My aim is to find out how to create a 3d character model for a pre-existing live action film, give this character characteristics that match the intellectual property and follow the visual style of the chosen film. For my example in this degree project, I chose Disney's adaption of John Carter of Mars. I used my own pipeline, which is a collection of work methods from different artists, for the creation of the example 3d character model. Though with a limit of bringing the model through the first two steps, as I focus on the constraint of this thesis work. In order to create this model, I researched the universe of John Carter, and the visual style of the film, and from that knowledge I designed a character to create a 3d model of. The finished 3d character model of this degree project was then compared to models from the production of John Carter of Mars, both by the author and through a survey to evaluate the result.

SAMPAIO, Artur Pereira. Temporally coherent sculpture of composite objects. 2017. 67 f. Tese (Doutorado em Ciência da Computação)-Universidade Federal do Ceará, Fortaleza, 2017. / Submitted by Jonatas Martins (jonatasmartins@lia.ufc.br) on 2017-09-26T19:48:12Z No. of bitstreams: 1 2017_tese_apsampaio.pdf: 73477614 bytes, checksum: 49861ce00f0635a78ad41b8260e6be32 (MD5) / Approved for entry into archive by Rocilda Sales (rocilda@ufc.br) on 2017-09-27T11:14:56Z (GMT) No. of bitstreams: 1 2017_tese_apsampaio.pdf: 73477614 bytes, checksum: 49861ce00f0635a78ad41b8260e6be32 (MD5) / Made available in DSpace on 2017-09-27T11:14:56Z (GMT). No. of bitstreams: 1 2017_tese_apsampaio.pdf: 73477614 bytes, checksum: 49861ce00f0635a78ad41b8260e6be32 (MD5) Previous issue date: 2017 / We address the problem of sculpting and deforming shapes composed of small, randomly placed objects. Objects may be tightly packed - such as pebbles, pills, seeds and grains, or may be sparsely distributed with an overarching shape - such as flocks of birds or schools of fishes. Virtual sculpture has rapidly become a standard in the entertainment industry, as evidenced by the extensive use of software such as ZBrush Pixologic (2017b). Composites, though, are still usually created in a static way by individually placing each object or by sculpting a support surface and procedurally populating the final shape, which raises problems for the generalization of evolving shapes with visual continuity of the components. Large amounts of geometrical data are generated that must be maintained and processed, both by the CPU and by the GPU. Whenever the shape is stretched, pressed or deformed, one has to define how these compositing objects should turn, displace or disappear inside the volume, as well as how new instances should become visible to the outside. It is difficult to rely on a physical system to perform that task in real time. The system we suggest can be constructed upon any uniform mesh-based representation that can be deformed and whose connectivity can be updated by operations such as edge splits, collapses, and flips. We introduce the notion of CompEls as composing elements used to populate the mesh, with aperiodic distribution. These can be automatically updated under deformation. The idea is to sculpt the shape as if it were filled with little objects, without handling the complexity of manipulating volumetric objects. For this purpose, we suggest exploiting the properties of the uniform sampling of the surface with distances between vertices greatly exceeding the CompEls distances. Both the surface and the CompEls are immersed into deformation fields, such that the update of the uniform sampling can be used to track the movement of the CompEls, to identify those which should disappear inside the shape, and empty areas where further CompEls should be generated. This system uses GPU optimizations to efficiently perform the rendering of individual components. To our knowledge, no previous sculpting system allows the user to simultaneously see and sculpt agglomerates in such a fast and reliable fashion. / Esta tese trata do problema da escultura e deformação de formas compostas de pequenos objetos aleatoriamente distribuídos. Objetos podem estar fortemente agrupados - como pedregulhos, pílulas, sementes e grãos - ou estar escassamente distribuídos ao longo de uma forma global - como bandos de aves ou escolas de peixes. Escultura virtual tornou-se rapidamente o padrão na indústria de entretenimento, como evidenciado pelo extenso uso de aplicativos como o ZBrush. Objetos compostos, por outro lado, ainda são usualmente criados de maneira estática, por meio do posicionamento individual de cada objeto; ou por meio da escultura de uma superfície de suporte a ser povoada de maneira procedural. A generalização dessa abordagem é problemática quando se considera formas dinâmicas e a necessidade de continuidade visual dos elementos componentes. Uma grande quantidade de dados geométricos é gerada, que precisa ser mantida e processada, tanto pela CPU como pela GPU. Sempre que a forma é esticada, pressionada ou deformada, é necessária a definição de como esses objetos componentes devem girar, se deslocar ou desaparecer dentro do volume, assim como de que maneira novas instâncias devem se tornar visíveis na superfície. Depender de um sistema físico para a tarefa em tempo real é inviável em função da quantidade de dados. A técnica que propomos pode ser implementada sobre qualquer representação baseada em malhas uniformes, que possam ser deformadas, e cuja conectividade possa ser atualizada por meio de operações como colapso, subdivisão e rotação de arestas. Nós introduzimos o conceito de CompEls como elementos componentes utilizados para povoar a malha, com distribuição aperiódica. A ideia é esculpir a forma como se ela estivesse repleta de pequenos objetos, sem a preocupação com a complexidade da manipulação de objetos compostos. Para este fim, propomos explorar a as propriedades da amostragem uniforme da superfície, com distâncias entre vértices excedendo em grande medida as distâncias entre CompEls. Ambos, superfície e CompEls, são imersos em campos de deformação, de tal forma que a atualização da amostragem uniforme possa ser utilizada para rastrear o deslocamento de CompEls, para identificar aqueles que devem desaparecer no interior do objeto, e para identificar áreas vazias onde novos CompEls devem ser gerados. Esse algoritmo se utiliza de otimizações de GPU para realizar a rasterização eficiente de componentes individuais. Até onde sabemos, nenhum sistema anterior de escultura virtual permite que o usuário, de forma simultânea, veja e esculpa aglomerados de maneira simples e confiável.

