Dissertação (mestrado)—Universidade de Brasília, Faculdade de Arquitetura e Urbanismo, 2008. / Submitted by Luis Felipe Souza (luis_felas@globo.com) on 2009-03-12T17:22:06Z No. of bitstreams: 1 2008_Dissertacao_LiviaSantana.pdf: 1841492 bytes, checksum: 85b71a3610f9d6cfee1fb134ad8ff79e (MD5) / Approved for entry into archive by Guimaraes Jacqueline(jacqueline.guimaraes@bce.unb.br) on 2009-03-20T16:54:23Z (GMT) No. of bitstreams: 1 2008_Dissertacao_LiviaSantana.pdf: 1841492 bytes, checksum: 85b71a3610f9d6cfee1fb134ad8ff79e (MD5) / Made available in DSpace on 2009-03-20T16:54:24Z (GMT). No. of bitstreams: 1 2008_Dissertacao_LiviaSantana.pdf: 1841492 bytes, checksum: 85b71a3610f9d6cfee1fb134ad8ff79e (MD5) / Para compreender as dificuldades confrontadas pelos contratantes no entendimento do projeto arquitetônico, analisamos a relação entre a representação do projeto e o meio de comunicação utilizado pelos profissionais da área. Neste sentido, fizemos referência aos conceitos históricos acerca das formas de concepção e representação do projeto, assim como do processo de comunicação do projeto no contexto arquitetônico, considerando a relação entre profissional e contratante. Com o objetivo de analisar a variação da comunicação em função do nível de entendimento do desenho pelos contratantes, realizamos uma pesquisa de campo e coletamos informações através de entrevistas realizadas na cidade de Goiânia. Os entrevistados analisaram croquis e desenhos de arquitetura de quatro arquitetos: Charles Moore, Frank Gehry, Lina Bo Bardi e Rita de Cássia. A partir desse estudo, pudemos conferir a dificuldade de compreensão do projeto arquitetônico pelos contratantes dependendo do modelo de representação utilizado, e das características do desenho, tais como a proporção, a textura, o contorno, a relação figura-fundo e a representação bidimensional e tridimensional. ___________________________________________________________________________________________ ABSTRACT / To recognize the difficulties faced by clients to understand the architectural project, we analyzed the representation of the project and the means of communication used by professionals. Therefore, we made reference to historical concepts of ways to conceive and represent the project, as well as to the communication process of the project in architectural context, considering the relation between professional and client. In order to analyze the communication variation considering the client´s level of understanding of the drawing we carried out a field research and collected information through interviews taken place in Goiânia. The interviewees looked at croquis and architectural drawings of four architects: Charles Moore, Frank Gehry, Lina Bo Bardi and Rita de Cássia. Based on this study, we could verify the difficulty of clients to understand the architectural project depending on the representation model used, as well as on the characteristics of the drawing such as, the proportion, the texture, the outline, the figure-ground relationship and both two and threedimensional representations.

