Dissertations / Theses on the topic 'Digital 3d technology'

Three-Dimensional (3D) optical range-imaging is a field experiencing rapid growth, expanding into a wide variety of machine vision applications, most recently including consumer gaming. Time of Flight (ToF) cameras, akin to RADAR with light, sense distance by measuring the round trip time of modulated Infra-Red (IR) illumination light projected into the scene and reflected back to the camera. Such systems generate 'depth maps' without requiring the complex processing utilised by other 3D imaging techniques such as stereo vision and structured light. Existing range-imaging solutions within the ToF category either perform demodulation in the analogue domain, and are therefore susceptible to noise and non-uniformities, or by digitally detecting individual photons using a Single Photon Avalanche Diode (SPAD), generating large volumes of raw data. In both cases, external processing is required in order to calculate a distance estimate from this raw information. To address these limitations, this thesis explores alternative system architectures for ToF range imaging. Specifically, a new pixel concept is presented, coupling a SPAD for accurate detection of the arrival time of photons to an all-digital Phase- Domain Delta-Sigma (PDΔΣ) loop for the first time. This processes the SPAD pulses locally, converging to estimate the mean phase of the incoming photons with respect to the outgoing illumination light. A 128×96 pixel sensor was created to demonstrate this principle. By incorporating all of the steps in the range-imaging process – from time resolved photon detection with SPADs, through phase extraction with the in-pixel phase-domain ΔΣ loop, to depth map creation with on-chip decimation filters – this sensor is the first fully integrated 3D camera-on-achip to be published. It is implemented in a 130nm CMOS imaging process, the most modern technology used in 3D imaging work presented to date, enabled by the recent availability of a very low noise SPAD structure in this process. Excellent linearity of ±5mm is obtained, although the 1σ repeatability error was limited to 160mm by a number of factors. While the dimensions of the current pixel prevent the implementation of very high resolution arrays, the all-digital nature of this technique will scale well if manufactured in a more advanced CMOS imaging process such as the 90nm or 65nm nodes. Repartitioning of the logic could enhance fill factor further. The presented characterisation results nevertheless serve as first validation of a new concept in 3D range-imaging, while proposals for its future refinement are presented.

The availability of advanced software allows museums to preserve and share artefacts digitally, and as a result, museums are frequently making their collections accessible online as interactive, 3D models. Since this could lead to the unique situation of viewing the digital artefact before the physical artefact, more research is needed concerning how viewing and interacting with artefacts outside of a museum affects emotional connections to artefacts and how meaning is given to them. Furthermore, users may have varying degrees of technology skills, which could also influence the way they make emotional connections and meaning from interactions with digital artefacts. This study contributes to existing research by exploring the way older adults (65 years and older) and young adults (18-21 years), two groups of users with diverse technology skills and museum experience, emotionally connect and give meaning to digital artefacts. Interaction with digital artefacts will be through two digital modalities: an Augmented Reality app (AR) on a tablet and 3D models on a website using a laptop. Their subsequent viewing of the physical artefacts will also be examined. Video recordings and questionnaire data, including enjoyment and emotional responses, were analysed quantitatively. Utilising the think-aloud method, participants verbalised their thoughts and feelings while interacting with the artefacts. These comments were analysed both qualitatively and quantitatively to understand how participants construct meaning from their interactions with artefacts. Results revealed that regardless of age and digital modality, participants made emotional connections with the digital artefacts, and meaning emerged from their interactions. Seeing the physical artefacts after the digital ones still prompted participants to experience emotions; they were not passive when giving meaning to physical artefacts. The results aim to provide insight into how older and younger adults experience two important aspects of a museum artefact experience, emotion and meaning, when first interacting with 3D artefacts on devices outside of a museum.

Abstract This report accompanies my Master project in the fields of ceramic and glass, the CRAFT! MA program, Konstfack. In this project I fuse my industrial design toolbox and my current engagement in open-source 3D printing technology with my ceramic and glass craft practice. The first pair brings in notions of innovation and an active approach towards technological change, while the second carry ancient craft methods and knowledge. I develop and make 3D printers for clay and use them as an experimental ceramic work method. In this research based practice I use ceramics as the material for 3D printed glassblowing moulds. This act represents a link between ceramic and glass crafts, one that was known to the ancient Roman craftsmen.  A view on craft and digital innovation Although the computer is in use for several decades now, in most crafts it is still used mainly as an assistive device and we seem not to look at it as a professional tool; as a craft tool. New methods of making are out there. We need to have two toolboxes now: Our traditional one and our new digital one. We can already CAD our concepts, control CNC machines and build 3D-printers customised to our growing new practice. We share our new knowledge on open-source platforms, teach each other through the web (and around the globe) how to apply digital techniques to our craft. We now have the opportunity to join hands with the movements of democratisation of contemporary manufacturing techniques and reinvent our practice, our tools and what new-craft could be.

Nel contesto della nuova rivoluzione industriale, alti livelli di turbolenza, dinamismo, volatilità, globalizzazione, competizione e un diverso ruolo del consumatore riconfigurano il panorama delle supply chain e delle innovazioni. Nonostante il valore co-creato e le ultime innovazioni in ottica customer driven siano ormai elementi imprescindibili, poche ricerche si sono focalizzate sulle caratteristiche di una supply chain guidata dal consumatore e sull’impatto o implementazione della stampa 3D. Pertanto, questa tesi mira ad esplorare gli aspetti principali della customer driven supply chain e della direct digital manufacturing technology. Il Paper I presenta una revisione sistematica della letteratura e fornisce un quadro concettuale utile per organizzare i contributi più recenti sull'argomento, implementando la teoria e suggerendo linee guida per i manager. Il Paper II e Paper III propongono ricerche qualitative mediante singoli casi studio che rispettivamente analizzano come la stampa 3D è in grado di facilitare la supply chain customer centricity attraverso la co-creazione di valore nel settore aerospaziale e come un technology provider può implementare un’innovazione customer centric nel settore della gioielleria italiana. Gli studi suggeriscono modelli concettuali e proposizioni che incrementano la letteratura esistente e guidano i manager. Questa tesi contribuisce all'esplorazione dei recenti progressi in merito all’'orientamento della supply chain e della direct digital manufacturing technology fornendo analisi critiche approfondite relative a diverse metodologie.
In the new industrial revolution, high levels of turbulence, dynamism, volatility, globalization, competition and modified customer’s role reconfigure supply chains and innovations landscape. Even if value co-creation and last technologies towards customer driven orientation are unavoidable elements, few contributions have focused on customer driven supply chain characteristics and on 3D printing impact on supply chain or elements of its implementation. For this reason, the thesis aims to explore the main features of customer driven supply chains and direct digital manufacturing technology. Paper I presents a systematic literature review that shows a conceptual framework able to organize the most recent contributions on the topic, implementing the knowledge on the theme and suggesting guidelines to managers. Paper II and Paper III provide qualitative constructive single case study research respectively focused on how 3D printing can enable supply chain customer centricity by value co-creation in the aerospace sector and how 3D printing can be implemented by a technology provider in the Italian jewellery sector. The studies suggest conceptual framework and propositions for improving existing knowledge and addressing managers. This thesis contributes to the exploration of recent advancements in supply chain orientation and direct digital manufacturing technology by providing deep critical analysis related to diverse methodologies.

