It is difficult to navigate throughout todays existing sculpting and modeling software. Industry drives the development in this area by “time versus quality.” It is difficult to know which software is the most suitable to learn for sculpting details, as well as which one is the most efficient for beginners. There are two software programs, Autodesk Mudbox and Pixologic ZBrush, which will be examined and reviewed for sculpting details, learning curve for beginners, and time efficiency in this research. The overall results displayed that ZBrush seems to be the better choice for more advanced modellers and artists, while Mudbox is a better choice for beginners and more technical modellers.

A generally accepted goal in orthopaedic surgery today is to maximize conservation of tissue and reduce tissue damage. Bone-conserving implants have bone-mating surfaces that reproduce the natural curvature of bone structures, requiring less bone removal. No small, reliable, inexpensive and universal bone sculpting technique currently exists, however, that can both create and accurately align such complex surfaces. The goal of this thesis was to develop a haptic hard surface emulation mechanism that could be applied to curvilinear bone sculpting using a surgical robot. A novel dynamic physical constraint concept was developed that is able to emulate realistic hard constraints, smooth surface following, and realistic surface rigidity, while allowing complete freedom of motion away from the constraints. The concept was verified through the construction of a two-link manipulator prototype. Tests were run on nine users that involved each user tracing out five different virtual surfaces on a drawing surface using the prototype. The primary purposes of prototype testing were to obtain subjective data on how effectively the dynamic physical constraint concept simulates simple surfaces, to assess how it reacts to typical user interactions and to identify any unexpected behaviour. Users were 100% satisfied with the prototype’s ability to emulate realistic and stiff hard surfaces and with its ease of manipulation. The amount of incursion into each of the virtual surfaces by all the users was measured to assess the precision of the system with the goal of deciding whether this new haptic concept should be further developed specifically for precision applications such as surgery. For curvilinear surfaces, 90% of the cumulative distribution of the measured data was less than 2mm, while for linear surfaces it was less than 6mm. Four behavioural effects were noticed: lateral deflection, reverse ‘stickiness’, hysteresis and instability in certain areas. These effects were studied in detail to determine how to either eliminate them or to minimize them through system design optimization. A computer simulation was also used to model the behaviour of the prototype and to gain further understanding of these effects. These analyses showed that the concept can be successfully used in curvilinear bone sculpting. / Applied Science, Faculty of / Mechanical Engineering, Department of / Graduate

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The focus of this thesis is on the transition from 2D character design to 3D model design, and how this transition affects the appeal, fluidity, and clarity of the 2D design. The source material for this project was an original screenplay entitled The Birds Work for Bea. Three characters from the material were selected for a process including ideation, research, 2D character and style exploration, 3D sculpting, and 3D printing and finishing. This project serves as a study in all aspects of the character concept development pipeline.

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: 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. There would be no significant difference between the low-satisfaction experimental qroup and the control group in terms of perceptual agreement among family members after family sculpting as measured by the Interpersonal Check List. 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.

The primary focus of this thesis is the study of visual development for worldbuilding, starting with creative writing and documentation and translating the written content into visual concepts in both 2D and 3D. This project includes an original narrative, setting, and characters and explores aspects of the visual development pipeline. The content below contains work in visual research, 2D character design, 3D character sculpting, 3D printing and assembly, hard-surface modeling, matte-painting, illustration, compositing, and heavy creative writing.

Abstract The goal of this project was to create a fantasy style board game prototype that is playable and enjoyable for people new to fantasy tabletop gaming. I assembled a group of 4-5 regular tabletop board game players to play test the game as well as a second group of 4-5 family members and friends to play test who aren't regular board game players. We began with a general base game that evolved with each playtest from feedback given by the playtesters. After about 18-20 play tests, I settled on game mechanics and moved on to creating the assets of the game which include a 21 by 21 inch board, four player character miniatures, four chest miniatures, four tokens, and a basic enemy miniature. The game, became a four player free-for-all with the goal of leaving the dungeon with the dungeon's treasure. After creating the assets using Photoshop and ZBrush, we used 2D and 3D printing to make the assets physical. Afterwards, we had a final playtest where each of our players expressed excitement and enjoyment. While the board game isn’t perfect, I accomplished creating a fun board game prototype that can be pitched to board game creating business or self started with slight refinements. All final Images can be found on my portfolio at https://kurt_creates.artstation.com

This work is about representation and existing. I’m fat and transmasculine. I’m looking for a reflection in my surroundings, culture, in media and art. I can’t find it, so I have to create it myself. Through materialising bodies in clay that describe what fat transmasculine people can look like I aim to give myself and people who are similar to me something we’re lacking. I claim my existence.

[Truncated abstract] Virtual sculpting is an interactive 3D modeling process that allows users to create and modify solid objects in a virtual world, with applications in art, rapid proto- typing and design. This thesis investigates methods for a collaborative, voxel-based virtual sculpting with haptic force-feedback. The objective is to devise such a system that operates in real-time. I make three main contributions in the fields of voxel-based virtual sculpting, haptics and collaborative virtual environments. First, I have devised a method for virtual sculpting where a voxel-based sculpture is created using a tool to build up or erode material. In existing real-time systems, due to the complexity of the algorithms that determine which voxels have been touched by the tool in a given time-step, the size or shape of the sculpting tool is limited and can often only be applied at a fixed orientation. My solution allows the tool to take the shape of any arbitrary triangle-based polyhedron that can be applied at any orientation. To determine which voxels are intersected by the tool, the tool is voxelized (converted into its discrete voxel representation) at each time-step against the voxels of the sculpture, which are then modified according to the desired operation. To give the resulting voxel-based sculpture a realistic appearance, I use the well-known Marching Cubes algorithm to form a triangular- mesh isosurface where the voxels representing sculpture material meet free-space. '...' For this I have borrowed concepts from the existing Voxmap-PointShell (VPS) model where the tool is represented by an array of points that cover its surface, each of which is tested for collisions with the sculpture. Each colliding point will form a component force, and the overall collision force is the vector sum of these components. My model is unique in that the component forces are formed in a direction tangential to the isosurface nearest the voxel of collision and can operate while the voxels of the sculpture are changing. While the VPS model is designed for force-feedback on a 6- degrees-of-freedom haptic device (delivers translational and rotational forces to the user), my model is designed to suit commodity 3-degrees-of-freedom (translational forces only) devices which are much more common. Third, I have developed a collaborative virtual sculpting paradigm to allow several users to simultaneously work on the same sculpture from different locations. This allows collaborative design without the requirement of being co-present. I will discuss methods for relaying the rapidly changing voxel and isosurface data between workstations, such that the local environment on each is synchronized in a manner that is immediate and transparent to the users. In addition, collisions between the different users' tools are felt through force-feedback. I implemented a collaborative haptic virtual sculpting simulation using the above methods in order to validate the system. The simulation was used to test the capabilities and limits of each contribution, as well as the real-time capability of the overall system. Ultimately this thesis demonstrates that it is possible to combine these technologies to form a flexible and intuitive collaborative virtual sculpting experience that operates in real-time.

The different mapping techniques that are used increases the details on surfaces without increasing the number of polygons. Image Based Sculpting tools in the program Modo and Z-Brush is used to create folds and wrinkles from photographs of actual fabrics instead of trying to create these shapes by modeling them. This method makes it easier to achieve photorealistic renderings and produce as realistic fabric dynamics as possible when they are applied on objects.