Made available in DSpace on 2014-06-11T19:28:04Z (GMT). No. of bitstreams: 0 Previous issue date: 2007-11-30Bitstream added on 2014-06-13T20:17:48Z : No. of bitstreams: 1 martino_ja_me_bauru.pdf: 3003873 bytes, checksum: 59ae87de8d02748a89745c94b6666ed6 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / A importância do croqui diante das novas tecnologias no processo criativo. Cada vez mais verificamos um grande avanço tecnológico, onde somos acometidos a uma imersão e adequação, criando novos hábitos, alterando formas de trabalho, de habitar e até mesmo de se relacionar com as outras pessoas e lugares. Estas alterações criam uma expectativa de que o domínio das novas ferramentas tecnológicas informatizadas nos possibilita o abandono dos sistemas até então considerados tradicionais. E que, a partir desta análise simplista, alguns cursos de ensino superior (os que utilizam o ato de criar, como uma habilidade e competência a ser utilizada na atividade profissional) questionam se o croqui ainda é válido como uma das fases do processo criativo na metodologia de projeto. Sendo assim, verificamos que essa imersão ocorre de maneira superficial. Pois a informatização dos alunos que utilizam o desenho como meio de expressão, ocorre, na maioria das vezes, apenas em hábitos e costumes cotidianos. Não apresentando ainda uma intimidade com ferramentários informatizados, que os possibilitem expressar de maneira livre e espontânea um raciocínio, como o lápis e o papel apresentam. Visto que, com estes, mesmo diante da falta de domínio de uma técnica artística, encontra a liberdade para, através de alguns traços, representar à sua maneira uma intenção de projeto. / The importance of croquis before new technologies in the creative process. More and more we face a great technological advance, and we are assaulted to an immersion and adaptation, creating new habits, changing working, living, and even relationship ways with other people and places. Those changes create an expectation that the control of the new information technology tools, allows us the disregard of systems until then considered traditional, and that from this simplistic analysis, some college courses (the ones using the creative act, as an ability and competence to be used in the professional activity), argue if the croquis still is valid as one of the phases of the creative process in the design methodology. In such case, we confirm that this immersion occurs in a superficial way, because the absorption of information technology techniques by the students using designing as way of expression, occurs in the majority of times only in uses and daily habits, not yet showing a familiarity with information technology tools which allow them to express, in a free and spontaneous way, a reasoning, as the pen, and the paper present, because with these, even facing the lack of control of an artistic technique, they find the freedom to, through some traces, represent in their own way, a design purpose.

La modélisation à l'aide de croquis a pour but de construire une forme tridimensionnelle à partir d'un dessin en deux dimensions. L'utilisateur dessine la silhouette de l'objet à reconstruire sur le plan de dessin, puis un algorithme génère automatiquement une forme en 3D à partir de ce croquis. La modélisation par croquis à l’avantage d’être plus simple et plus rapide que la modélisation classique qui requiert l’utilisation de logiciels complexes comme 3DS Max, Maya, Blender, etc. Les applications liées à la modélisation par croquis seraient nombreuses : dans le domaine de l'infographie, la modélisation géométrique pour les jeux vidéo le dessin industriel, les effets spéciaux, etc., serait plus rapide et moins coûteuse. La modélisation à l’aide de croquis pourrait être utilisée par tout le monde. Nous avons tous, un jour ou l’autre, fait un croquis pour expliquer le chemin à prendre pour aller à un lieu précis, un croquis pour l’agencement d’une cuisine et d’une salle de séjour, ou un croquis pour expliquer le fonctionnement d’une machine, etc. Dans ce mémoire de thèse, nous nous intéressons dans un premier temps au problème de la génération de courbes en 3D constituées d’hélices à partir de croquis. Nous présentons deux algorithmes qui traitent ce problème. Puis dans un second temps, nous nous intéressons à la génération de surfaces à partir de croquis et plus particulièrement à la génération de bas-reliefs, ces surfaces ayant l’avantage de ne pas présenter de parties cachées. / The goal of sketch based modeling is to generate a 3D shape from a 2D sketch. The user draw the outline of the object to rebuild on the sketch plane, then an algorithm automatically build the 3D shape from the sketch. Sketch based modeling is easier to use and faster than traditional technics which uses complex modeling software such as 3DS max, Maya or Blender. There is a lot of applications for sketch based modeling, for example, the geometric modeling for video games, industrial design, special effects, etc. would be faster and less expensive. Sketch based modeling can be used by anybody. We all , at one time or another , made a sketch to explain a route to take to get to a specific place , a sketch for the arrangement of a kitchen and a living room, or sketches to explain the operation of a machine, etc. In this thesis memory, we look initially to the problem of generating piecewise helix curves from 2D sketches . We present two algorithms that address this problem. Then in a second step, we focus on the generation of 3D surfaces from sketches and more particularly to the generation of low reliefs, these surfaces have the advantage of not presenting hidden parts.