Current surround systems are being developed to include height channels to provide the listener with a 3D listening experience. It is not well understood the impact the height channels will have on the listening experience and aspects associated with multichannel reproduction like localisation and envelopment or if there are any new subjective attributes concerned with 3D surround systems. Therefore in this research subjective factors like localisation and envelopment were investigated and then descriptive analysis was used. In terms of localisation it was found that for sources panned in the median plane localisation accuracy was not improved with higher order ambisonics. However for sources in the frontal plane higher order ambisonics improves localisation accuracy for elevated sound sources. It was also found that for a simulation of a number of 2D and 3D surround systems, using a decorrelated noise signal to simulate a diffuse soundfield, there was no improvement in envelopment with the addition of height. On the other hand height was found to improve the perception of envelopment with the use of 3D recorded sound scenes, although for an applause sample which had similar properties to that of the decorrelated noise sample there was no significant difference between 2D and 3D systems. Five attribute scales emerged from the descriptive analysis of which it was found that there were significant differences between 2D and 3D systems using the attribute scale size for both ambisonics and VBAP rendered systems. Also 3D higher order ambisonics significantly enhances the perception of presence. A final principal component analysis found that there were 2 factors which characterised the ambisonic rendered systems and 3 factors which characterised the VBAP rendered sound scenes. This suggests that the derived scales need to be used with a wider number of sound scenes in order to fully validate them.

This thesis assesses the marginal field (niche unit) of visual effects while taking into account visible and invisible vfx in virtual and actual geographies in Hollywood movies as part of industry-level studies, all the while seeking to bridge the gap between traditional, theoretical approaches of cinema studies and practitioner experience in the context of production culture. The focus of this essay remains on the many temporal aspects of production processes that identify vfx film production as chief, and vfx for television as subsequential. Encouraging scholars to consider a previously limited and repeatedly mislabeled area by demonstrating the pandemic presence of effects and its workers as a form of Hollywood diaspora, this thesis also seeks to demonstrate the need for involvement by means of scholar-practitioner methodologies.

3D printers are a type of digital fabrication tool being used by communities committed to shared software, hardware, and digital designs. This shared digital knowledge can be understood as an emerging common resource for the fabrication of physical goods and services. Yet the knowledge associated with physical resources used in 3D printing is less understood. This thesis explores what factors enable or prevent knowledge about physical materials entering the commons. 3D printing, with its particular configuration of digital and physical goods, offers a unique angle to advance the field of commons scholarship. This thesis elaborates the use of commons theory for traversing the boundary between knowledge associated with physical materials and digital content from the perspective of 3D printer users. Particular contributions are made to the branch of knowledge commons theory: notably, how design rules in technological systems can be used to theorise boundaries; how differentiating between the nature of underlying resources can help explain the inclusion of knowledge in the commons; and, how patterns of user engagement with types of knowledge in the commons can be studied over time. To develop these contributions I employ theory on the design rules of technological architecture, and use insights from the study of peer production in online communities. Empirical data comes from a qualitative study of users of Fab Labs, community workshops for digital fabrication, as well as from a quantitative study of the online user forum for the Ultimaker 3D printer.

Vid digital mönsterkonstruktion för ett plagg krävs ett befintligt grundmönster som utgångspunkt för att kunna tidseffektivisera framtagningsprocessen. På konfektionsföretag där tid för mönsterkonstruktion är bristfällig lämnas detta moment ofta till fabriksanställda trots att kompetens finns inom företaget. Denna studie syftar till att ta fram en passformsgrund till ett sportföretags formade jackor för att främja framtida konstruktionsprocess för företagets konstruktörer. Resultat har uppnåtts med hjälp av metoder som digital mönsterkonstruktion, sömnad av provplagg och avprovningar. För att grunden ska kunna användas till företagets hela storleksintervall har denna graderats. Verifiering av graderingen har utförts genom virtuell avprovning på inskannade provpersoner i ett 3D-simuleringsprogram. Resultatet visar en passformsgrund där företagets återkommande passformsproblem över byst har korrigerats. Till passformsgrunden har tre ärmar konstruerats för att bredda användningen av mönstret. Passformsproblemet och ärmarnas form har korrigerats i mönsterkonstruktionen genom förflyttning av skärlinjer, vridningar och formtillägg. Graderingens utfall visas genom digitala avprovningar i företagets brytstorlekar. Skärmdumpar från 3D-simuleringsprogrammet visualiserar skärlinjernas placering och plaggets passform.
When developing a digital pattern for a new garment a basic pattern is required to efficient the construction time. In companies where the construction process is handed over to the producing factory is the reason sometimes a lack of time for this process at the head office. This report aim is to develop a basic pattern to a sports company’s shaped jackets for women. The pattern is intended to efficient the construction time for the company's constructors when developing future jacket models. In order to achieve the result digital pattern making, toile sewing and fitting will be crucial methods to use. The basic pattern will be graded in the company’s size range. To verify the fit of the graded pattern test persons will be scanned and a virtual fitting session will be done on avatars in a 3D simulation program. The results show’s a basic pattern were the fit problem over bust area has been corrected. To enhance the usability of the pattern, three different sleeve types have been developed. The fit problem and the form of the sleeves have been solved in the pattern construction by moving the cut lines, twists and adding shape. The digital fitting process shows the grading’s outcome when the garment is tested in the company's bigger and smaller sizes. Screenshots from the 3D simulation software visualizes the cut lines placement and the fit of the garment.