Futurist Sculpting is a collection of techniques for representing dynamic motion in a static three-dimensional model. These techniques allow digital artists to use animation as a new modeling tool. The idea of Futurist Sculpting is inspired by the works of the Italian Futurist artists and it aims to achieve the same goal as the one described by Umberto Boccioni, “to find a form that would be like a remembered motion, the product of time but permanent in space.” However, Futurist Sculpting extends Boccioni’s idea to the new medium of 3D animation and modeling, introducing the techniques of Motion Snapshot, Surface Differentiation, and Motion Elasticity. Motion Snapshot has evolved from the idea that multiple key poses captured at different stages of motion can successfully portray the idea of movement. Surface Differentiation was developed to remove redundancy of overlaping geometry introduced by snapshots occuring with high spatial frequency. Exploded Snapshot creates a geometric blur effect and extends application of Motion Snapshots to motion of deforming objects. The Motion Elasticity technique stretches the object to represent a partial volume through which it is moving. As a proof of concept all of the Futurist Sculpting techniques were implemented in Maya. The techniques should be viewed as a set of tools for the artists. The user can choose any one of them to apply to any animation, but he needs to understand their applications and limitations too.

This thesis presents the development of a novel robotically effected plastic foam sculpting system for rapid prototyping and manufacturing purposes. The developed system is capable of rapidly sculpting physical objects out of expanded and extruded polystyrene using an electrically heated Nichrome sculpting tool. An overview of current conventional rapid prototyping systems indicated that the main disadvantages lie in the limited size of objects which can be built, the relatively long time involved to produce one part and the high cost of the systems and materials. An extensive literature and technology review was conducted on work which was similar to the novel system presented in this thesis. The literature provided many good ideas which could be applied. Two sections of experimental work were conducted. The first was aimed at simply proving the concept of robotically effected sculpting of plastic foams. A crude procedure was developed which proved to be rather tedious and manual, especially in terms of generating the tool paths. Qualitative observations of the cut surfaces were used to change the testing parameters to explore their effects and discover which parameters produced accurate and smooth sculpted surfaces. 12 tests were documented and proved that the sculpting of satisfactory surfaces was achievable. The second section of experimental work involved developing the aforementioned crude procedure to make it more automated, especially in terms of the tool path generation and optimisation step. An innovative five step procedure was developed which if followed can produce accurately sculpted artefacts using CAD models of the artefacts as the primary input. Two artefacts were successfully sculpted using the developed procedure. The first was a simple lofted surface; the CAD model of which was created in SolidWorks. The second artefact was a patient customised medical radiation therapy head and neck support; the CAD model of which was created by scanning the back of the author's head and neck with a 3D scanner. The sculpted support fitted the author perfectly. The implementation of the procedure in the two tests highlighted several points including the speed in which the whole process can be carried out. The time taken from the scanning of the authors head and neck with the 3D scanner through to the physical sculpted artefact, was a mere 80 minutes; of which only 13 minutes was consumed in the actual setup and sculpting step! This is extremely quick when compared to conventional rapid prototyping systems and CNC milling. Several areas of future work were outlined and included, tool and fixture design, automation and integration of the system procedure, tool pathing strategy for foam cutting and robot control system issues. The work presented in this thesis provides an excellent foundation for future development of the robotic foam sculpting system.