Orientador: Wilson Florio / Dissertação (mestrado) - Universidade Estsadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-21T06:54:31Z (GMT). No. of bitstreams: 1 Mateus_RafaelPeres_M.pdf: 43958088 bytes, checksum: b8236ad988604ecfb52a65ed695c932a (MD5) Previous issue date: 2012 / Resumo: Até recentemente boa parte do entendimento sobre a criatividade foi realizada a partir do espectro da inspiração. Por meio desse pensamento, todo e qualquer projeto de arquitetura que fosse digno de relevância seria visto como o produto do "talento nato" do arquiteto. Entretanto, nos últimos sessenta anos, pesquisas que investigam os processos cognitivos possibilitaram um novo entendimento de como se dá o processo de criação. Nesse contexto, a psicologia da cognição tem auxiliado a compreensão das ações cognitivas realizadas durante o processo de concepção de projeto, e também o papel que os meios de representação possuem na materialização de idéias e na aquisição de conhecimentos. Paralelamente, estudos recentes têm apontado a importância dos croquis realizados pelos arquitetos no momento em que concebem suas propostas arquitetônicas. A partir desses pressupostos, duas questões se apresentam: de que maneira os croquis têm a capacidade de contribuir na formulação de hipóteses e soluções de projeto, e como eles se inserem na intricada rede de conexões existentes nas ações cognitivas durante o processo de criação? Evidentemente que muitas dessas conexões ocorrem no interior da mente dos arquitetos, o que dificulta sua identificação de maneira adequada. Contudo, importantes ações resultantes dos processos cognitivos podem ser analisadas a partir dos registros gráficos realizados durante o processo de projeto. Por meio de procedimentos claros, baseados em protocolos de análise, é possível identificar e refletir sobre a importância que os croquis de concepção possuem no desenvolvimento da expertise e da criatividade em arquitetura. Para tanto, foram selecionados seis arquitetos, com diferentes tempos de imersão profissional, para realizar um projeto de arquitetura. Eles foram monitorados em laboratório por meio de gravações em áudio e vídeo, e todo o material resultante foi digitalizado e pormenorizadamente analisado nesta pesquisa. Os resultados obtidos demonstram que os croquis de concepção catalisam ideias, potencializam a criatividade e corroboram sua importância como um meio eficaz para a solução do projeto. Portanto, esta pesquisa contribui para o debate sobre a criatividade e a prática de projeto em arquitetura, e os fatores que fundamentam a aquisição da expertise / Abstract: Until recently much of the understanding of creativity was performed from the spectrum of inspiration. Through this thinking, any architectural project that was worthy of relevance would be seen as the product of "talent" of the architect. However, in the last sixty years, researches investigating the cognitive processes enabled a new understanding of how the process of creation takes place. In this context, the psychology of cognition has aided the understanding of cognitive actions performed during the project design, and also the role that the ways of representation in the materialization of ideas and knowledge acquisition. In addition, recent studies have pointed out the importance of sketches made by the architects when they design their architectural proposals. From these assumptions, two questions up surge: how do sketches have the ability to contribute to the formulation of hypotheses and design solutions, and how do they fit into the intricate network of connections existing in the cognitive actions during the creation process? Of course, many of these connections occur within the minds of architects, which complicates their identification properly. However, important actions resulting from cognitive processes can be analyzed from the graphic depictions made during the design process. Through clear procedures, based in protocols of analysis, it is possible identifying and reflecting about the importance that design sketches have in the development of expertise and creativity in architecture. Therefore, six architects were selected, with different professional immersion time, to realize an architectural project. They were monitored in the laboratory through audio and video recordings, and all the resulting material was scanned and analyzed in detail in this research. The results show that the sketches catalyze ideas, enhance creativity and confirm its importance as an effective way for solving the project. Therefore, this research contributes to the debate on creativity and design practice in architecture, and the factors that underlie the acquisition of expertise / Mestrado / Artes Visuais / Mestre em Artes Visuais

Este trabalho procurou fazer uma reflexão sobre a prática pedagógica no ensino escolar de Geografia, focalizando as dificuldades enfrentadas pelo professor iniciante na transposição didática do saber universitário para o saber ensinado e na escolha das metodologias a serem utilizadas em sala de aula. Procuramos uma metodologia que auxiliasse nossos jovens a sistematizar e compreender o grande volume de informações a que temos hoje e correlacioná-las a sua própria realidade. Através da elaboração de croquis cartográficos pretendemos, pois, investigar o processo de desenvolvimento do raciocínio geográfico em nossos alunos de 3º ano do Ensino Médio, tendo por fim contribuir com a proposta metodológica de Cartografia no ensino de Geografia de Simielli (1996). Acreditamos que esse encaminhamento apropriado a uma abordagem em pesquisa-ação, valorizou uma participação mais ampla e ativa de nossos alunos e buscou a autonomia dos mesmos, proporcionando-lhes um aprendizado continuado. / The main purpose of this work was to reflect on the pedagogic methods used to teach Geography in schools. A special emphasis was given to discuss the difficulties faced by beginning teachers in the situation where they have to didactically transfer their academic knowledge to their students in a way that will permit it to be assimilated. We have also discussed how to choose the methodology to be applied in the classes. We have looked for a methodology that would help our children to systematize and understand a large amount of information, and to make it easily accessible and related to their own reality. Using the elaboration of cartographic sketches, we have intended to investigate the process of the development of geography thoughts in our third grade high school students, with the objective of using the methodological cartography proposed in the studies of geography from Simielli (1996).

