa vassare kanter.</p><p> </p><p>Min metod har varit att studera litteratur om Normal Mapping och hur man använder Photoshop för detta. Jag har sedan utfört praktiskt arbete för att utvärdera hur effektiv metoden är samt vilka fördelar den bidrar med. Jag går igenom teori för normal mapping som jag stödjer med hjälp av faktatexter och instruktions-DVDer i ämnet för att sedan redovisa metoden jag använt i mitt arbete. Jag avslutar sedan med en diskussion kring mitt resultat och redovisar vad jag kommit fram till genom mina experiment.</p><p> </p><p>Jag kommer fram till att Normal Mapping med Photoshop är mycket väl lämpat åt hårda ytor och även bidrar med optimeringar i arbetsflödet både vad gäller organisering, tidsåtgång samt kontroll över resultatet. Ytterligare så ges förslag på förbättringar i pluginets funktionalitet för att öka användarvänligheten.</p></p>

For years, game companies have been using different programs for the creation of the newest most inspiring games. A short presentation about different programs used for game art is provided with key aspects in developing art for games in character production. One aim is to showcase the potential of open-source programs. Two projects with two different characters were created for games testing the workflow between open-source, free application and also commercial programs. The results of the projects are discussed and then the document focuses on explaining what the negative side of open-source programs is and why they should not be used. After the discussion, a conclusion is made explaining the similarities and differences between open-source and commercial programs.

Made available in DSpace on 2016-04-26T18:11:42Z (GMT). No. of bitstreams: 1 Isabella Chianca Bessa Ribeiro do Valle.pdf: 13384983 bytes, checksum: 231e9daafa95a487d4cedcfc79d552c6 (MD5) Previous issue date: 2012-06-11 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / In order to communicate efficiently it is necessary to dominate the languages we use. Photography is one of these languages, but some transformations have taken place during the shift from analogical to digital mechanisms, which demand a renewal of the photographer s knowledge and understanding: to unveil the numerical black box of photography. Nowadays, the photographer is in a migration process that, according to Stuart Hall, situates the migrant being between tradition and translation. Thereby, the negotiation between the traditional (analogical) and the new (digital) in the photographic universe is the main focus of this research. It was observed that, while photographing digitally, photographers still think analogically. Guided by familiar terms like ISO, grain, development, etc. their digital photos are captured, treated and manipulated through the options and tools available in the interfaces of the devices and programs that simulate previously known analogical processes. In a reality that deals with sensors and bits, terms and interfaces still related to chemical processes are used by photographers even when dealing with numerical photography. They are equipped with digital cameras and programs, but few of them understand the nature and the new creative and communicative potentialities of numerical photography beyond familiar interfaces. Thus, using the works of authors like Vilém Flusser, Ansel Adams, Edmond Couchot, Lev Manovich, Arlindo Machado, Giselle Beiguelman, Lucia Santaella, among others, as a background, not only did this research analyze the migration process of photography and the way photographers use the digital resources available in their cameras and computers, but also the communication configuration itself and the language used by the digital cameras and graphic programs. In order to do that, as a first step, from a description of the chemical and numerical processes, this work points out the essential changes between photographic practices (chemical and numerical) and in the photographic image itself. Such changes should also lead to a transformation in the creative process of photographs, for it is through technical and aesthetic choices that images are produced with certain communicative purposes. In a second step, the interfaces of DSLR cameras and graphics programs (Photoshop and Lightroom) were analyzed and it was also underscored that some limitations imposed by the interfaces of these devices cause stereotyping in photographs processed through standardized, automatic tools; repeating concepts of the analogical universe that no longer apply to the digital universe. And finally, as a third step, the answers to questionnaires given to photographers, which aimed to understand how the migrant photographers currently deal with these changes, were discussed and also used to capture some trends in digital thinking / Para que nos comuniquemos de forma eficiente é necessário que dominemos as linguagens que utilizamos. A fotografia é uma dessas linguagens, porém, algumas transformações que vêm acontecendo no processo de mudança do analógico ao digital exigem dos fotógrafos renovação do seu domínio e compreensão: desvendar a caixa preta da fotografia numérica. Atualmente, o fotógrafo encontra-se em um processo de migração, que, segundo Stuart Hall, situa o ser migrante entre a tradição e a tradução. É a negociação entre o tradicional (analógico) e o novo (digital), no universo fotográfico, que está em foco neste trabalho. Observamos que, enquanto fotografam digitalmente, os fotógrafos ainda pensam analogicamente. Guiados por termos familiares como ISO, granulação, revelação, etc. suas fotografias digitais são capturadas, tratadas e manipuladas a partir das opções e ferramentas disponíveis nas interfaces dos aparelhos e programas que simulam processos analógicos conhecidos. Em uma realidade em que se lida com sensores e bits, termos e interfaces ainda relacionados ao processamento químico são utilizados pelos fotógrafos mesmo quando tratam de fotografia numérica. Eles estão munidos de câmeras e programas digitais, mas poucos entendem da natureza e das novas potencialidades criativas e comunicativas da fotografia numérica para além das interfaces familiares. Assim, a partir de autores como Vilém Flusser, Ansel Adams, Edmond Couchot, Lev Manovich, Arlindo Machado, Giselle Beiguelman, Lucia Santaella, entre outros, este trabalho analisa tanto o processo de migração dos fotógrafos e a maneira com que utilizam os recursos digitais de que dispõem em suas câmeras e computadores, como a própria configuração de comunicação e linguagem presente já na própria câmera digital e nos programas gráficos. Para isso, em um primeiro momento, a partir de uma descrição dos processamentos químico e numérico, apontamos as mudanças de natureza que ocorrem nas diferentes práticas fotográficas (química e numérica) e na própria imagem fotográfica. Tais mudanças devem acarretar uma transformação também no processo criativo de fotografias, já que é através de escolhas técnicas e estéticas que produzimos imagens com certos propósitos comunicativos. Em um segundo momento, analisamos as interfaces de câmeras DSLR e de programas gráficos (Photoshop e Lightroom) e apontamos algumas limitações impostas pelas interfaces desses aparelhos, que provocam estereotipia nas fotografias que processam a partir de ferramentas padronizadas, automáticas, que repetem conceitos do universo analógico não mais aplicáveis ao universo digital. E, finalmente, em um terceiro momento, discutimos as respostas de questionários aplicados a fotógrafos, através dos quais visamos entender como os fotógrafos migrantes lidam atualmente com essas mudanças, além de captar algumas tendências ao pensamento digital

