Exploring various visual designs by tweaking parameters is a common practice when designing digital content. For example, if we want to clean up a photo for use at the top of a web page, we adjust the design parameters---brightness, contrast, saturation, etc.---to explore which combination of parameters provides the best result. Similar situations can be found anywhere in computer graphics applications, such as tweaking shader parameters for game development.
{"title":"Crowd-powered parameter analysis for computational design exploration","authors":"Yuki Koyama, Daisuke Sakamoto, T. Igarashi","doi":"10.1145/2787626.2792620","DOIUrl":"https://doi.org/10.1145/2787626.2792620","url":null,"abstract":"Exploring various visual designs by tweaking parameters is a common practice when designing digital content. For example, if we want to clean up a photo for use at the top of a web page, we adjust the design parameters---brightness, contrast, saturation, etc.---to explore which combination of parameters provides the best result. Similar situations can be found anywhere in computer graphics applications, such as tweaking shader parameters for game development.","PeriodicalId":269034,"journal":{"name":"ACM SIGGRAPH 2015 Posters","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2015-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133428099","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}
Kang Zhang, Wuyi Yu, Mary Manhein, W. Waggenspack, Xin Li
Geometric restoration that composes 3D fragmented pieces into the original complete object is an important computer graphics and geometric processing problem. Automatic and effective restoration has applications in many fields such as archeological reconstruction, digital heritage archiving, forensic evidence processing, to name a few. For example, archaeologists reconstruct ceramic fragments (sherds) into complete pots in order to analyze the information of the ancient society. Forensic scientists reassemble skull fragments into complete skull for face reconstruction and body identification. In both of these problems we need to solve a composition of digitized thin-shell fragments with different shapes, sizes, and resolutions. This problem remains very challenging.
{"title":"Reassembling 3D thin shells using integrated template guidance and fracture region matching","authors":"Kang Zhang, Wuyi Yu, Mary Manhein, W. Waggenspack, Xin Li","doi":"10.1145/2787626.2792659","DOIUrl":"https://doi.org/10.1145/2787626.2792659","url":null,"abstract":"Geometric restoration that composes 3D fragmented pieces into the original complete object is an important computer graphics and geometric processing problem. Automatic and effective restoration has applications in many fields such as archeological reconstruction, digital heritage archiving, forensic evidence processing, to name a few. For example, archaeologists reconstruct ceramic fragments (sherds) into complete pots in order to analyze the information of the ancient society. Forensic scientists reassemble skull fragments into complete skull for face reconstruction and body identification. In both of these problems we need to solve a composition of digitized thin-shell fragments with different shapes, sizes, and resolutions. This problem remains very challenging.","PeriodicalId":269034,"journal":{"name":"ACM SIGGRAPH 2015 Posters","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2015-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115547535","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}
Peihong Guo, E. Akleman, Ying He, Xiaoning Wang, W. Liu
In this work, we present some of the unexpected observations resulted from our recent research. We, recently, needed to identify a small number of important critical points, i.e. minimum, maximum and saddle points, on a given manifold mesh surface. All critical points on a manifold triangular mesh can be identified using discrete Gaussian curvature, which is given as ki = 2π − Σj θi,j where ki is vertex defect (the discrete Gaussian curvature) of the vertex i and θi,j is the corner of the vertex in the triangle j. A very useful property coming with vertex defect is the discrete version of Gauss-Bonnet theorem: the sum of all vertex defects is always constant as Σi ki = 2π(2−2g) where g is the genus of the mesh. Any vertex with a non-zero vertex defect is really an critical point of the surface. However, identification of interesting critical points is hard with vertex defect alone. As it can be seen in Figure 1(a), even we ignore vertex defects that are small, too many vertices are still chosen and this information is not really useful to make any conclusion of the shape of the surface.
{"title":"Critical points with discrete Morse theory","authors":"Peihong Guo, E. Akleman, Ying He, Xiaoning Wang, W. Liu","doi":"10.1145/2787626.2792614","DOIUrl":"https://doi.org/10.1145/2787626.2792614","url":null,"abstract":"In this work, we present some of the unexpected observations resulted from our recent research. We, recently, needed to identify a small number of important critical points, i.e. minimum, maximum and saddle points, on a given manifold mesh surface. All critical points on a manifold triangular mesh can be identified using discrete Gaussian curvature, which is given as ki = 2π − Σj θi,j where ki is vertex defect (the discrete Gaussian curvature) of the vertex i and θi,j is the corner of the vertex in the triangle j. A very useful property coming with vertex defect is the discrete version of Gauss-Bonnet theorem: the sum of all vertex defects is always constant as Σi ki = 2π(2−2g) where g is the genus of the mesh. Any vertex with a non-zero vertex defect is really an critical point of the surface. However, identification of interesting critical points is hard with vertex defect alone. As it can be seen in Figure 1(a), even we ignore vertex defects that are small, too many vertices are still chosen and this information is not really useful to make any conclusion of the shape of the surface.","PeriodicalId":269034,"journal":{"name":"ACM SIGGRAPH 2015 Posters","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2015-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122521545","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 MR Coral Sea is a mixed reality tiny aquarium. The intent of the system is to play with little virtual fish. A player can interact with the virtual fish via Coral Display, an interactive device with multisensory physical feedback. When a player presents his or her hand above the device, fish bait appears on the palm, and the virtual fish come to eat it. The device provides the user with a feeling of spatial existence through illumination and vibration.