Este trabalho trata das questões relativas ao ensino na Educação Infantil através da investigação das contribuições que os croquis de localização oferecem ao processo formativo das crianças pequenas. Busca nas teorias sócio-históricas os fundamentos para compreender a importância da mediação no aprendizado das crianças, defendendo que os croquis são importantes instrumentos no processo ensino-aprendizagem. Recorre à Geografia para compreender os conceitos essenciais, lugar e paisagem, representações e linguagem gráfica, discutindo a espacialização das crianças como processo que exige sistematização e planejamento. O Estudo identifica nas práticas pedagógicas a possibilidade de garantir os fundamentos para uma formação que aprimore as práticas socioespaciais na perspectiva de construção e fortalecimento da cidadania ativa. A Educação Infantil é compreendida na dimensão do direito, assegurado a toda criança. A ação educativa capaz de tratar das questões relativas ao Conhecimento de Mundo que se deve assegurar às crianças deve estar fundamentada na Ciência, no conhecimento filosófico, na Arte e na Ética. / This work deals with questions related to the infant education teaching through the investigation of the contributions that the sketches of the localization offer to the formative process of small children. It searches on social historic theories the basis to understand the importance of the mediation on childrens apprenticeship, defending that sketches are important tools on the teaching-apprenticeship process. It recurs to the geography to comprehend the essential concepts, place and landscape, representations and graphic language, discussing the spaciousness of the children as a process that demands systematization and planning. The Study identifies in the pedagogic practices the possibility to guarantee the principles for a formation that improves the social-spatial practices on the perspective of the construction and enforcement of the active citizenship. The infant education is understood on the dimension of the law, assured to all children. The educative action able to treat these matters related to the world knowledge that must be assured to children, it must be based upon science, on philosophic knowledge, on art and ethic.

Made available in DSpace on 2016-03-15T19:23:00Z (GMT). No. of bitstreams: 1 Marcos Bandeira de Oliveira.pdf: 12376514 bytes, checksum: 69a3b722396f63b9dbd5611b2f9d67b1 (MD5) Previous issue date: 2015-02-06 / Fundação Cearense de Apoio ao Desenvolvimento Cientifico e Tecnológico / The graphic records performed during the design process had major changes in their techniques, instruments and purposes after the appearance of digital tools. Studies on architectural design methodology make clear its complexity as well as the graphical representation mechanisms that assist and record these processes. Computer graphics has not eliminated the instruments and analogue techniques, but added up to them. Today there are a variety of graphical tools to support design process blending analog and digital resources. This diversity is beneficial, but for the efficient exploitation of its potential, requires technical, instrumental and conceptual knowledge that exceed the limits of Geometry, architectural drawing and computer graphics. It is observed in academic circles some deficiencies in the orientation of use of new features in addition to the separation between education / design practice and its relation to the reality of the project. Studies shows the relevance and importance of analog features in the design process as well as defend the coexistence between them and digital resources. The impact of the use of digital instruments simultaneously occurred in professional practice and in architecture schools and, within these, it is observed that the students develop their own procedures to explore this range of options. Aiming to give an overview of these students practice, this dissertation evaluated the analog production, from 2009 to 2014, observed in the discipline Trabalho Final de Graduação (TFG) at the University of Fortaleza in the moments of conceptual design and the presentation of projects. In order to that end, there was a first evaluation of the curricular grade that formed these students and then the drawings produced during professor's