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
Because the Studio's equipment depends on donations
from developers and commercial vendors, this summary
is based on previous Studio configurations and current
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:
textures, digital transfers, fabric design and printing,
and alternative digital printing techniques.
and 3D imaging with traditional materials for digital
output and/or installation.
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.
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.
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.
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 (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.
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
Attendees are introduced to various off-the shelf commercial
animation software packages, general interface, workflow,
and creation tools via hands-on sessions and interactive
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.
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