{"title":"MR coral sea evolved: mixed reality aquarium with physical MR displays","authors":"Toshikazu Ohshima, Shun Kawaguchi, Yuma Tanaka","doi":"10.1145/2787626.2792619","DOIUrl":"https://doi.org/10.1145/2787626.2792619","url":null,"abstract":"The MR Coral Sea is a mixed reality tiny aquarium. The intent of the system is to play with little virtual fish. A player can interact with the virtual fish via Coral Display, an interactive device with multisensory physical feedback. When a player presents his or her hand above the device, fish bait appears on the palm, and the virtual fish come to eat it. The device provides the user with a feeling of spatial existence through illumination and vibration.","PeriodicalId":269034,"journal":{"name":"ACM SIGGRAPH 2015 Posters","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2015-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124962497","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}
Mid-air imaging has the advantage of expression along the depth direction. For example, MARIO [1], a mid-air display, can form an image in the depth range of 30 cm by physically moving the light source display. Multi-layered mid-air images can be displayed at various depths, but such multi-layered images are transparent and experience color mixture due to the addition of light from the light source displays. It is difficult to see the front of transparent images because they have no occlusion expression.
{"title":"OpaqueLusion: opaque mid-air images using dynamic mask for occlusion expression","authors":"H. Kajita, Naoya Koizumi, T. Naemura","doi":"10.1145/2787626.2787639","DOIUrl":"https://doi.org/10.1145/2787626.2787639","url":null,"abstract":"Mid-air imaging has the advantage of expression along the depth direction. For example, MARIO [1], a mid-air display, can form an image in the depth range of 30 cm by physically moving the light source display. Multi-layered mid-air images can be displayed at various depths, but such multi-layered images are transparent and experience color mixture due to the addition of light from the light source displays. It is difficult to see the front of transparent images because they have no occlusion expression.","PeriodicalId":269034,"journal":{"name":"ACM SIGGRAPH 2015 Posters","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2015-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127402550","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}
We present PaperPulse, a design and fabrication approach that enables designers without a technical background to produce standalone interactive paper artifacts by augmenting them with electronics. With PaperPulse designers overlay pre-designed visual elements with interactive widgets and specify functional relations between them using a logic demonstration and recording approach, called Pulsation. When the design is finished, PaperPulse generates layered electronic circuit designs, code that can be deployed on a microcontroller, and instructions for assembly.
{"title":"PaperPulse: an integrated approach for embedding electronics in paper designs","authors":"Raf Ramakers, Kashyap Todi, K. Luyten","doi":"10.1145/2787626.2792650","DOIUrl":"https://doi.org/10.1145/2787626.2792650","url":null,"abstract":"We present PaperPulse, a design and fabrication approach that enables designers without a technical background to produce standalone interactive paper artifacts by augmenting them with electronics. With PaperPulse designers overlay pre-designed visual elements with interactive widgets and specify functional relations between them using a logic demonstration and recording approach, called Pulsation. When the design is finished, PaperPulse generates layered electronic circuit designs, code that can be deployed on a microcontroller, and instructions for assembly.","PeriodicalId":269034,"journal":{"name":"ACM SIGGRAPH 2015 Posters","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2015-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125920891","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}
In recent years, Virtual Reality (VR) has become a new media to provide users an immersive experience. Events happening in the VR connect closer to our emotions as compared to other interfaces. The emotion variations are reflected as our facial expressions. However, the current VR systems concentrate on "giving" information to the user, yet ignore "receiving" emotional status from the user, while this information definitely contributes to the media content rating and the user experience. On the other hand, traditional controllers become difficult to use due to the obscured view point. Hand and head gesture based control is an option [Cruz-Neira et al. 1993]. However, certain sensor devices need to be worn to assure control accuracy and users are easy to feel tired. Although face tracking achieves accurate result in both 2D and 3D scenarios, the current state-of-the-art systems cannot work when half of the face is occluded by the VR headset because the shape model is trained by data from the whole face.