orientation and presentations of the TFGs. It was initially made a quantitative survey and a qualitative overview of all work that was deepened through five case studies. The evaluated material shows great attention given to specific drawings during the design process with emphasis on plants and perspectives. The drawings demonstrate technical deficiencies in the graphic execution and little relation to the constructed reality. Digital instruments help the analog designs. The contents of the drawing disciplines do not address this type of hybrid technique. Thus, it is revealed three basic techniques: analog, digital and hybrid. The collected data can help in didactical decisions of design disciplines / drawing, the actual TFG and the interrelation of them. As a result of this study, It is evident that the use of freehand drawing remains relevant in academic circles, but also that it can not be treated in a conservative manner or disconnected from the digital systems way. In addition, it was concluded that we must define and assume, within academic curriculum, a particular drawing for the architect considering all analog and digital technological possibilities / Os registros gráficos executados durante o projeto passaram por grandes mudanças em suas técnicas, instrumentos e finalidades depois do aparecimento dos meios digitais. Os estudos sobre metodologia projetual deixam clara a sua complexidade, assim como a dos mecanismos de representação gráfica, que auxiliam e registram esses processos. A computação gráfica não eliminou os instrumentos nem as técnicas analógicas, mas somou-se a elas. Hoje há considerável variedade de ferramentas gráficas para subsidiar a reflexão e o registro do projeto que misturam recursos analógicos e digitais. Essa diversidade é benéfica, mas, para a exploração eficiente das suas potencialidades, requer conhecimentos técnicos, instrumentais e conceituais que ultrapassam os limites da Geometria, do desenho técnico arquitetônico e da computação gráfica. Observam-se no meio acadêmico algumas deficiências na orientação do uso dos novos recursos, além da separação entre o ensino/prática do desenho e sua relação com a realidade do projeto. Os estudos comprovam a pertinência e importância dos recursos analógicos no projeto, além de defenderem a convivência entre eles e os recursos digitais. A repercussão do emprego dos instrumentos digitais ocorreu simultaneamente na prática profissional e nas escolas de Arquitetura e, dentro destas, observa-se que os discentes desenvolvem procedimentos próprios para explorar essa gama de opções. Com o objetivo de traçar um panorama dessas práticas discentes, esta dissertação avaliou a produção analógica, de 2009 e 2014, observada na disciplina Trabalho Final de Graduação (TFG) da Universidade de Fortaleza nos momentos de concepção e de apresentação dos projetos. Para tanto, primeiramente, foi avaliada a matriz curricular que formou esses alunos e, em seguida o material gráfico produzido nas orientações e apresentações dos TFGs. Para esse último, foram feitos, inicialmente, um levantamento quantitativo e uma análise geral qualitativa de todos os trabalhos, tendo sido esta aprofundada por meio de cinco estudos de caso. O material avaliado revela grande atenção dispensada a desenhos específicos durante o processo projetual, destacando-se as plantas e as perspectivas. Os desenhos demonstram deficiências técnicas na execução gráfica e pouca relação com a realidade construída. Constatam-se instrumentos digitais como auxiliares dos desenhos analógicos, mas também verifica-se que os conteúdos das disciplinas de desenho não tratam desse tipo de técnica híbrida. Dessa forma, revelam-se três tipos básicos de técnicas: analógica, digital e híbrida. Os dados explicitam pontos norteadores de decisões didáticas das disciplinas de projeto, de desenho, do próprio TFG e da inter-relação delas. Como resultado deste estudo, fica evidente que o uso do desenho à mão livre continua pertinente no meio acadêmico, mas também que ele não pode ser tratado de maneira conservadora ou atrelada a processos anteriores ao uso dos sistemas digitais. Além disso, conclui-se ser preciso definir e assumir, dentro dos currículos acadêmicos, um desenho específico para o arquiteto, levando em consideração todas as possibilidades tecnológicas, analógicas e digitais.