The primary purpose of this study was to investigate the effect of family sculpting on perceptual agreement among family members. Thirty families, each consisting of a father, a mother, and a child twelve years old or older, from areas of northern Utah and eastern Idaho participated in the study. The following instruments were administered to all individuals: a biographical questionnaire containing items regarding age, sex, occupation, education, number of years married for parents, and birth order position for children; the Interpersonal Check List in which each family was to describe him/ herself and the other members of the family; the Family Life Questionnaire which measures satisfaction in the family; and, finally, the experimental group was also administered the Subjective Check List which is a self report measure of the subject's experience with the experimental treatment. Three hypotheses were made regarding the effect that family sculpting would have on perceptual agreement among family members in the experimental groups: 1. There would be no significant difference between experimental and control groups in terms of perceptual agreement among family members after family sculpting as measured by the Interpersonal Check List. 2. There would be no significant difference between the low-satisfaction experimental group and the control group in terms of perceptual agreement among family members after family sculpting as measured by the Interpersonal Check List. 3. There would be no significant difference between the high-satisfaction experimental group and the control group in terms of perceptual agreement among family members after family sculpting as measured by the Interpersonal Check List. To test the hypotheses, analyses of covariance were computed for pre and posttest scores on all eight scales of the Interpersonal Check List, and on the Family Life Questionnaire. It was found that when the pretest means were held constant there was a difference on posttest means between the group which received family sculpting and the group that did not, on five of the twenty-four analyses. As a result of these findings all three hypotheses were rejected. However, notwithstanding a difference did exist, an examination of the unadjusted and adjusted means showed paradoxical results in that the level of perceptual agreement for the group which received family sculpting increased in three instances and decreased in two instances. Thus, it was determined that family sculpting may have facilitated changes in the perceptions of family members, however, it was not found to be effective in increasing perceptual agreement among family members. Further consideration would suggest that, in terms of a therapeutic approach, these possible changes in perception may be of value in breaking down maladaptive family communication patterns and establishing more adaptive ones.

Creature design and sculpture is about representing life with three dimensions. To begin designing a creature, the process begins by looking at real life. Studies of existing wildlife and anatomy reference provided the foundation for the creation process. The goal of this project was to study creature design and attempt creating feasible results. The background and location origin of these creatures are based on the environmental location of Arizona. The goal was creating and rendering four creatures with the attempt of achieving fantasy realism.

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This degree work delved into the intersections of fashion and art, specifically focusing on creating wearable knitted sculptures. For this, the presented project considered the idea of designing spatially, without a human body as a reference, by shaping knitted forms inside a scaffolding. The exploration began with an in-depth investigation of knitting to identify different form expressions through merging and manipulating traditional knitting techniques such as plain, transfer, and partial knitting. Three knitted wearable sculptures were developed based on the knitting experiments by creating stripes on the knitting in a fully fashioned way. Further on, these wearable sculptures underwent various steps of development, such as sculpting, draping, and surface modification.

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