As novas tecnologias informacionais mudaram o nosso modo de vida, modificaram nossos hábitos e transformaram profundamente a sociedade. A evolução da informática e da internet trouxe um mundo no qual estamos constantemente conectados através de smartphones, tablets e/ou computadores. Entretanto, na era da informação a velocidade e a facilidade de acesso aos dados, muitas vezes, têm se mostrado superiores à nossa capacidade de absorvê-los e transformar a informação em conhecimento. Neste contexto, novas mídias emergem criando possibilidades de comunicação, dentre as quais destacam-se as tecnologias 3D. Essas abrem novas possibilidades nas mais diversas áreas, oferecendo maior liberdade para que os objetos sejam representados e manipulados no espaço. O campo da educação, por sua vez, tem encontrado dificuldades de absorver estas tecnologias e utilizá-las como ferramentas didáticas. Acredita-se que as tecnologias 3D possam vir a ser importantes instrumentos para a prática pedagógica. O presente trabalho tem como objetivo pesquisar possibilidades de ampliação e facilitação do uso da tecnologia 3D para fins educacionais e de preservação histórica. Para tal, realizou-se uma pesquisa sobre como esta tecnologia tem sido utilizada em ambos os campos. Após, foi realizado levantamento das principais técnicas de digitalização em 3D. Em seguida, foram testadas as principais plataformas e tecnologias para a exibição deste tipo de conteúdo: Cl3ver, Sketchfab, JSC3D, WebGL, Three.js, VRML, X3D, PDF3D e Unity. A partir desta análise, em caráter experimental, criou-se um repositório virtual 3D, o qual encontra-se hospedado nos servidores da UFRGS. O repositório facilita a divulgação de modelos 3D por parte dos criadores deste tipo de conteúdo, pois permite a sua inserção na internet de forma simples, sem a necessidade de conhecimento prévio de programação. Deste modo, o conteúdo gerado pode ser visualizado em computadores e/ou dispositivos móveis, diretamente no navegador, dispensando a instalação de programas complementares, contribuindo para a propagação deste tipo de mídia. Também é possível disponibilizar as obras digitalizadas para reprodução física, mediante técnicas de prototipagem rápida como manufatura aditiva (popularmente conhecida como impressão 3D) e/ou usinagem em CNC. Para a criação do conteúdo 3D, digitalizou-se em três dimensões de quatro elementos, fachadas específicas dos prédios históricos da UFRGS. Os modelos gerados a partir da digitalização foram disponibilizados, através do repositório 3D, e podem ser acessadas no endereço: www.ufrgs.br/ldsm/3d. O repositório 3D dos prédios da UFRGS é uma ação inovadora com propósitos educacionais e de conservação de patrimônio histórico, agindo como catalisador, onde arte, tecnologia e educação convergem em prol da construção do conhecimento.
The new informational technologies have changed our way of life, have changed our habits and profoundly transformed the society. The evolution of computer science and the internet brought a world in which we are constantly connected, whether through smartphones, tablets, and/or computers. However, in this Information Age, the speed and ease of access to data often has been shown to be superior to our capacity to absorb them and to transform the information into knowledge. Within this context, new media has emerged creating new possibilities of communication, among which stand out the 3D technologies, which open up new possibilities in the most diverse areas, offering greater freedom for the objects that are represented and manipulated in space. Fields of education, in this matter, have found difficulties to absorb these technologies and use them as teaching tools. In this context, it is believed that 3D technologies are likely to be important instruments for the pedagogic practice. The present study aims to search possibilities of expansion and facilitation in the use of 3D technology for educational purposes and historical preservation. With this research, it was studied on how this technology has been used in both fields. After this, it was done a survey of the main techniques of 3D scanning. Then, were tested major platforms and technologies for the display of this content type: Cl3ver, Sketchfab, JSC3D, WebGL, Three.js, VRML, X3D, PDF3D and Unity. Trough this analysis, for experimental, purposes was done the creation of a 3D virtual repository which is hosted on the servers of UFRGS. The repository facilitates the dissemination of 3D content by content creators, as it allows its insertion on the Internet in a simple way, without the need for programming skills, so that the content generated can be viewed on computers and/or mobile devices directly in the browser, without the need to install additional programs, contributing to the popularization of this type of media. It is also possible to transform the digitized 3D data creating physical models through rapid prototyping techniques, such as additive manufacturing (popularly known as 3D printing) and/or CNC machining. To create 3D content, 3D scanning was performed of four elements of specific historical UFRGS buildings facades. The models generated from scanning were provided through 3D repository, that can be accessed at: www.ufrgs.br/ldsm/3d. The 3D buildings of UFRGS repository is an innovative action, with educational purposes besides the conservation of historical heritage, acting as a catalyst where art, technology and education converge towards the construction of knowledge.

Making 3D models with polygon modeling is the most common technique used for a 3D animated movie production, but there are also other good modeling techniques to work with. The aim of this thesis is to examine which of three chosen modeling technique is most appropriate to use for modeling a chair for a 3D animated movie production. I made three models of the same chair design and compared the results. The modeling technique used is polygon modeling, NURBS modeling and digital sculpting. A few factors were considered when I judged which one of the three techniques that was most suitable: The model's geometry, the workflow and the rendering (material and lightning). The three chairs were rendered in the same scene with the same lightning and settings. The results showed that the model's geometry and how smooth it is to work with the modeling technique matter most for judging which technique is the most appropriate. In addition, the results show that how the light falls and reflects the surface depends on how the geometry was placed on the model rather than which of the other modeling techniques that was used.

This dissertation thesis is focused on the search for the presence of DIY (Do It Yourself) technologies in the practice of digital sculpting, from the beginnings of this progressive way of creation to the present. The work, through three thematic areas, answers the main research questions: What kind of technology is or has the DIY phenomenon been represented in digital sculpture? How have these technologies influenced and are influencing the development and direction of digital sculpture? Within the first thematic area, the presence of the DIY phenomenon in the beginnings of digital creation of a spatial work of art is mapped until the moment of constituting the concept of Digital Sculpture, as a designation of this new way of creation. The second area deals with specific technologies of digital sculpture, in terms of technical tools and their DIY alternatives. The development of these alternative technologies and their influence on the gradual democratization of digital sculpture tools is investigated. The third area examines the creative methods of DIY, which have been integrated into the practice of digital sculpture.

This dissertation contributes to conversations regarding the impact of open user centered innovation on cultural production by focusing on the construction and production of religious products within one large-scale open user-centered technological environment, 3D virtual worlds. Particularly, this study examines how virtual world users construct (non-gaming) religious communities and practices and how the technology impacts the forms of religious expression these users create. Due to its existing religious sector and affordances for user-created content, Second Life (SL) was chosen as the context of study for this dissertation project. Building upon Von-Hippel's (2005) user-centered innovation theory, construction and production within three different user-centered religious communities in SL were explored. Using a comparative ethnographic approach over a 14-month period, involving participant observations, interviews and hyper-media techniques, the social construction of customized religious products amidst technical, social, and economic virtual/non-virtual structures were analyzed. Exploratory findings demonstrate that the democratizing of cultural innovation, that is the construction of heterogeneous cultural religious products by the everyday user, is a matter of patterned relational pathways. The greater possible patterned pathways the higher potential for democratized cultural innovation, an increasing number of users developing new ways of doing religion. The fewer patterned pathways the less the potential for democratize cultural innovation and the greater potential for reproducing within the virtual realm the same cultural frames that define the current social order in the non-virtual realm.

This study investigates how post-processing effects affect the realism and aesthetics of digital game graphics. Four focus groups explored a digital game environment and were exposed to various post-processing effects. During qualitative interviews these focus groups were asked questions about their experience and preferences and the results were analysed. The results can illustrate some of the different pros and cons with these popular post-processing effects and this could help graphical artists and game developers in the future to use this tool (post-processing effects) as effectively as possible.
Denna studie undersöker hur post-processing effekter påverkar realismen och estetiken hos digital spelgrafik. Fyra fokusgrupper utforskade en digital spelmiljö medan olika post-processing effekter exponerades för dem. Under kvalitativa fokusgruppsintervjuer fick de frågor angående deras upplevelser och preferenser och detta resultat blev sedan analyserat. Resultatet kan ge en bild av de olika för- och nackdelarna som finns med dessa populära post-processing effekter och skulle möjligen kunna hjälpa grafiker och spelutvecklare i framtiden att använda detta verktyg (post-processing effekter) så effektivt som möjligt.

Innovative technologies and their ability to grow rapidly are known to be a great source of controversy and paranoid reactions amongst people. The aim of this research is to examine the acceptance and perception of the technology of digital supermodels and influencers. This will be done in the global market of end-users where this technology has proliferated or has the potential to emerge. Digital supermodels and influencers were regarded specifically in a marketing context for this research, since the whole essence of their existence is for marketing purposes, and was approached as a new innovative technology. The research was divided into two parts, first was about conducting a questionnaire to analyse people’s acceptance of the technology, more specifically to examine the possible change in their purchasing behaviour. The purpose of the second part of given research was to examine people’s reactions and perception towards this technology through a content analysis of Instagram comments for the Instagram accounts of digital supermodels and influencers. The addressed innovative technology of digital influencers and supermodels is mostly perceived positively or neutrally. The significant amount of neutral positions in both parts of given research states the presence of confusion and the need for answers rather than lack of interest, which is to be addressed by the creators and users of digital avatars in marketing in the fashion industry.