L'animation expressive permet des styles de mouvements exagerés et artistiques comme l'étirement de parties du corps ou encore l'animation de créatures imaginaires comme un dragon. Créer ce genre d'animation nécessite des outils assez flexible afin de déformer les personnages en des poses quelconques, ainsi que de pouvoir contrôler l'animation à tout moment dans le temps. L'approche acutelle pour l'animation expressive est le keyframing: une approche manuelle avec laquelle les animateurs déforment leur personnage un moment spécifique dans le temps en cliquand et glissant la souris sur une partis spécifique du corps---un à la fois. Malgré le fait que cette approche soit flexible, il est difficile de créer des animations de qualité qui suivent les principes artistiques, puisque le keyframing permet seulement qu'un contrôle local spatiallement et temporellement. Lorsqu'ils dessinent des poses ou des mouvements, les artistes s'appuient sur différentes abstractions sous forme de croquis qui facillitent la réalisation de certain principes artistiques. Par example, certains animateurs dessinent des lignes d'action afin de créer une pose plus lisible et expressive. Afin de coordonner un mouvement, les animateurs vont souvent dessiner des abstractions de mouvement comme des demi-cercles pour des sauts, ou des boucles pour des pirouettes---leur permettant de pratiquer la coordination du mouvement. Malheureusement, ces outils artistiques ne font pas partis de l'ensemble d'outils de keyframing actuelle. Le fait que l'on ne puisse pas employer les même outils artistiques pour animater des personnages 3D a une forte conséquence: les outils d'animation 3D ne sont pas employés dans le processus créatif. Aujourd'hui, les animateurs créent sur du papier et utilisent le keyframing seulement à la fin pour réaliser leur animation. La raison pour laquelle nous n'avons pas ces outils artistiques (ligne d'action, abstractions de mouvement) en animation 3D, est parce qu'il manque une compréhension formelle de ceux-ci qui nous permettrais d'exprimer la forme du personnage---potentiellement au cours du temps---en fonction de la forme de ces croquis. Ainsi la contribution principale de cette thèse est une compréhension formelle et mathématique des abstractions de forme et de mouvement courrament employées par des artistes, ainsi qu'un ensemble d'algorithme qui permet l'utilisation de ces outils artistiques pour créer des animations expressives. C'est-à-dire que les outils développés dans cette thèse permettent d'étirer des parties du corps ainsi que d'animer des personnages de différentes morphologies. J'introduis aussi plusieurs extentions à ces outils. Par example, j'explore l'idée de sculpter du mouvement en permettant à l'artiste de dessigner plusieurs couches de mouvement une par dessus l'autre, de twister en 3D les croquis, ou encore d'animer un croquis ligne comme un élastique. Les contributions principales de cette thèse, aussi résumé ci-dessous: -La ligne d'action facilitant la création de poses expressives en dessinant directement le flow complet du personnage. -La courbe spatio-temporelle qui permet de spécifier un mouvement coordoné complet avec un seul geste (en dessinant une seule courbe), applicable à n'importe quel personnage 3D. -Un algorithme de matching rapide et robuste qui permet du ``squash and stretch''. -La ligne d'action élastique avec des attachements dynamiques à la ligne permettant d'animer un personnages à plusieurs jambes (bras) avec une seule ligne 2D animée. / Free-form animation allows for exaggerated and artistic styles of motions such as stretching character limbs and animating imaginary creatures such as dragons. Creating these animations requires tools flexible enough to shape characters into arbitrary poses, and control motion at any instant in time. The current approach to free-form animation is keyframing: a manual task in which animators deform characters at individual instants in time by clicking-and-dragging individual body parts one at a time. While this approach is flexible, it is challenging to create quality animations that follow high-level artistic principles---as keyframing tools only provide localized control both spatially and temporally. When drawing poses and motions, artists rely on different sketch-based abstractions that help fulfill high-level aesthetic and artistic principles. For instance, animators will draw textit{lines of action} to create more readable and textit{expressive} poses. To coordinate movements, animators will sketch textit{motion abstractions} such as semi-circles and loops to coordinate a bouncing and rolling motions. Unfortunately, these drawing tools are not part of the free-form animation tool set today. The fact that we cannot use the same artistic tools for drawing when animating 3D characters has an important consequence: 3D animation tools are not involved in the creative process. Instead, animators create by first drawing on paper, and only later are 3D animation tools used to fulfill the pose or animation. The reason we do not have these artistic tools (the line of action, and motion abstractions) in the current animation tool set is because we lack a formal understanding relating the character's shape---possible over time---to the drawn abstraction's shape. Hence the main contribution of this thesis is a formal understanding of pose and motion abstractions (line of action and motion abstractions) together with a set of algorithms that allow using these tools in a free-form setting. As a result, the techniques described in this thesis allow exaggerated poses and movements that may include squash and stretch, and can be used with various character morphologies. These pose and animation drafting tools can be extended. For instance, an animator can sketch and compose different layers of motion on top of one another, add twist around strokes, or turning the strokes into elastic ribbons. The main contributions of this thesis are summarized as follows: -The line of action facilitating expressive posing by directly sketching the overall flow of the character's pose. -The space-time curve allowing to draft full coordinated movements with a single stroke---applicable to arbitrary characters. -A fast and robust skeletal line matching algorithm that supports squash-and-stretch. -Elastic lines of action with dynamically constrained bones for driving the motion of a multi-legged character with a single moving 2D line.