近年来，虚拟现实(VR)已经成为一种为用户提供沉浸式体验的新媒体。与其他界面相比，VR中发生的事件更贴近我们的情感。情绪的变化反映在我们的面部表情上。然而，目前的VR系统专注于向用户“提供”信息，而忽略了从用户那里“接收”情感状态，而这些信息无疑有助于媒体内容评级和用户体验。另一方面，传统的控制器由于视点模糊而变得难以使用。基于手部和头部手势的控制也是一种选择[Cruz-Neira et al. 1993]。然而，某些传感器设备需要佩戴以保证控制精度，并且用户容易感到疲劳。虽然面部跟踪在2D和3D场景下都能获得准确的结果，但目前最先进的系统在VR头显遮挡一半面部时无法工作，因为形状模型是由整个面部的数据训练的。
{"title":"Mouth gesture based emotion awareness and interaction in virtual reality","authors":"Xing Zhang, U. Ciftci, L. Yin","doi":"10.1145/2787626.2787635","DOIUrl":"https://doi.org/10.1145/2787626.2787635","url":null,"abstract":"In recent years, Virtual Reality (VR) has become a new media to provide users an immersive experience. Events happening in the VR connect closer to our emotions as compared to other interfaces. The emotion variations are reflected as our facial expressions. However, the current VR systems concentrate on \"giving\" information to the user, yet ignore \"receiving\" emotional status from the user, while this information definitely contributes to the media content rating and the user experience. On the other hand, traditional controllers become difficult to use due to the obscured view point. Hand and head gesture based control is an option [Cruz-Neira et al. 1993]. However, certain sensor devices need to be worn to assure control accuracy and users are easy to feel tired. Although face tracking achieves accurate result in both 2D and 3D scenarios, the current state-of-the-art systems cannot work when half of the face is occluded by the VR headset because the shape model is trained by data from the whole face.","PeriodicalId":269034,"journal":{"name":"ACM SIGGRAPH 2015 Posters","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2015-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121976075","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}
Scribble art is a kind of illustrative drawing. Artists use continuous lines to convey the impression of an image or concept of a design. Unlike conventional line drawings such as sketching and hatching that commonly comprise of short and straight line segments, scribble artists aim at depicting the image with long and continuous curves. In this work, we study a typical curve pattern, circular scribble that appears most frequently in the artworks. Circular lines are drawn in either clockwise or counter-clockwise direction with varying radius in the circular scribble arts. The artists delicately trace along a seemingly random path and control the size and orientation of circular line pattern to depict a subject of their artwork. The main challenges lie in producing smooth transition between grayscale levels and preserving dominant image features using continuous loops and intersections of a circular scribble. Thus, the creation of circular scribble art is skill-demanding and time-consuming. In order to facilitate such process, we introduce a systematic approach to automatically synthesize circular scribble arts from images by tracing along a virtual path using solely a single continuous circular scribble with varying radius and orientation. We have tested our approach using a wide range of images and generate visually pleasing circular scribble arts (see Figure 1).
{"title":"Continuous circular scribble arts","authors":"Chun-Chia Chiu, Yi-Hsiang Lo, W. Ruan, Cheng-Han Yang, Ruen-Rone Lee, Hung-Kuo Chu","doi":"10.1145/2787626.2792600","DOIUrl":"https://doi.org/10.1145/2787626.2792600","url":null,"abstract":"Scribble art is a kind of illustrative drawing. Artists use continuous lines to convey the impression of an image or concept of a design. Unlike conventional line drawings such as sketching and hatching that commonly comprise of short and straight line segments, scribble artists aim at depicting the image with long and continuous curves. In this work, we study a typical curve pattern, circular scribble that appears most frequently in the artworks. Circular lines are drawn in either clockwise or counter-clockwise direction with varying radius in the circular scribble arts. The artists delicately trace along a seemingly random path and control the size and orientation of circular line pattern to depict a subject of their artwork. The main challenges lie in producing smooth transition between grayscale levels and preserving dominant image features using continuous loops and intersections of a circular scribble. Thus, the creation of circular scribble art is skill-demanding and time-consuming. In order to facilitate such process, we introduce a systematic approach to automatically synthesize circular scribble arts from images by tracing along a virtual path using solely a single continuous circular scribble with varying radius and orientation. We have tested our approach using a wide range of images and generate visually pleasing circular scribble arts (see Figure 1).","PeriodicalId":269034,"journal":{"name":"ACM SIGGRAPH 2015 Posters","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2015-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130681463","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}
S. Scheggi, L. Meli, C. Pacchierotti, D. Prattichizzo
The complexity of the world around us is creating a demand for novel interfaces that will simplify and enhance the way we interact with the environment. The recently unveiled Android Wear operating system addresses this demand by providing a modern system for all those companies that are now developing wearable devices, also known as "wearables". Wearability of robotic devices will enable novel forms of human intention recognition through haptic signals and novel forms of communication between humans and robots. Specifically, wearable haptics will enable devices to communicate with humans during their interaction with the environment they share. Wearable haptic technology have been introduced in our everyday life by Sony. In 1997 its DualShock controller for PlayStation revolutionized the gaming industry by introducing a simple but effective vibrotactile feedback. More recently, Apple unveiled the Apple Watch, which embeds a linear actuator that can make the watch vibrate. It is used whenever the wearer receives an alert or notification, or to communicate with other Apple Watch owners.
