The Studio: an integrated network of machines for realizing ideas in 2D, 3D, 4D, and n-dimensional media. It is an opportunity to think across disciplinary boundaries and expand your skill sets using the latest data-capture devices, computer applications, and output devices. The Studio provides a hands-on creative environment for transformation of all kinds. It is a place to act, a space for investigating process, and an evolving environment for transforming materials and ideas, and for being transformed yourself.

Important Note
Because the Studio's equipment depends on donations from developers and commercial vendors, this summary is based on previous Studio configurations and current projections.

Collaboration Station
The Collaboration Station supports a variety of traditional and digital media for art creation and output possibilities that span the Studio's activities. Participants are encouraged to create original works in this 2D/3D/4D station. A range of software packages and capture and input devices for still image and video editing is available. The Collaboration Station offers training and assistance by professionals and allows participants to experiment with their ideas using lighting, projection, sound, and performance. Several processes are features:

  • Surface textures, digital transfers, fabric design and printing, and alternative digital printing techniques.
  • 2D and 3D imaging with traditional materials for digital output and/or installation.
  • Image capture and manipulation: video and still-image production/post production and composite techniques.

    Due to the general downturn in the industry, SIGGRAPH 2002 will not be featuring a 2D area. Since the first Studio (SIGGRAPH 99), Jon Cone and his team of digital print professionals have supported an array of activities ranging from large-format printing to archival black-and-white processes and lenticular 3D printing. This year, the Collaboration Station will provide 2D printed output, which will be on smaller scale (11 inches x 17 inches). Planning is already underway for a newly reconstituted 2D area in the Studio for SIGGRAPH 2003 in San Diego.
3D
In the 3D area of the Studio, attendees work with state-of-the-art 3D data-capture systems, modeling packages, and rapid-prototyping equipment. You can generate 3D digital objects either by modeling in the latest version of various full-featured software packages or by using 3D data capture devices to scan actual objects. Bring an object, or yourself, or sculpt an object out of clay. The Studio even provides the clay. After they are generated, the computer models can be built three dimensionally (translated into physical reality) with a bank of rapid-prototyping machines, printed two dimensionally using various large- and small-format printing processes, or animated.

  • 3D Data Capture
    The 3D area of the Studio features an array of 3D scanning devices. You can bring in an object to be scanned, scan yourself, or sculpt an object out of clay and scan that. Objects are, in effect, measured or imaged three dimensionally and then those measurements or images are translated into points that are placed in a virtual 3D space. On the computer, the points become vertices that can be connected by segments to create a "skin" or "surface" of triangles and squares that are the digital equivalent of the surface of the object that was scanned. Some scanning processes result in a very detailed digital model, while others capture only the primary features of objects. Once an object has been scanned and converted into a digital model (usually an .stl file), that file can be imported into 3D modeling applications to enable further cleanup or manipulation (cut, scaled, twisted, bent, combined with other models, etc.). Then the model can be output to a rapid prototyping machine (going full circle to again become a physical 3D object), animated with 3D animation software, or shaded, textured, rendered, and printed as a 2D image.

  • 3D Modeling
    Almost any form, real or imagined, can be generated using 3D modeling applications. The excitement is in the realization that you are actually drawing in three dimensions where objects (or whole environments) can be viewed from any point of view and quickly moved, scaled, or more dramatically altered for more dynamic and intuitive creative exploration. A completed model can be output to a rapid-prototyping machine, animated with 3D animation software, or shaded, textured, rendered, and printed as a 2D image.

  • Rapid Prototyping
    Rapid prototyping (RP), or 3D printing, is an elegant and simple manufacturing process. Any CAD model that has wall thickness or that is "solid" can be prototyped. The computer model is first digitally "sliced" into very thin layers (usually a few thousands of an inch). The RP machine then uses those slices to physically build the object layer by layer. Some machines build by sintering (melting) granules of plastic or hardening layers of epoxy, while others extrude thin layers of thermal plastic or laminate layers of paper. Each process and material has its own interesting advantages and disadvantages, and most allow hands-on "bench work" for final finishing of pieces. RP was primarily developed and used in aerospace, automotive, toy, and medical applications, but it has gained wide acceptance in the arts, architecture, jewelry, and other areas. The distinct advantage of rapid prototyping or layered manufacture over all of the other automated processes is that it fabricates additively. This is a simple yet profound difference. Undercuts, convolutions of form, intricate geometry -- all are easily accomplished in an additive process.

  • CNC Routing
    Computer Numerically Controlled Routing weds the precision control possible with computers with large scale subtractive "carving" using a high-speed router. A CNC router will be available to realize projects outside of the build envelope of typical rapid prototyping machines. Examples of projects that could be explored include foam landscapes or high reliefs in relatively low-density materials.

Animation
Attendees are introduced to various off-the shelf commercial animation software packages, general interface, workflow, and creation tools via hands-on sessions and interactive tutorial presentations.

Topics include modeling, texturing, lighting, and application of the basic principles of animation. Go through the steps of generating key-frame and procedural animation, and full body and facial motion capture to bring creatures, characters, props, and other scene elements to life. Participants are encouraged to take advantage of combining all these tools in profound and creative ways to make their visions come to fruition.

VR
New for SIGGRAPH 2002, this area features a system for immersive display configured for 3D solid modeling. Bill Brody of the University of Alaska at Fairbanks demonstrates his "BLUIsculpt" system, in which fully 3D objects can be created and output as .stl files for rapid prototyping.


> Interactive Classroom
> Studio Committee
> Acknowledgements
   

Summaries of SIGGRAPH 2002 Studio projects are available in the SIGGRAPH 2002 Conference Abstracts and Applications
.

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