Cette thèse porte sur la création interactive intuitive de formes 3D, justifié pour les artistes par un besoin d'efficacité et d'expressivité et pour le grand public par la démocratisation d'usages de la modélisation numérique pour les jeux vidéo ou pour les imprimantes 3D. Dans ce cadre, pour trouver des nouvelles formes d'interactions, nous avons développé des modeleurs et des techniques de modélisation : un modeleur de formes libres 3D par métaphore de peinture, un modeleur vectoriel temps réel de paysages ainsi qu'un modeleur de paysages par croquis vu de la première personne. Les contributions scientifiques vont d'un opérateur de mélange implicite qui garanti la localité du mélange, à l'utilisation qu'une formulation bi-harmonique pour la modélisation de terrains permettant une modélisation fine, intuitive et temps réel de terrains; en passant par la modélisation de paysages à partir de croquis composé de silhouettes vus de la première personne. / This thesis focuses on the interactive intuitive creation of 3D Models. Improvment of modeling tools for artists is still an active research mater especialy concerning efficiency and expressiveness. Moreother video games or 3D printers are make the use of modeling tools more common by the general public. In this context, to find new forms of interaction, we have developed modelers and modeling techniques: a 3D free-form modeler which uses a painting metaphor for creation, a vector-based real-time landscapes modeler as well as a sketch-based landscapes modeler that uses first person drawnings. Scientific contributions range from a blending operator for implicit modeling that guarantees the locality of the blend. The use for a bi-harmonic formulation for landscape modeling that allow fine, intuitive and real-time terrain modeling. Finally through landscape modelisation using sketches composed of silhouettes seen from the first person point of view.

L'animation expressive permet des styles de mouvements exagerés et artistiques comme l'étirement de parties du corps ou encore l'animation de créatures imaginaires comme un dragon. Créer ce genre d'animation nécessite des outils assez flexible afin de déformer les personnages en des poses quelconques, ainsi que de pouvoir contrôler l'animation à tout moment dans le temps. L'approche acutelle pour l'animation expressive est le keyframing: une approche manuelle avec laquelle les animateurs déforment leur personnage un moment spécifique dans le temps en cliquand et glissant la souris sur une partis spécifique du corps---un à la fois. Malgré le fait que cette approche soit flexible, il est difficile de créer des animations de qualité qui suivent les principes artistiques, puisque le keyframing permet seulement qu'un contrôle local spatiallement et temporellement. Lorsqu'ils dessinent des poses ou des mouvements, les artistes s'appuient sur différentes abstractions sous forme de croquis qui facillitent la réalisation de certain principes artistiques. Par example, certains animateurs dessinent des lignes d'action afin de créer une pose plus lisible et expressive. Afin de coordonner un mouvement, les animateurs vont souvent dessiner des abstractions de mouvement comme des demi-cercles pour des sauts, ou des boucles pour des pirouettes---leur permettant de pratiquer la coordination du mouvement. Malheureusement, ces outils artistiques ne font pas partis de l'ensemble d'outils de keyframing actuelle. Le fait que l'on ne puisse pas employer les même outils artistiques pour animater des personnages 3D a une forte conséquence: les outils d'animation 3D ne sont pas employés dans le processus créatif. Aujourd'hui, les animateurs créent sur du papier et utilisent le keyframing seulement à la fin pour réaliser leur animation. La raison pour laquelle nous n'avons pas ces outils artistiques (ligne d'action, abstractions de mouvement) en animation 3D, est parce qu'il manque une compréhension formelle de ceux-ci qui nous permettrais d'exprimer la forme du personnage---potentiellement au cours du temps---en fonction de la forme de ces croquis. Ainsi la contribution principale de cette thèse est une compréhension formelle et mathématique des abstractions de