Overview of Studio Processes

As in previous years, The Studio provides hands-on access to a wide array of software and hardware. Working artists selected by the combined Art Gallery and Studio jurying process will have access to the full palette of equipment and processes available in the Studio.
Important Note
Because The Studio's equipment is dependent upon donations from developers and commercial vendors, it is too early to specify exactly what resources will be available at SIGGRAPH 2002. This summary is based on previous Studio configurations.
SIGGRAPH 2001 Donors
The 2D section of The Studio is designed to introduce participants to the world of 2D output. It includes an array of some 24 Macintosh computers that are color-calibrated and color-matched to a bank of large-format printers from a variety of top manufacturers. Color management training is provided by professional master printers. The following 2D processes are supported:

  • Piezography BW (Black & White Printing)
    Learn how to prepare and output amazing black-and-white prints in this section of the Studio, where attendees are introduced to Piezography BW, a new software-and-ink combination that allows artists and photographers to create high-resolution, large-dynamic-range, black-and-white inkjet prints. Participants are introduced to concepts like input, resolution requirements, and output options.
  • Lenticular Imaging, 3D and Anaglyph
    Sign up to work with software that allows creation of "3D" images with lenticular screens or anaglyph (red-blue 3D glasses). Images with "motion" are also possible. Learn how to produce the most dramatic effects with this system.
  • Creativity Center
    The Creativity Center supports a variety of different input, digital art creation, and output possibilities. Participants are encouraged to create original and creative images in this digital print shop. Various scanners, image-editing software, and desktop printers are available. The Creativity Center offers a variety of traditional media to combine with your digital print.
  • Large-Format Printing
    All initial output will be on desktop inkjet printers, with a 16 x 20 maximum output available. Output for each session will be judged at the end of each day by The Studio committee,-and selected prints will be allowed a large format output on the participant's choice of available printers. Access to the large-format printers will be reserved for those attendees whose work is selected by The Studio committee.

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. We'll even provide the clay. After they are generated, the computer models can be "manufactured" 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 your self, 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. Studio participants will also have the opportunity to try out the latest haptic modeling device, which allow for tactile feedback in the digital 3D modeling process. 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 "benchwork" 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.

Attendees will be introduced to various off-the shelf commercial animation software packagesgeneral interface, workflow, and creation tools via hands-on sessions and interactive tutorial presentations in the Interactive Classroom.
Participants will be introduced to concepts such as modeling, texturing, lighting, and application of the basic principles of animation. They can go through the steps of generating keyframe and procedural animation to bring their creatures, characters, props, and other scene elements to life. Scene optimization and rendering techniques will also be discussed to ensure efficient rendering for output produced for CD-ROM or Flipbook.
New for 2002, this area features immersive displays that allow for both headset-type VR projects and fully immersive experiences. Simon Penny's"TRACES" system will be set up in The Studio. It will deliver fully 3D voxel sets echoing participant movements in real time in a CAVE environment.
Equipment List (tentative)
  • 24 Macintosh workstations.
  • Two or more large-format color printers, each with print server.
  • Four small-format printers for lenticular.
  • Small-format printer(s) for PiezographyBW.
  • Possibly a large-format printer for PiezographyBW.

Creativity Center (projected resource additions for SIGGRAPH 2002)
  • Fast medium-format color printer.
  • Art materials
  • Large-format scanner
  • Digital camera
  • Other equipment TBD

  • 3D scanning
  • Cyberware Portrait Scanner
  • Cyberware Desktop M15 Scanner
  • Polhemus 3D wand
  • Cyra 3D architectural scanning
  • Geometrix 3D video scanning
  • Other 3D data-capture devices TBD
  • Two workstations for scan builds and serving data to attendees.
  • CD burner

3D Print
  • Three or more rapid prototypers.
  • Two workstations for preparing builds and serving to RP.
  • A private staging area for the 3D print queue.
  • CD burner

3D Modeling
  • 24 workstations with a variety of 3D solid modeling applications.

  • 24 workstations with applications such as Maya, Softimage, and 3D Studio Max.
  • CD burner

VR (projected resource additions for SIGGRAPH 2002)
  • Computer support to be determined
  • "TRACES" immersive CAVE environment
  • Other equipment TBA

Submissions must be received by: 6 February 2002, 5 pm Pacific time.
> Artwork Submission Guidelines
> Papers Submission Guidelines
> Working Artists Submission Guidelines
> Frequently Asked Questions
> Professional Presentation of Finished Artwork
> Studio Equipment
> Deadlines
> How To Submit Your Work
> Presenter Recognition
> Conference Volunteer Application

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