I dagens samhälle tar digitala verktyg allt större plats och digitaliseringen sker även inom produktionen i byggsektorn. För att effektivisera produktionen behöver användandet av digitala verktyg och program öka. Företag i branschen och även Sveriges riksdag satsar på denna digitalisering. Även byggindustrins yrkesnämnd är intresserade av att bidra till denna utveckling och undersöker hur införandet av digitalisering i utbildning kan utvecklas. Syftet med studien är att kartlägga användningen av digitalt stöd i byggproduktionen för olika yrkesgrupper. I studien undersöks vilka digitala kunskaper och färdigheter byggbranschen efterfrågar hos yrkesarbetare och hur delbranscherna bygg, anläggning, VVS och el skiljer sig i digital utveckling. För att samla empiri till resultatet har metoderna semistrukturerade intervjuer och enkät använts. Resultat från en litteraturstudie och information från en workshop har använts för studiens bakgrund och teori. Utifrån litteraturstudien konstateras det att de flesta digitala hjälpmedel i byggproduktion kan delas upp i fyra kategorier, digitala verktyg, produktinformation, tillverkningsinformation och företagsresurser. Då digitalisering av byggproduktion innebär förändringsarbete i organisationer adderas även inställning som en femte kategori. I studien diskuteras faktorer som kan hindra den digitala utvecklingen. Det konstateras att VVS är den delbransch där produktionen är mest digitaliserad, elbranschen ligger inte långt efter. Sedan följer bygg och sist anläggningsbranschen. Alla yrkesarbetare förväntas kunna hantera en smartphone, sedan skiljer sig förväntningarna mellan de olika branscherna eftersom användningen av digitala verktyg och program varierar.
Digital devices have a bigger impact on our daily lives than ever before. The digitalization also occurs in the production process of the building sector. The use of digital devices and programs need to increase to make production more effective. Construction companies and even the Swedish parliament invest in this development. The aim of this study is to map the usage of digital support by workers in different construction trades. The study researches what level of digital skills the building sector expect construction workers to possess and how four different construction trades differ with regards to digitalization. The methods used to produce this study were interviews, a poll, a literature study and a workshop. Four categories were identified during the literature study, namely: digital tools, product information, manufacturing information and company resources. As digitalization is a transformational undertaking, “attitude” was added as a fifth category. Plumbing and ventilation is the trade where the production has been digitalized the most out of the four different trades. All construction workers are expected to be able to handle a smartphone but the expectations beyond that differ because the different trades utilize digital tools and programs to a varied extent.

Claims of customization and control by socio-technical industries are altering the role of consumer and producer. These narratives are often misleading attempts to engage consumers with new forms of technology. By addressing capitalist intent, material, and the reproduction limits of 3-D printed objects’, I observe the aspirational promise of becoming a producer of my own belongings through new networks of production. I am interested in gaining a better understanding of the data consumed that perpetuates hyper-consumptive tendencies for new technological apparatuses. My role as a designer focuses on the resolution of not only the surface of the object through 3-D printing, but the social implications to acknowledge consequential conditions of new forms of consumer technology.

This thesis aims to study the design possibilities for supporting explorative form-finding in 3D modeling applications. For today’s many design professions, 3D forms are achieved partly in engagement with digital environments. Use of software has far exceeded final idea execution, extending to the early phases of design work in which the outcome is not predetermined. This insight led designers of interactive systems support sketching and ideating activities by reducing the risk of experimentation and cognitive effort demanded from user. Yet, there has been less emphasis on traditional design and craft practice that acknowledges engagement with materials and effort spent on work as an integral part of creative process.The notion of exploration in the scope of this thesis attempts to incorporate such aspects. Relevant literature about workshop practice in design and craft has been reviewed, as well as examples of CAD technologies that aid designers. In this light, HCI perspectives on the design of creativity support tools and games have been discussed. The thesis work aimed to concretize this background by building a design strategy and an interactive artifact. A 3D form-finding application concept using objects in modeling space to indirectly manipulate geometry, “kfields”, has been developed and evaluated with users at various stages. The thesis concludes by reflecting on the findings of different design stages and proposing further directions for design.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
Fundação de Apoio a Pesquisa e à Inovação Tecnológica do Estado de Sergipe - FAPITEC/SE
By mid-18th Century Rock Art (petroglyphs) in Maranhão, Brazil, was first registered by Yves d’Evreux, a french priest, who came to know about its existence from a speech of an indian witchdoctor. These petroglyphs were centuries later described and reproduced by naturalists. In spite of its remarkable importance, these symbolic pre-colonial remains located in the Center-South and South-West regions of the country have been scarcely studied. These rock art sites are part of an ample cultural context including landscape itself and its characteristics that reflect preferences and uses of ancient groups of people.It is probable that the choice for specific petroglyphs supports is related to the availability of suitable areas and the authors’ past landscape experiences and the sensorial aspects that emanate from it. This research work presents a phenomenological approach for the study of the Chapada das Mesas National Park rock art and landscape, so to understand how the sites are physically engaged and to identify features affecting the choice of supports by their materialization and insertion in the regional geomorphological context. So, it was developed a spatial analysis of the sites, paths and local borders, rock surfaces with art and its characteristics, water resources in different forms, the sites and art visibility and the landscape aspects related to perceptions and body movement. A visual register of the rock art was made through the use of digital technology, scanner Artec Eva 3D, producing data and contributing to the discussion about the technological advantages and disadvantages of such a method for documenting and analyzing archaeological remains.
Em meados do século XVII, as gravuras rupestres no Maranhão foram identificadas, a partir do discurso de um pajé indígena, pelo religioso francês Yves d’ Evreux, e, alguns séculos depois, painéis chegaram a ser descritos e reproduzidos por naturalistas. Apesar de serem os vestígios pré-coloniais mais notáveis no Centro-Sul e Sudoeste do Estado, os estudos referentes a essas manifestações simbólicas ainda são escassos no Maranhão. Entende-se que os sítios possuidores de arte rupestre estão incluídos em um contexto cultural amplo que envolve a própria construção da paisagem e características que indicam a preferência das sociedades pretéritas por determinados locais bem como seus usos. Acredita-se que a escolha dos suportes gravados estaria relacionada não apenas a disponibilidade de áreas a serem gravadas, mas, a experiência com a paisagem que esses autores teriam tido no passado, considerando, sobretudo, os aspectos sensoriais que dela emanam. Assim esta pesquisa considerou a abordagem fenomenológica para o estudo das gravuras rupestres e da paisagem no Parque Nacional Chapada das Mesas a fim de compreender como estes sítios estão engajados fisicamente e, identificar características que pudessem influenciar ou não a escolha dos suportes gravados a partir da materialização e inserção destas, no contexto geomorfológico regional. Desse modo, foi realizada uma análise espacial dos sítios, dos caminhos e fronteiras locais, dos suportes gravados e de suas características, das fontes hídricas em suas diferentes formas, a visibilidade dos sítios, das gravuras e de outros aspectos da paisagem que envolvem a percepção e o movimento corporal. Dentro dessa perspectiva a pesquisa também propôs o registro visual das gravuras rupestres a partir do decalque digital e do scanner de mão Artec Eva 3D, trazendo apontamentos sobre as possíveis contribuições, vantagens e desvantagens desse recurso metodológico para documentar e analisar esses vestígios arqueológicos.