forme et de mouvement courrament employées par des artistes, ainsi qu'un ensemble d'algorithme qui permet l'utilisation de ces outils artistiques pour créer des animations expressives. C'est-à-dire que les outils développés dans cette thèse permettent d'étirer des parties du corps ainsi que d'animer des personnages de différentes morphologies. J'introduis aussi plusieurs extentions à ces outils. Par example, j'explore l'idée de sculpter du mouvement en permettant à l'artiste de dessigner plusieurs couches de mouvement une par dessus l'autre, de twister en 3D les croquis, ou encore d'animer un croquis ligne comme un élastique. Les contributions principales de cette thèse, aussi résumé ci-dessous: -La ligne d'action facilitant la création de poses expressives en dessinant directement le flow complet du personnage. -La courbe spatio-temporelle qui permet de spécifier un mouvement coordoné complet avec un seul geste (en dessinant une seule courbe), applicable à n'importe quel personnage 3D. -Un algorithme de matching rapide et robuste qui permet du ``squash and stretch''. -La ligne d'action élastique avec des attachements dynamiques à la ligne permettant d'animer un personnages à plusieurs jambes (bras) avec une seule ligne 2D animée. / Free-form animation allows for exaggerated and artistic styles of motions such as stretching character limbs and animating imaginary creatures such as dragons. Creating these animations requires tools flexible enough to shape characters into arbitrary poses, and control motion at any instant in time. The current approach to free-form animation is keyframing: a manual task in which animators deform characters at individual instants in time by clicking-and-dragging individual body parts one at a time. While this approach is flexible, it is challenging to create quality animations that follow high-level artistic principles---as keyframing tools only provide localized control both spatially and temporally. When drawing poses and motions, artists rely on different sketch-based abstractions that help fulfill high-level aesthetic and artistic principles. For instance, animators will draw textit{lines of action} to create more readable and textit{expressive} poses. To coordinate movements, animators will sketch textit{motion abstractions} such as semi-circles and loops to coordinate a bouncing and rolling motions. Unfortunately, these drawing tools are not part of the free-form animation tool set today. The fact that we cannot use the same artistic tools for drawing when animating 3D characters has an important consequence: 3D animation tools are not involved in the creative process. Instead, animators create by first drawing on paper, and only later are 3D animation tools used to fulfill the pose or animation. The reason we do not have these artistic tools (the line of action, and motion abstractions) in the current animation tool set is because we lack a formal understanding relating the character's shape---possible over time---to the drawn abstraction's shape. Hence the main contribution of this thesis is a formal understanding of pose and motion abstractions (line of action and motion abstractions) together with a set of algorithms that allow using these tools in a free-form setting. As a result, the techniques described in this thesis allow exaggerated poses and movements that may include squash and stretch, and can be used with various character morphologies. These pose and animation drafting tools can be extended. For instance, an animator can sketch and compose different layers of motion on top of one another, add twist around strokes, or turning the strokes into elastic ribbons. The main contributions of this thesis are summarized as follows: -The line of action facilitating expressive posing by directly sketching the overall flow of the character's pose. -The space-time curve allowing to draft full coordinated movements with a single stroke---applicable to arbitrary characters. -A fast and robust skeletal line matching algorithm that supports squash-and-stretch. -Elastic lines of action with dynamically constrained bones for driving the motion of a multi-legged character with a single moving 2D line.