{"title":"Build your own game controller","authors":"J. Spjut","doi":"10.1145/2785585.2792700","DOIUrl":"https://doi.org/10.1145/2785585.2792700","url":null,"abstract":"","PeriodicalId":127498,"journal":{"name":"SIGGRAPH 2015: Studio","volume":"106 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123722197","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
With the increased popularity of direct-to-garment printing, as well as crowdsourcing t-shirt design and printing websites, more individual designers may want to expand their skillset to include t-shirt design.
{"title":"Design considerations in creating t-shirt artwork for direct-to-garment digital printing","authors":"E. Murphy","doi":"10.1145/2785585.2792725","DOIUrl":"https://doi.org/10.1145/2785585.2792725","url":null,"abstract":"With the increased popularity of direct-to-garment printing, as well as crowdsourcing t-shirt design and printing websites, more individual designers may want to expand their skillset to include t-shirt design.","PeriodicalId":127498,"journal":{"name":"SIGGRAPH 2015: Studio","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122239107","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
classroom use is granted without fee provided that copies are not made or distributed for commercial advantage and that copies bear this notice and the full citation on the first page. Copyrights for third-party components of this work must be honored. For all other uses, contact the Owner/Author.
{"title":"Siggraph studio workshop: how to make almost anything","authors":"Nadya Peek, J. Coleman","doi":"10.1145/2785585.2792721","DOIUrl":"https://doi.org/10.1145/2785585.2792721","url":null,"abstract":"classroom use is granted without fee provided that copies are not made or distributed for commercial advantage and that copies bear this notice and the full citation on the first page. Copyrights for third-party components of this work must be honored. For all other uses, contact the Owner/Author.","PeriodicalId":127498,"journal":{"name":"SIGGRAPH 2015: Studio","volume":"37 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128447823","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
State of Play Games are known for making games by hand. They demonstrate the unique benefits of using physical models in their games and explain some of the technical challenges they faced along the way. The process makes the games's aesthetic unique and allows artists to create with methods that come naturally A truly unique way to make a game. Everything you see on screen was made using paper, cardboard and glue. Resulting in building a 10 foot high model city, using laser cutting plus miniature lights and motors to bring it to life. A cross disciplinary team worked on Lumino City. State of Play collaborated with award-winning architects, fine-artists, prop-makers and animators, each discipline brought something unique to the design and execution of the finished game. This interactive piece took a lot of technical tricks and brand new techniques that they would love to share with you. Developer Daniel Fountain will explain their vision, show the behind-the-scenes production of the real-life city and demonstrate how they used photo, video digital effects to make the whole thing interactive.
State of Play Games以手工制作游戏而闻名。他们展示了在游戏中使用物理模型的独特好处，并解释了他们在此过程中面临的一些技术挑战。这一过程使游戏具有独特的美感，并允许美工使用自然的方法进行创作，这是制作游戏的真正独特方法。你在屏幕上看到的一切都是用纸、纸板和胶水做成的。最终建造了一个10英尺高的模型城市，使用激光切割加上微型灯和马达将其带入生活。《Lumino City》是一个跨学科的团队。State of Play与屡获殊荣的建筑师、美术人员、道具制作人员和动画师合作，每个学科都为最终游戏的设计和执行带来了独特的东西。这个互动作品采用了很多技术技巧和全新的技术，他们很乐意与你分享。开发者丹尼尔·方丹(Daniel Fountain)将解释他们的愿景，展示真实城市的幕后制作，并演示他们如何使用照片、视频数字效果使整个事物具有互动性。
{"title":"Keeping it real: the making of Lumino City","authors":"D. Fountain","doi":"10.1145/2785585.2793679","DOIUrl":"https://doi.org/10.1145/2785585.2793679","url":null,"abstract":"State of Play Games are known for making games by hand. They demonstrate the unique benefits of using physical models in their games and explain some of the technical challenges they faced along the way. The process makes the games's aesthetic unique and allows artists to create with methods that come naturally A truly unique way to make a game. Everything you see on screen was made using paper, cardboard and glue. Resulting in building a 10 foot high model city, using laser cutting plus miniature lights and motors to bring it to life. A cross disciplinary team worked on Lumino City. State of Play collaborated with award-winning architects, fine-artists, prop-makers and animators, each discipline brought something unique to the design and execution of the finished game. This interactive piece took a lot of technical tricks and brand new techniques that they would love to share with you. Developer Daniel Fountain will explain their vision, show the behind-the-scenes production of the real-life city and demonstrate how they used photo, video digital effects to make the whole thing interactive.","PeriodicalId":127498,"journal":{"name":"SIGGRAPH 2015: Studio","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124546395","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
PANORAMICAL is a digital anthology of musical landscapes with analog controls. It is a collection of places that morph to your touch using a MIDI controller or a game controller. Initially conceived as an installation piece, players twist knobs on a custom-built controller and morph a constantly moving abstract landscape PANORAMICAL player control shapes as well as sounds to create an immersive playful experience at their own pace. It's been showcased in dozens of events around the world and it's now in development for PC and Mac as a downloadable title.