EFI Colorproof XF was found to be more convenient from a user’s aspect, and had features which are covered in the ISO 12647-7 standard (e.g. the ability to simulate screening and print margin information), which Photoshop CS3 lacked. None of the proofing systems distinguished itself in a clear way from the other; sometimes, on certain substrates, Photoshop CS3 produced most accurate colours, sometimes EFI Colorproof XF did. Further investigations need to be carried out to tell more exactly which system produce most accurate colours. Only 6 out of 34 simulation-combinations had colours within the tolerances in the standard. The result also shows that the production substrates should not be used as proofing substrates. Instead the proofing papers especially made for ink jet should be used to obtain more colour-accurate prints.

Selecting one color can be done with relative ease, but this task becomes more difficult with each subsequent color. Colormoo is an online tool aimed at solving this problem. We implement three algorithms for generating color palettes based off of a starting color. Data is collected for each palette that is generated. Our analysis reveals two of the algorithms are preferred, but under different circumstances. Furthermore, we find that users prefer palettes containing colors that are compatible, but not too similar. With refined heuristics, we believe these techniques can be extended and applied beyond the field of graphic design alone.

The purpose of this thesis is to present a modified version of the algorithm used in the open source differencing tool zdelta, entitled "iDelta". This algorithm will manage file data and will be built specifically to difference images in the Photoshop file format.