Despite the importance of hair for characters in games, the process for creating realistic looking real-time hair is a highly difficult task that can only be performed by a few artists. As the industry is growing so does expectations of games graphics and the need for higher fidelity hairstyles. This paper sets out to explain current modeling techniques for hairstyling, and presents an alternate way for styling haircard models using curve deformers. Our Blende radd-on, based on this method is then previewed by industry professionals to evaluate their perception of the method’s effectiveness based on “control”, “time” and “preference”. Our conclusion is that per wisp curve based controls are easily learnt, relatively quick to use and gives adequate control over each haircard. The method therefore shows promise instream lining artists’ production pipelines. This test serves as a pilot for further exploration of curve based tools for production of real-time hair.

This is a study of computer technology s impact on the theatrical design process. The tools of communication provided by technology were studied, and an analysis was conducted in the classroom of Digital Rendering, Digital Rendering Videos, and 3d CADD. After-wards, these tools were applied to an actual production of West Side Story where, with the addition of 3d light simulation software, the tools were used to communicate the design ideas from the lighting designer to the director. The goal of this process was to provide a  real to life virtual representation of the show to the director with the least amount of confusion. An additional goal was to test the limits and functions of the software; trying to learn all the benefits that could be provided to the process of mounting a theatrical production.
M.F.A.
Department of Theatre
Arts and Humanities
Theatre MFA

I föreliggande examensarbete undersöks hur gymnasieverksamma bildlärare förhåller sig till bild som form och digitala verktyg i undervisningen. Genom fyra stycken semistrukturerade intervjuer har jag fört samtal med gymnasielärare, där jag låtit lärarna få utveckla och definiera begrepp som form och bild. Jag har varit intresserad av att ta reda på vilket material och tekniskt hantverk bildlärare uppger att de använder sig av sin undervisning. En undervisning där digitala verktyg ska ha en allt mer framträdande roll (Regeringskansliet, 2017). Därför har jag velat undersöka hur gymnasieverksamma bildlärare uppger att de använder sig av digitala verktyg i bildundervisningen. För att ytterligare specificera min undersökning har min andra frågeställning handlat om tredimensionellt skapande i allmänhet och 3D-modellering i synnerhet. Jag har velat ta reda på hur användningen av 3D-modellering sker i bildundervisningen enligt gymnasieverksamma bildlärare. Till min hjälp har jag använt mig av fyra medieekologiska perspektiv som Anders Marner och Hans Örtegren formulerat utifrån den medieekologiska teoribildningen (Marner & Örtegren, 2013: Örtegren, 2013, s. 38). I Resultatet från föreliggande studie uppger alla fyra lärare att de implementerar digitala verktyg i sin undervisning, men att det skiljer sig åt på vilket sätt. Alla lärare påstår även att de arbetar med 3D-modellering, här varierar dock svaren på vilka grunder, samt i vilken omfattning.

La present tesi doctoral s’ha centrat en el repte d’aconseguir, mitjançant Fabricació Additiva (FA), models per a assaig quirúrgic, sota la premissa que els equips per fer-los haurien de ser accessibles a l’àmbit hospitalari. L’objectiu és facilitar l’extensió de l’ús dels prototips com a eina de preparació d’operacions quirúrgiques, transformant la pràctica mèdica actual de la mateixa manera que en el seu moment ho van fer tecnologies com les que van facilitar l’ús de radiografies. El motiu d’utilitzar FA, en lloc de tecnologies més tradicionals, és la seva capacitat de materialitzar de forma directa les dades digitals obtingudes de l’anatomia del pacient mitjançant sistemes d’escanejat tridimensional, fent possible l’obtenció de models personalitzats. Els resultats es centren en la generació de nou coneixement sobre com aconseguir equipaments d’impressió 3D multimaterials accessibles que permetin l’obtenció de models mimètics respecte als teixits vius. Per facilitar aquesta buscada extensió de la tecnologia, s’ha focalitzat en les tecnologies de codi obert com la Fabricació per Filament Fos (FFF) i similars basades en líquids catalitzables. La recerca s’alinea dins l’activitat de desenvolupament de la FA al CIM UPC, i en aquest àmbit concret amb la col·laboració amb l’Hospital Sant Joan de Déu de Barcelona (HSJD). El primer bloc de la tesi inclou la descripció de l’estat de l’art, detallant les tecnologies existents i la seva aplicació a l’entorn mèdic. S’han establert per primer cop unes bases de caracterització dels teixits vius -sobretot tous- per donar suport a la selecció de materials que els puguin mimetitzar en un procés de FA, a efectes de millorar l’experiència d’assaig dels cirurgians. El caràcter rígid dels materials majoritàriament usats en impressió 3D els fa poc útils per simular tumors i altres referències anatòmiques. De forma successiva, es tracten paràmetres com la densitat, la viscoelasticitat, la caracterització dels materials tous a la indústria, l’estudi del mòdul elàstic de teixits tous i vasos, la duresa d’aquests, i requeriments com l’esterilització dels models. El segon bloc comença explorant la impressió 3D mitjançant FFF. Es classifiquen les variants del procés des del punt de vista de la multimaterialitat, essencial per fer models d’assaig quirúrgic, diferenciant entre solucions multibroquet i de barreja al capçal. S’ha inclòs l’estudi de materials (filaments i líquids) que serien més útils per mimetitzar teixits tous. Es constata com en els líquids, en comparació amb els filaments, la complexitat del treball en processos de FA és més elevada, i es determinen formes d’imprimir materials molt tous. Per acabar, s’exposen sis casos reals de col·laboració amb l’HJSD, una selecció d’aquells en els que el doctorand ha intervingut en els darrers anys. L’origen es troba en la dificultat de l’abordatge d’operacions de resecció de tumors infantils com el neuroblastoma, i a la iniciativa del Dr. Lucas Krauel. Finalment, el Bloc 3 té per objecte explorar nombrosos conceptes (fins a 8), activitat completada al llarg dels darrers cinc anys amb el suport dels mitjans del CIM UPC i de l’activitat associada a treballs finals d’estudis d’estudiants de la UPC, arribant-se a materialitzar equipaments experimentals per validar-los. La recerca ampla i sistemàtica al respecte fa que s’estigui més a prop de disposar d’una solució d’impressió 3D multimaterial de sobretaula. Es determina que la millor via de progrés és la de disposar d’una pluralitat de capçals independents a fi de capacitar la impressora 3D per integrar diversos conceptes estudiats, materialitzant-se una possible solució. Cloent la tesi, es planteja com seria un equipament d’impressió 3D per a models d’assaig quirúrgic, a fi de servir de base per a futurs desenvolupaments.
La presente tesis doctoral se ha centrado en el reto de conseguir, mediante Fabricación Aditiva (FA), modelos para ensayo quirúrgico, bajo la premisa que los equipos para obtenerlos tendrían que ser accesibles al ámbito hospitalario. El objetivo es facilitar la extensión del uso de modelos como herramienta de preparación de operaciones quirúrgicas, transformando la práctica médica actual de la misma manera que, en su momento, lo hicieron tecnologías como las que facilitaron el uso de radiografías. El motivo de utilizar FA, en lugar de tecnologías más tradicionales, es su capacidad de materializar de forma directa los datos digitales obtenidos de la anatomía del paciente mediante sistemas de escaneado tridimensional, haciendo posible la obtención de modelos personalizados. Los resultados se centran en la generación de nuevo conocimiento para conseguir equipamientos de impresión 3D multimateriales accesibles que permitan la obtención de modelos miméticos respecto a los tejidos vivos. Para facilitar la buscada extensión de la tecnología, se ha focalizado en las tecnologías de código abierto como la Fabricación por Hilo Fundido (FFF) y similares basadas en líquidos catalizables. Esta investigación se alinea dentro de la actividad de desarrollo de la FA en el CIM UPC, y en este ámbito concreto con la colaboración con el Hospital Sant Joan de Déu de Barcelona (HSJD). El primer bloque de la tesis incluye la descripción del estado del arte, detallando las tecnologías existentes y su aplicación al entorno médico. Se han establecido por primera vez unas bases de caracterización de los tejidos vivos – principalmente blandos – para dar apoyo a la selección de materiales que los puedan mimetizar en un proceso de FA, a efectos de mejorar la experiencia de ensayo de los cirujanos. El carácter rígido de los materiales mayoritariamente usados en impresión 3D los hace poco útiles para simular tumores y otras referencias anatómicas. De forma sucesiva, se tratan parámetros como la densidad, la viscoelasticidad, la caracterización de materiales blandos en la industria, el estudio del módulo elástico de tejidos blandos y vasos, la dureza de los mismos, y requerimientos como la esterilización de los modelos. El segundo bloque empieza explorando la impresión 3D mediante FFF. Se clasifican las variantes del proceso desde el punto de vista de la multimaterialidad, esencial para hacer modelos de ensayo quirúrgico, diferenciando entre soluciones multiboquilla y de mezcla en el cabezal. Se ha incluido el estudio de materiales (filamentos y líquidos) que serían más útiles para mimetizar tejidos blandos. Se constata como en los líquidos, en comparación con los filamentos, la complejidad del trabajo en procesos de FA es más elevada, y se determinan formas de imprimir materiales muy blandos. Para acabar, se exponen seis casos reales de colaboración con el HJSD, una selección de aquellos en los que el doctorando ha intervenido en los últimos años. El origen se encuentra en la dificultad del abordaje de operaciones de resección de tumores infantiles como el neuroblastoma, y en la iniciativa del Dr. Lucas Krauel. Finalmente, el Bloque 3 desarrolla numerosos conceptos (hasta 8), actividad completada a lo largo de los últimos cinco años con el apoyo de los medios del CIM UPC y de la actividad asociada a trabajos finales de estudios de estudiantes de la UPC, llegándose a materializar equipamientos experimentales para validarlos. La investigación amplia y sistemática al respecto hace que se esté más cerca de disponer de una solución de impresión 3D multimaterial de sobremesa. Se determina que la mejor vía de progreso es la de disponer de una pluralidad de cabezales independientes, a fin de capacitar la impresora 3D para integrar diversos conceptos estudiados, materializándose una posible solución. Para cerrar la tesis, se plantea cómo sería un equipamiento de impresión 3D para modelos de ensayo quirúrgico, a fin de servir de base para futuros desarrollos.