{"title":"PANORAMICAL","authors":"Fernando F. Ramallo, B. Byrne","doi":"10.1145/2785585.2797413","DOIUrl":"https://doi.org/10.1145/2785585.2797413","url":null,"abstract":"PANORAMICAL is a digital anthology of musical landscapes with analog controls. It is a collection of places that morph to your touch using a MIDI controller or a game controller. Initially conceived as an installation piece, players twist knobs on a custom-built controller and morph a constantly moving abstract landscape PANORAMICAL player control shapes as well as sounds to create an immersive playful experience at their own pace. It's been showcased in dozens of events around the world and it's now in development for PC and Mac as a downloadable title.","PeriodicalId":127498,"journal":{"name":"SIGGRAPH 2015: Studio","volume":"128 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132946055","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
D. Saakes, H. Yeo, Seungtak Noh, Gyeol Han, Woontack Woo
When choosing what to wear, people often use mirrors to try clothing items and see the fit on their body. What if we can not only evaluate items in front of the mirror but also design items and have them fabricated on the spot?
{"title":"Mirror mirror: an on-body clothing design system","authors":"D. Saakes, H. Yeo, Seungtak Noh, Gyeol Han, Woontack Woo","doi":"10.1145/2785585.2792961","DOIUrl":"https://doi.org/10.1145/2785585.2792961","url":null,"abstract":"When choosing what to wear, people often use mirrors to try clothing items and see the fit on their body. What if we can not only evaluate items in front of the mirror but also design items and have them fabricated on the spot?","PeriodicalId":127498,"journal":{"name":"SIGGRAPH 2015: Studio","volume":"52 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115597386","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
D. Saakes, H. Yeo, Seungtak Noh, Gyeol Han, Woontack Woo
When choosing what to wear, people often use mirrors to try clothing items and see the fit on their body. What if we can not only evaluate items in front of the mirror but also design items and have them fabricated on the spot?
{"title":"Mirror mirror: an on-body clothing design system","authors":"D. Saakes, H. Yeo, Seungtak Noh, Gyeol Han, Woontack Woo","doi":"10.1145/2785585.2792691","DOIUrl":"https://doi.org/10.1145/2785585.2792691","url":null,"abstract":"When choosing what to wear, people often use mirrors to try clothing items and see the fit on their body. What if we can not only evaluate items in front of the mirror but also design items and have them fabricated on the spot?","PeriodicalId":127498,"journal":{"name":"SIGGRAPH 2015: Studio","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123187067","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This work uses Houdini to explore methods of generating and rendering landscapes stylized to mimic the artwork of artist Eyvind Earle (1916-2000). I present general guidelines and procedural characterizations of various trees, a forest, cliffs, mountains, an ocean, and waves. I developed methods for matching the shapes of the objects, relying on noise, L-systems, and other constraints. The graphic style places importance on the shape of the geometry, as it is rendered with simple toon-based shading techniques. Additionally, any intricate details are portrayed with point or line geometry instead of a traditional shader to mimic fine illustrative brushwork. Carefully chosen color palettes, separate shadow geometry, and level-of-detail rules also add to the likeness of Earle's style.
{"title":"Developing stylized trees and landscapes inspired by Eyvind Earle","authors":"Laura K. Murphy, Philip Galanter","doi":"10.1145/2785585.2792558","DOIUrl":"https://doi.org/10.1145/2785585.2792558","url":null,"abstract":"This work uses Houdini to explore methods of generating and rendering landscapes stylized to mimic the artwork of artist Eyvind Earle (1916-2000). I present general guidelines and procedural characterizations of various trees, a forest, cliffs, mountains, an ocean, and waves. I developed methods for matching the shapes of the objects, relying on noise, L-systems, and other constraints. The graphic style places importance on the shape of the geometry, as it is rendered with simple toon-based shading techniques. Additionally, any intricate details are portrayed with point or line geometry instead of a traditional shader to mimic fine illustrative brushwork. Carefully chosen color palettes, separate shadow geometry, and level-of-detail rules also add to the likeness of Earle's style.","PeriodicalId":127498,"journal":{"name":"SIGGRAPH 2015: Studio","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129727201","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Hardware and software are disjoint in their representations, their production methods, and their validation. Machine design, machine building, and machine control have historically taken place separately, and correspondingly, machine tools are not well integrated systems addressing an automation or fabrication need. However, digital fabrication tools are becoming increasingly ubiquitous. Digital fabrication introduces precision and accuracy to the prototyping process. Without requiring a craftman's attention to toolmaking, users can prototype tools for rapid prototyping-- the precision and repeatability required is now readily available. Rapid prototyping tools can become one-off interventions tailored for a task at hand. In this studio course, we will condense the steps of prototyping rapid prototyping equipment into an afternoon. We will use the Modular Machines that Make Construction Kit, which offers modular software, hardware, and end effectors for users to prototype with. The Modular Machines that Make project uses 1-axis motion stages that can be connected together in different configurations to produce different motion systems. For example, 2 stages placed together horizontally can make a XY stage, or 3 stages can give 3 axis motion. The stages themselves are made out of laser cut cardboard, and their design can be parametrically modified to accommodate different work envelopes. To prototype the control systems and software for the machines, users will use the pyGestalt machine control library and corresponding network-programmable hardware nodes. The end effectors for the machines can be prototyped on the fly, but the construction kit also contains a variety of end effectors as a point of departure, including milling heads, 3d printing heads, plotter heads, usb microscopes, and syringe pumps. By spanning the layers of implementation (in mechanics, in electronics, and in software), users will be able to think of designing digital fabrication tools as a cohesive whole, instead of the disjoint application of a variety of different fields. This kind of remix prototyping will create new kinds of CAD/CAM/machine tools that can better address the individual needs of the users. Simultaneously, this kind of accessible automation explores broader applications of precision-- by lowering the threshold to precise, repeatable automation, users can e.g. start automating a production run of 100 units, or a biology experiment that would be tedious to pipette by hand, or the synthesis of a material. By the end of the course, the users will have an understanding of the subcomponents of machine and machine interface design and how a machine system is integrated. The course will be hands-on, and by the end of the course participants will have created a working machine, as well as discussed distributed manufacturing, rapid prototyping, and advanced manufacturing and automation.