This independent work includes refactoring a website application. In simpler sense, it means modernizing existing code by increasing its quality and making it more understandable; to exchange old knowledge of methods and concepts into something that is more relevant to its time. This refactoring has also meant to transform the UI into something that is more appealing, and more userfriendly. The website that has gone through the refactoring is Nordyr (”https://nordyr.com/”). Nordyr is a Nordic Film &amp; Series Database that shares information about Nordic films and tv-series, and everyone involved. They also offer social tools such as user profiles and various tools to simplify the exploration and interaction between Nordic movies and consumers. This was made possible by using vanilla PHP, JavaScript/jQuery, and the MariaDB database for information storage and management. The implementation of the refactoring meant retaining PHP for the backend, but applying the Laravel framework, and likewise for JavaScript, but applying ReactJS (a powerful JavaScript library). Nordyr retains MariaDB for its information storage and management, however, its SQL queries have been adapted to Laravel’s query-builder and Eloquent ORM, which means that the majority of SQL queries have been rewritten and the majority of data tables are now represented by models. The restructuring of Nordyr has shown that the website now has the ability to scale better, and the development environment will also be more pleasant for those involved. / Det här självständiga arbetet har innefattat att omstrukturera en hemsida. Det innebär i enklare mening att modernisera kod och öka dess kvalité; att byta ut äldre kunskaper om metoder och koncept till något som anses vara av mer relevans för sin tid. Refaktoreringen har också inneburit att dess UI gjorts om till att bli mer tilltalande och användarvänlig. Hemsidan som gått igenom refaktoreringen är Nordyr (”https://nordyr.com/”). Nordyr är en Nordisk Film- &amp; Serie-databas som delar information om nordiska filmer och tv-serier och alla inblandade. De erbjuder även sociala verktyg som användarprofiler och diverse verktyg för att förenkla upptäckandet och interaktionen mellan nordiska titlar och konsumenter. Detta gjordes möjligt med hjälp av vanilj PHP, JavaScript/jQuery, och databasen MariaDB för informationslagring och hantering. Genomförandet av refaktoreringen innebar att behålla PHP för backend men tillämpa ramverket Laravel, och likaså för frontend, JavaScript stod kvar men ReactJS (”JavaScript bibliotek”) tillämpades. Nordyr behåller MariaDB, men dess förfrågningar i SQL har anpassats till Laravels query-builder och Eloquent ORM, vilket innebar att majoriteten av SQL frågor skrivits om och majoriteten av tabeller representeras nu av modeller (”Models”). Omstruktureringen av Nordyr har visat på att hemsidan nu har förmågan att skala bättre, och utvecklingsmiljön kommer även bli mer behaglig för de inblandade.

Virtual Reality has once again emerged as a platform with great potential for exploratory research. An expectation for the next generation virtual reality platforms is to be used as a tool for graphical designers as a new way to access the virtual world and interact with digital content. Just as mobile applications are developed for smaller screens with touch capabilities and desktop applications for computer screens with the input of mouse and keyboard, the interfaces of VR applications need to be designed with the capabilities and limitations of the platform in mind. A common component in modern graphic editing software is layer management: having the final output of the application divided into sub-components. This thesis explores how layer management can best be implemented in room-scale Virtual Reality with a focus on selection, navigation and manipulation through an iterative design study. The study concludes that, to improve the learnability of a system, interactions should be based on real-world interaction for naturalistic tasks while drawing inspiration from desktop applications for more abstract tasks. Furthermore, the environment needs to be adjusted to the systems designated tasks as well as the physical characteristics of the user. Lastly, as previous studies have suggested, amplifying the movement of manipulated objects in relation to the movement of the controller decreases the required movement of the user, reducing fatigue and increasing the user’s reach. However, this amplification was perceived as a reduction in precision, which some users valued more than movement reduction. Therefore, the amplification factor should be adjusted in relation to the operation’s precision requirements. While directly applicable to layer management in VR, these findings could serve as guidelines for applications utilizing 2D content in a virtual environment, room-scale VR applications designed to perform abstract tasks, and productivity tools for Virtual Reality. / Virtual Reality (VR) har på senare år sett ett uppsving både vad gäller teknisk utveckling och intresse hos konsumenter. Den nya generationens VR-plattformar har stor potential för utforskande studier både vad gäller användningsområden och interaktionsgränssnitt. En av förväntningarna är att VR ska kunna användas inom grafisk formgivning som ett verktyg för att tillgå- och interagera med digitalt innehåll på nya sätt. Precis som mobila applikationer är utvecklade för mindre touch-skärmar och PC-applikationer är designade för mus- och tangentbordsinteraktion med återkoppling genom en datorskärm så kommer gränssnitten för framtidens VR applikationer att vara utformade efter denna plattforms specifikationer. En vanlig komponent i dagens grafiska redigeringsprogramvaror är bildlagerhantering; att ha en bild eller bildruta uppdelad i mindre delar där varje del kan redigeras och påverkas som en separat enhet. Denna uppsats utforskar genom en iterativ designstudie hur bildlagerhantering kan implementeras i en VR miljö med fokus på navigation, val av objekt och manipulation av objekt. Studien visar att interaktionsgränssnitten som baseras på interaktioner med verkligheten och interaktion med traditionella PC applikationer för naturliga respektive abstrakta operationer gör interaktionerna lättare att lära sig och förstå. Förutom de uppgifter som systemet är ämnat att utföra bör även utformningen av den virtuella miljön ta hänsyn till de fysiska egenskaperna hos användaren. Som tidigare studier har visat så kan ett förstärkt utslag av manipulerade objekt i förhållande till kontrollen minska den rörelse som krävs av användaren för att utföra en uppgift och därigenom minska trötthet och öka användarens effektiva räckvidd. Denna förstärkning uppfattades dock som en reducering av precision, vilket vissa användare värdesatte mer än reducering av krävd rörelse. Därför ska förstärkningsgraden sättas i relation till den precision som krävs av varje operation. Studiens resultat är direkt applicerbara för lagerhantering i VR men kan också användas som riktlinjer för VR applikationer som hanterar 2D-innehåll i en 3D miljö samt VR applikationer med syfte att användas som produktivitetsverktyg.