Idag finns mängder av digitala verktyg för gemene man att använda till att skapa högkvalitativa, fotorealistiska datorgenererade bilder. Det blir svårare och svårare att avgöra om dessa är fotografier eller datorgenererade - och den digitala tekniken fortsätter att utvecklas snabbt. Datorgenererade personer i form av virtuella influencers dök 2016 upp på Instagram, en plattform där över 100 miljoner bilder och videor publiceras varje dag. Av den globala publiken utgörs 65 % av 18-34-åringar. Denna studie syftar till att undersöka om personer i åldern 18-34 har ett kritiskt förhållningssätt till datorgenererade fotorealistiska bilder på Instagram, med fokus på personer i bilder. Slutsatserna visade att målgruppen i viss utsträckning har ett kritiskt förhållningssätt till dessa bilder. De analyserar relativt ytligt, med fokus på avsändare och eventuellt säljsyfte eller djupare budskap. Instagram ses främst som en underhållningskanal där mycket av innehållet är fake och inte behöver analyseras. Bläddrandet bland bilder sker ganska snabbt. Användarvanor och intresse styr främst vad som analyseras. Kunskap om 3D-verktyg som kan användas för att skapa fotorealistiska datorgenererade bilder påverkade inte nämnvärt förmågan att avgöra om personer i bilder är datorgenererade eller verkliga. Överlag har målgruppen relativt god förmåga att avgöra om personen är datorgenererad eller verklig. Om den är tillräckligt fotorealistisk och naturliga detaljer gör att personen smälter in är det däremot svårt för målgruppen att avgöra om denne är verklig eller datorgenererad. Studien genomfördes med kvalitativ ansats genom intervju i fokusgrupp samt personliga intervjuer. Därefter skickades en enkät ut för insamling av kvantitativa data för att stärka resultatet från intervjuerna. All data analyserades genom en tematisk innehållsanalys, som avslutningsvis diskuterades mot vad som är tidigare känt inom området.
Today there are many digital tools for anyone to use in order to create high-quality,photo-realistic computer-generated images. It is becoming more and more difficult todetermine whether these are photographs or computer-generated – and the digitaltechnology continues to develop rapidly. Computer-generated people in the form ofvirtual influencers appeared on the platform Instagram in 2016, where over 100 millionimages and videos are being published every day. Of the global audience, 65 % are 18-34year olds. This study aims to look into if people between the ages of 18-to-34 have a criticalapproach to computer-generated photo-realistic images on Instagram, focusing on people inimages. The conclusions of the study showed that the target group has a critical approach tothese images to a certain extent. Their analysis is relatively shallow, with focus on the senderand possibly if there is a deeper message or a purpose of selling. Instagram is primarily seenas a platform used for entertainment, where a lot of the content is fake and does not needto be analyzed. Scrolling among images is done in a rather rapid pace. User habits andinterests seem to govern what is to be analyzed. Knowledge of 3D-tools used to createphoto-realistic computer-generated images did not significantly affect the ability todetermine whether people in images are computer-generated or real. Overall, the targetgroup has a relatively good ability to determine whether the person is computer-generatedor real. However, if the person is photo-realistic enough and natural details cause the personto blend in, it is difficult for the target group to determine whether the person iscomputer-generated or real.The study was conducted with a qualitative approach through an interview in focus group aswell as personal interviews. Thereafter, a survey was sent out to collect quantitative data toclarify the results of the interviews. All data was analyzed through a thematic contentanalysis, which was then discussed in the light of what is previously known in the field.