{"title":"Design machines","authors":"Nadya Peek, J. Coleman","doi":"10.1145/2785585.2792578","DOIUrl":"https://doi.org/10.1145/2785585.2792578","url":null,"abstract":"Hardware and software are disjoint in their representations, their production methods, and their validation. Machine design, machine building, and machine control have historically taken place separately, and correspondingly, machine tools are not well integrated systems addressing an automation or fabrication need. However, digital fabrication tools are becoming increasingly ubiquitous. Digital fabrication introduces precision and accuracy to the prototyping process. Without requiring a craftman's attention to toolmaking, users can prototype tools for rapid prototyping-- the precision and repeatability required is now readily available. Rapid prototyping tools can become one-off interventions tailored for a task at hand. In this studio course, we will condense the steps of prototyping rapid prototyping equipment into an afternoon. We will use the Modular Machines that Make Construction Kit, which offers modular software, hardware, and end effectors for users to prototype with. The Modular Machines that Make project uses 1-axis motion stages that can be connected together in different configurations to produce different motion systems. For example, 2 stages placed together horizontally can make a XY stage, or 3 stages can give 3 axis motion. The stages themselves are made out of laser cut cardboard, and their design can be parametrically modified to accommodate different work envelopes. To prototype the control systems and software for the machines, users will use the pyGestalt machine control library and corresponding network-programmable hardware nodes. The end effectors for the machines can be prototyped on the fly, but the construction kit also contains a variety of end effectors as a point of departure, including milling heads, 3d printing heads, plotter heads, usb microscopes, and syringe pumps. By spanning the layers of implementation (in mechanics, in electronics, and in software), users will be able to think of designing digital fabrication tools as a cohesive whole, instead of the disjoint application of a variety of different fields. This kind of remix prototyping will create new kinds of CAD/CAM/machine tools that can better address the individual needs of the users. Simultaneously, this kind of accessible automation explores broader applications of precision-- by lowering the threshold to precise, repeatable automation, users can e.g. start automating a production run of 100 units, or a biology experiment that would be tedious to pipette by hand, or the synthesis of a material. By the end of the course, the users will have an understanding of the subcomponents of machine and machine interface design and how a machine system is integrated. The course will be hands-on, and by the end of the course participants will have created a working machine, as well as discussed distributed manufacturing, rapid prototyping, and advanced manufacturing and automation.","PeriodicalId":127498,"journal":{"name":"SIGGRAPH 2015: Studio","volume":"2012 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114628128","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
"The Blacksmith" is a realtime short film set in a compelling Nordic setting and telling a story of a cursed smith. The art direction of the short required development of a more detailed environment that is typical to most AAA games and aimed to capture filmic feel. We achieved this goal in a very cost-efficient manner suitable for a small-sized team (<10) by leveraging art-driven procedural asset creation for environments.
{"title":"Authoring of procedural environments in \"the Blacksmith\" realtime short","authors":"V. Efremov","doi":"10.1145/2785585.2792577","DOIUrl":"https://doi.org/10.1145/2785585.2792577","url":null,"abstract":"\"The Blacksmith\" is a realtime short film set in a compelling Nordic setting and telling a story of a cursed smith. The art direction of the short required development of a more detailed environment that is typical to most AAA games and aimed to capture filmic feel. We achieved this goal in a very cost-efficient manner suitable for a small-sized team (<10) by leveraging art-driven procedural asset creation for environments.","PeriodicalId":127498,"journal":{"name":"SIGGRAPH 2015: Studio","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116831870","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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