Made available in DSpace on 2016-04-26T18:18:11Z (GMT). No. of bitstreams: 1 Gisele Mello Gentil.pdf: 39259284 bytes, checksum: c126d52a1a814961cfd58d885261fdfe (MD5) Previous issue date: 2009-09-29 / This project has the goal to research the influence of women´s magazines on the making up of the present female beauty patterns. For doing so, the research starts from an analysis of the beauty patterns in 1960´s, 1970´s, 1980´s, 1990´s and 2000´s run in the advertising of CLAUDIA and NOVA magazines published by Abril publisher, building up the corpus of this research. A special attention is given to the use of editing softwares to correct images such as Photoshop, due to the fact of its extensive use in post production of women´s advertising photos run in the analyzed magazines; fact incisively proved through interviews with professionals from PLAYBOY and NOVA magazines that complemented the research. From the theoretical point of view, this research is based upon Umberto Eco, Georges Vigarello and Nancy Etcoff works on the history of beauty; the work of Lucia Santaella on the approach of the forthcoming post human phenomenon; to support the ideas of analysis on the politics of the body in the context of the digital culture the works of Mark Dery, Nízia Villaça and Paula Sibilia were used. Through the theory that the pattern of present female beauty is part of an image, women´s appearance, their activities and other elements such as colors and images were analyzed in the publicity ads. The analysis show that the exposure to the advertising images of women mechanically perfect, changed and corrected through the use of editing images softwares, impose to real women a naturally impossible beauty pattern leading them to search for solutions to make their bodies into what the Photoshop makes in advertising. At the end, based upon the corpus of the research and in the light of its bibliography, it is concluded that the present beauty pattern became a stereotype and it suffers the influence of the means of communication and the new technological scenery and it is ruled by the images projected in advertising. Those are images that go through several interventions of editing and correcting softwares that lead several women to submit themselves to surgical and chemical interventions with the purpose of drawing closer to the image shown on the means of communication / Este projeto tem como objetivo pesquisar a influência das revistas femininas na formação do padrão de beleza. Para tanto, parte de uma análise dos padrões de beleza das décadas de 1960, 1970, 1980, 1990 e 2000 veiculados nos anúncios publicitários das revistas CLAUDIA e NOVA, publicadas pela Editora Abril, que constituem o corpus da pesquisa. Destaque especial é dado ao uso de softwares de edição de imagem, como o Photoshop, em virtude da recorrência de seu uso na pós-produção das fotos publicitárias de mulheres veiculadas nas revistas analisadas, fato comprovado incisivamente pelas entrevistas com profissionais das revistas Playboy e NOVA, que complementaram a pesquisa. Do ponto de vista teórico, a pesquisa se apóia em Umberto Eco, Georges Vigarello e Nancy Etcoff para a história da beleza; Lucia Santaella, para a abordagem do fenômeno emergente do pós-humano; e para embasar as análises sobre as políticas do corpo no contexto da cultura digital, Mark Dery, Nízia Villaça e Paula Sibilia. Através da hipótese de que o padrão de beleza feminino atual parte de uma imagem, foi analisado nos anúncios publicitários a aparência das mulheres, suas atividades e outros elementos como cores e formas presentes. As análises mostram que a exposição das imagens publicitárias de mulheres mecanicamente perfeitas, alteradas e corrigidas por editores de imagens, impõe às mulheres reais um padrão de beleza naturalmente impossível, levando a busca de soluções para que possam fazer em seus corpos o que o Photoshop faz na publicidade. Ao final, com base no corpus da pesquisa e à luz da bibliografia, conclui-se que o padrão de beleza atual passou a ser um estereótipo e sofre interferências dos meios de comunicação e do novo cenário tecnológico e é pautado por imagens projetadas pela publicidade. São imagens que passam por diversas intervenções de programas de edição e correção de formas e que levam diversas mulheres a submeter-se a processos cirúrgicos e químicos, no intuito de aproximar-se da imagem apresentada nos meios de comunicação