This research thesis is an exploration into what possibilities lie beyond the representation of analog material when it transcends into the digital realm. Specifically, how printed comics can be altered in realtime by creator- allowed user interaction, when adapted for presentation within the digital sphere of mobile smartphones and computer tablets. Using legacy computer-game techniques like parallax scrolling with modern digital layer filters, device sensors and applying them in realtime to the comic creators digitally layered content, alternative forms of presentation arise.This is an investigation into the comic creator’s will of allowing possibilities of added depth perception, interactivity and alternative visual narratives in their comic, manga or graphic novels when employing new techniques based on sensor data input from a reader, like accelerometer-, gyroscope- or eye-tracking sensors. Several different techniques are evaluated. The focus is mainly on the context of creators of comics or manga who use digital tools and layer compositions when producing their work. Several aspects of the user-centered experience are also explored.Although mainly an interaction design project, most of the design methods are used from a service design approach, emphasizing co-design techniques like interviews, observations and user tests. The results are digital prototypes and proof-of-concepts featuring technology tests that support final design conclusions.The results will show both enthusiasm and reluctance from test subjects towards the new technologies presented. The professional craft of comic, manga and graphic novel creation has a deeply rooted aesthetic and production cycle in its history of the printed form. It could be difficult to alter its standard, reverence and nostalgia in the eyes of its readers and creators, when pursuing the digital format and narrative possibilities of the future. A video explaining the project’s “Drawn To Life” technology is available online.

La problématique de ce doctorat est : comment la structure des réseaux constitue une nouvelle matrice pour la production d’oeuvres artistiques. Pour répondre à cette question, nous commencerons en étudiant l’évolution de la notion de « réseau » de l’antiquité jusqu’à aujourd’hui ; les théories des réseaux concernant leur structure et/ou leur dynamique. Ensuite nous présenterons les applications –de la notion ou des théories de réseaux– tant dans les sciences que dans l’art. Nous listerons et nous analyserons huit types de réseaux et puis nous mentionnerons des oeuvres artistiques qui ont été inspirées par ces types de réseaux et/ou qui utilisent certains (types de) réseaux comme matrice pour leur création. Nous proposerons le projet Lignes Imaginaires, un modèle 3D qui se fonde sur la conception d’un métro de lignes imaginaires, voire de lignes dynamiques et/ou paradoxales qui sont en mouvement, apparaissent/disparaissent, créent de l’infrastructure supplémentaire. L’analyse du métro Lignes Imaginaires dévoile l'importance de la géographie et de la spatialité des réseaux, tandis que leur représentation graphique topologique reste insuffisante pour la représentation précise et pour la compréhension de leur structure (paradoxale). En outre, l’innovation du métro Lignes Imaginaires est que son infrastructure est dynamique et auto-organisée, contrairement aux métros traditionnels où les lignes et leurs itinéraires sont fixes. L’objectif du projet artistique Lignes Imaginaires est de visualiser un concept en créant un métro hors du commun qui pourrait aussi proposer des formes alternatives des réseaux de transports dans le contexte urbain
This thesis examines and shows ways in which the structure of networks can provide a new matrix for the production of artworks. In order to answer this question we start by studying: the evolution of the term ‘network’ from the ancient times up to nowadays; the theories that refer to network structure or network dynamics. Then we present the applications of these theories into both art and science. We list and analyze eight different types of networks and then we feature artworks which have been inspired by these network types or have used the network structure of a certain type as a matrix for art making. We propose the Imaginary Lines project, a three-dimensional network model which is based on the concept of a metro composed of imaginary lines. More precisely Imaginary Lines metro network encompasses seven paradoxical lines which move, (dis)appear and produce supplementary infrastructure. The Imaginary Lines metro unveils the importance of geography and spatiality, in contrast with topological network graphic representations, which remain insufficient, in terms of utmost accuracy in representation and comprehension of network structure. Additionally, the Imaginary Lines network innovation lays in its infrastructure dynamics as well as in its self-organisation. The objective of the Imaginary Lines artistic project is to visualise a concept by creating an unusual metro, which goes beyond traditional fixed-route transport networks and can support alternative forms of urban transport development

碩士
國立清華大學
動力機械工程學系
98
There are two main methods to attach the colorful patterns to the free form surface of 3C products at present time, one is IMD and the other is screen-printing. Because of the cost on molding and plate-making, both methods are only suitable for the mass production. In this study, software is firstly used to do 3D modeling, after that the pattern is applied on the 3D model and then plans the printing paths by using mapping transformation. The pre-process of the printing can be finished on computer. The hardware is based on the 5-axis CNC machine; the spindle of the 5-axis CNC machine is replaced by a commercial printer and uses the software of the printer to print the pattern. Furthermore, since the distance between the print head and curved surface is not a constant, it is necessary to maintain the distance in an optimal range. The width of pattern print head can print at a time is limited by the curvature of the printing surface. If the curvature of surface is too big, the print head should print only at the region which can print out a good printing quality. The rest unprinted area is printed after rotating the print head a proper angle. Since print head and surface model are substitute for the tool and work piece, so it is necessary to design the fixture to fix the print head and curved surface model. Moreover, how to synchronize the print signal and 5-axis machine is also important. As mentioned above, this study hopes to achieve printing colorful patterns on the 3D free form surface.

碩士
國立彰化師範大學
資訊管理學系所
102
Often, people are not able to effectively express the thought, concept, creativity, or storyline in their mind. Therefore, to help others understand the message we try to convey, we use concrete means to express what is in our mind. Currently, commercial digital storytelling systems are mainly 2D systems, providing users a comparatively convenient way to express and present their stories (Liu, 2010). Nevertheless, scenarios presented in 2D digital storytelling still have their limitations such as the difficulties in distinguishing the relative relationship (distance, size, shape) among objects. Therefore, this research integrated augmented reality and 3D model reconstruction techniques and developed an augmented reality storytelling system (ARSS), allowing users to demonstrate their 3D digital story easily and efficiently. Subjects were sixty students at a university in central Taiwan and they were asked to perform a usability test on the proposed system and Toom Boon StoryBoard (TBSB), a 2D digital storytelling system. Psychological pressure and creativity were also measured using questionnaire. Results showed that there was no significant difference statistically in usability between ARSS and TBSB. However, in terms of psychological pressure and creativity, ARSS was superior to TBSB. Furthermore, from the questionnaire results, it showed that users were willing to continuously use ARSS for story creation and would not hesitate in recommending ARSS to others. keywords: Augmented Reality, 3D Model Reconstruction, Digital Storytelling, Psychological burden and Creativity.

碩士
大葉大學
資訊工程學系碩士在職專班
94
The current map information in Taiwan such as digital topography, digital terrain model and other atlas such as map, traffic network and administrative boundary are established and stored by different government organization. This makes the integration and application of the cross-platform system difficult. If it is possible to apply Grid for system integration and form the Grid geographical information system, it would advantage to integrate the data to information and provide additional value. Nowadays, the information needed for flight simulation, guide application, and the forecast of mudflows and landslides are the 3D topographic information, which have not been established completely. Therefore, this study will research whether the grid technology can integrate the existing 2D digital topography and digital terrain model(DTM) which are dispersed everywhere. The 3D topographic model is established based on this information in order to minimize the time needed for establishment.