{"title":"Touch the virtual reality: using the leap motion controller for hand tracking and wearable tactile devices for immersive haptic rendering","authors":"S. Scheggi, L. Meli, C. Pacchierotti, D. Prattichizzo","doi":"10.1145/2787626.2792651","DOIUrl":"https://doi.org/10.1145/2787626.2792651","url":null,"abstract":"The complexity of the world around us is creating a demand for novel interfaces that will simplify and enhance the way we interact with the environment. The recently unveiled Android Wear operating system addresses this demand by providing a modern system for all those companies that are now developing wearable devices, also known as \"wearables\". Wearability of robotic devices will enable novel forms of human intention recognition through haptic signals and novel forms of communication between humans and robots. Specifically, wearable haptics will enable devices to communicate with humans during their interaction with the environment they share. Wearable haptic technology have been introduced in our everyday life by Sony. In 1997 its DualShock controller for PlayStation revolutionized the gaming industry by introducing a simple but effective vibrotactile feedback. More recently, Apple unveiled the Apple Watch, which embeds a linear actuator that can make the watch vibrate. It is used whenever the wearer receives an alert or notification, or to communicate with other Apple Watch owners.","PeriodicalId":269034,"journal":{"name":"ACM SIGGRAPH 2015 Posters","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2015-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126745629","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}
To synthesize realistic translucent materials in computer graphics, it is necessary to simulate the effect of subsurface scattering. In previous works, several methods are proposed for rendering such materials in real-time. The screen space subsurface scattering (SSSS) is developed by Jimenez et al. [2009], yet the speed of rendering is not very practical for low-end computational environment, because screen space techniques require huge number of texture samplings. We previously propose a curvature-based shading method [Kubo et al. 2010] which approximates the effect of subsurface scattering according to the curvature. Since the curvature is determined by the surface shape of neighbors, it is not able to compute the effect of scattering light from the behind of the object. In this paper, we propose a novel shading method depending on the translucency magnitude which represents the significance of the subsurface scattering effect. According to the translucency magnitude, we modulate the reflectance to imitate the effect of subsurface scattering. Since this modulation is very simple to compute, we are able to render translucent materials in real-time not only in high-end workstations but also low-end mobile devices.
为了在计算机图形学中合成逼真的半透明材料，有必要模拟亚表面散射的效果。在以前的工作中，提出了几种实时渲染这些材料的方法。屏幕空间次表面散射(SSSS)是由Jimenez等人[2009]开发的，但由于屏幕空间技术需要大量的纹理采样，因此渲染速度对于低端计算环境不是很实用。我们之前提出了一种基于曲率的遮阳方法[Kubo et al. 2010]，该方法根据曲率近似地表下散射的影响。由于曲率是由相邻物体的表面形状决定的，因此无法计算物体背后散射光的影响。在本文中，我们提出了一种新的着色方法，该方法依赖于代表亚表面散射效应重要性的半透明大小。根据半透光的大小，我们调整了反射率来模拟地下散射的影响。由于这种调制非常容易计算，因此我们不仅可以在高端工作站中实时渲染半透明材料，还可以在低端移动设备中实时渲染半透明材料。
{"title":"Real-time rendering of subsurface scattering according to translucency magnitude","authors":"Hiroyuki Kubo, K. Tokoi, Y. Mukaigawa","doi":"10.1145/2787626.2792616","DOIUrl":"https://doi.org/10.1145/2787626.2792616","url":null,"abstract":"To synthesize realistic translucent materials in computer graphics, it is necessary to simulate the effect of subsurface scattering. In previous works, several methods are proposed for rendering such materials in real-time. The screen space subsurface scattering (SSSS) is developed by Jimenez et al. [2009], yet the speed of rendering is not very practical for low-end computational environment, because screen space techniques require huge number of texture samplings. We previously propose a curvature-based shading method [Kubo et al. 2010] which approximates the effect of subsurface scattering according to the curvature. Since the curvature is determined by the surface shape of neighbors, it is not able to compute the effect of scattering light from the behind of the object. In this paper, we propose a novel shading method depending on the translucency magnitude which represents the significance of the subsurface scattering effect. According to the translucency magnitude, we modulate the reflectance to imitate the effect of subsurface scattering. Since this modulation is very simple to compute, we are able to render translucent materials in real-time not only in high-end workstations but also low-end mobile devices.","PeriodicalId":269034,"journal":{"name":"ACM SIGGRAPH 2015 Posters","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2015-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133451432","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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