Overview of Studio Processes
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.
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
2D 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:
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.
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.
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
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.
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.
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 (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
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.
Other equipment TBD
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
Three or more rapid prototypers.
Two workstations for preparing builds and serving
A private staging area for the 3D print queue.
24 workstations with a variety of 3D solid modeling
24 workstations with applications such as Maya, Softimage, and 3D Studio Max.
VR (projected resource additions for SIGGRAPH 2002)
Computer support to be determined
immersive CAVE environment
Other equipment TBA