碩士
國立彰化師範大學
資訊管理學系所
102
Nowadays, 3D stereoscopic technology is getting popular in the entertainment industry. The “Avatar” and “Life of Pi” popular movie filmed, 3D stereoscopic movie has received wide attention. 3D stereo could enrich the user’s visual experience and make the image more realistic. Using life-like 3D stereoscopic technology in the digital game-based learning space, learners could interact with others easier in such virtual space. In spite of the popularity of S-3D in the 3D stereoscopic technology in digital game-based learning space is rare, these research conducted an experiment to study the relationship between the 3D stereoscopic and the virtual learning space, to realize whether the presentation of 3D stereo can enhance the learners’ interaction. To implement a virtual space, we build a S-3D learning space, TIMBERLAND, the learners in this place will play a role of a forest guardian. With the 3D visual effects from 3D Shutter Glasses and interacting with the NPC, learners will earn the knowledge of natural science. We also developed a research model, using questionnaire survey to evaluate the experiment. 70 participants were recruited in this experiment, learners are very satisfied my learning space and the positive effects were found, that is, learners felt joy and fun while interacting with NPC and the 3D stereoscopic technology bring the positive effects. Empirical result using SPSS shows the responses of learners are very positive on learning effectiveness and Satisfaction.

abstract: The current push towards integrating new digital fabrication techniques into all parts of daily life has raised concerns about the changing role of the craftsperson in creative making. The goal of this dissertation is to gain insight into how new technologies can be incorporated into creative practices in a way that effectively supports the goals and workflows of practitioners. To do so, I explore three different cases in which 3D printing, a tool by which complex 3D objects are fabricated from digital designs, is used in tandem with traditional creative practices. Each project focuses on a different way to incorporate 3D printed objects, whether it be as a visualization for artists’ processes, a substitute medium for finished artworks, or as a step toward a larger fabrication workflow. Through this research, I discover how the integration of 3D printing affects creative processes, explore how these changes influence how and why practitioners engage in artistic practices, and gain insight into directions for future technological innovations.
Dissertation/Thesis
Doctoral Dissertation Media Arts and Sciences 2020

碩士
國立雲林科技大學
文化資產維護系
104
The conservation of industrial heritage is a difficult task. In order to reduce losses, approaches that perform quick record of status of heritage have always been addressed. This research focued on glass slide projectors as industrial heritage for 3D modeling. Glass slide projectors was one of the auxiliary tools used in film theater in Taiwan. This kind of slide projectors helped to inform audiences some public announcements in early days that the communication technologies were not developed well. In this study, three kinds of 3D digital modeling technologies and devices were used to build 3D digital model for glass slide projectors. The 3D digital modeling technologies and devices in this research were Image-based-modeling (IBM) software ”Agisoft Photoscan”, Artec Spider 3D scanner, and absolute arm with external laser scanner. As the result, the 3D digital models built by Agisoft Photoscan and absolute arm with external laser scanner were more applicable to record 3D information of glass slide projectors and components. The results show that Image-based-modeling and absolute arm with external laser scanner were able to record the outward appearance, significant deterioration and vestige of the glass slide projectors. This research provides a suggested way for recording glass slide projectors and Industrial heritage for the future.

碩士
正修科技大學
營建工程研究所
106
This study combines the 3D laser scanner with the unmanned aerial vehicle to obtain the 3D point cloud data and image data for the planning needs of historical building information models. From the spatial information model of informational surveying and mapping technology, the dismantling structure of historical buildings is constructed to be applied to the collection and display of cultural relics digitally. This dissertation is to make use of all kinds of informational mapping techniques to complete the two-dimensional and three-dimensional data acquisition of historical buildings and establish a database of associated information of cultural relics spatial information model to realize the information management of cultural capital units and the construction of three-dimensional modeling data.

Research Doctorate - Doctor of Philosophy (PhD)
The art of oribotics involves a process of imagining and creating geometry for static and kinetic origami structures to fit a desired form. It is a two-fold difficult task. Firstly, tools for calculating the geometry are few, and those existing lack key aesthetic and functional criteria specific to my artistic practice. Secondly, material issues, such as durability and complex foldability, compound the issues for fabrication. Existing methods, even those applying digital fabrication, pose complex folding problems that confound origami experts. Case studies are provided of leading origamists working with software, fabrication and materials to analyse and summarise processes. Analysis of these led to the synthesis and identification of differentiating criteria that inspired the invention of two key methods: Fold-Mapping and Fold-Printing. Fold-Mapping abstracts naturally occurring origami patterns into fold-molecules for tessellation across target geometric surfaces. It allows an artist to prioritise the sculptural shape of the result while seeking a kinetic solution through experimentation with different fold-molecules. A developability algorithm then flattens the crease pattern into geometry for fabrication. Fold-Printing allows the fabrication of Fold-Mapping results. It includes results of high-order complex-foldability by 3D printing whereby polymers are deposited onto textiles forming a durable polymer plate-structure separated by perfect textile hinges. Evaluation of the methods is two-fold. Firstly, the methods were continuously evaluated and refined through invention based trial-and-error. Secondly, the artefacts were evaluated according to a set of aesthetic criteria which in this thesis are collectively called ORI* theory. ORI* theory includes origami and oribotic criteria, and a metric for complex-foldability. For proof of concept, the methods are presented as an evaluated set of successful traits and developed solutions. These produce developable crease patterns from target geometries and afford the fabrication and foldability of complex ORI* objects. Fold-Printing allows near impossible-to-fold patterns to become foldable objects. The methods do not succeed in all circumstances, and that success is additionally dependent on the author’s experience of origami structures. The aesthetic qualities and material properties of the artistic results have distinct qualities that qualify them to meet the particular criteria required for ORI* objects. The thesis concludes with the proposing of future work: 1) in the direction of soft-robotic applications using both Fold-Mapping and Fold-Printing methods, and 2) the creation of enhanced aesthetic and technical ORI* objects across many disciplinary domains.

Yes
Three-dimensional printing (3DP) has the potential to cause a paradigm shift in the manufacture of pharmaceuticals, enabling personalised medicines to be produced on-demand. To facilitate integration into healthcare, non-destructive characterisation techniques are required to ensure final product quality. Here, the use of process analytical technologies (PAT), including near infrared spectroscopy (NIR) and Raman confocal microscopy, were evaluated on paracetamol-loaded 3D printed cylindrical tablets composed of an acrylic polymer (Eudragit L100-55). Using a portable NIR spectrometer, a calibration model was developed, which predicted successfully drug concentration across the range of 4–40% w/w. The model demonstrated excellent linearity (R2 = 0.996) and accuracy (RMSEP = 0.63%) and results were confirmed with conventional HPLC analysis. The model maintained high accuracy for tablets of a different geometry (torus shapes), a different formulation type (oral films) and when the polymer was changed from acrylic to cellulosic (hypromellose, HPMC). Raman confocal microscopy showed a homogenous drug distribution, with paracetamol predominantly present in the amorphous form as a solid dispersion. Overall, this article is the first to report the use of a rapid ‘point-and-shoot’ approach as a non-destructive quality control method, supporting the integration of 3DP for medicine production into clinical practice.
Open Access funded by Engineering and Physical Sciences Research Council United Kingdom (EPSRC), UK for their financial support (EP/L01646X).