This paper addresses the design of surface shells as assemblies of tileable, flat geometric patterns with predictable performance in response to mechanical stimuli. We design a family of tileable and fabricable patterns represented as triangle meshes, which can be assembled for creating surface tessellations. First, a regular recursive subdivision of the planar space generates different geometric configurations for candidate patterns, having interesting and varied aesthetic properties. Then, a refinement step addresses manufacturability by solving for non-manifold configurations and sharp angles that would produce disconnected or weak patterns. We devise a strategy for creating continuous variations on the geometry of individual patterns, in both aesthetics and behavior, to enrich the catalog of available designs. Finally, we simulate our patterns to evaluate their mechanical response when loaded in different scenarios targeting out-of-plane bending. Through a simple browsing interface, we show that our patterns span a variety of different bending behaviors. The result is a catalog of patterns with varied aesthetics and predefined mechanical behavior, to use for the direct design of mechanical metamaterials. To assess the feasibility of our design-to-fabricate approach, we show fabricated 3D objects with different curvatures, and compare physical and simulated experiments.

Abstract We propose a method for the automatic segmentation of 3D objects into parts which can be individually 3D printed and then reassembled by preserving the visual quality of the final object. Our technique focuses on minimizing the surface affected by supports, decomposing the object into multiple parts whose printing orientation is automatically chosen. The segmentation reduces the visual impact on the fabricated model producing non‐planar cuts that adapt to the object shape. This is performed by solving an optimization problem that balances the effects of supports and cuts, while trying to place both in occluded regions of the object surface. To assess the practical impact of the solution, we show a number of segmented, 3D printed and reassembled objects.

Abstract Annotation support in interactive systems is often considered a simple task by the CG community, since it entails the apparently easy selection of a region and its connection with some information. The reality appears more complex. The scope of this paper is two‐fold: first, to review the status of this domain, discussing and characterizing several approaches proposed in literature to manage annotations over geometric models; second, to present in detail an innovative solution proposed and assessed in the framework of Cultural Heritage (CH) applications, called ClippingVolumes. At the annotation definition stage ClippingVolumes uses 3D data to characterize the annotation region; subsequently, annotations are visualized by adopting a two‐pass rendering solution which uses stencil buffers, thus without introducing new geometric elements, changing the topology or duplicating geometry elements. It solves most of the issues that afflict the current state of the art, such as fragmentation, annotation transfer to multiple representations and multi‐resolution data encoding. The latter is a mandatory requirement to produce efficient web‐based systems. We implemented and we fully tested this approach in the framework of a complex system that supports the documentation of CH restoration projects.

We describe an automated pipeline for digitization of catalog drawings of pottery types. This work is aimed at extracting a structured description of the main geometric features and a 3D representation of each class. The pipeline includes methods for understanding a 2D drawing and using it for constructing a 3D model of the pottery. These will be used to populate a reference database for classification of potsherds. Furthermore, we extend the pipeline with methods for breaking the 3D model to obtain synthetic sherds and methods for capturing images of these sherds in a way that matches the imaging methodology of archaeologists. These will serve to build a massive set of synthetic sherd images that will help train and test future automated classification systems.

Abstract Digital fabrication devices exploit basic technologies in order to create tangible reproductions of 3D digital models. Although current 3D printing pipelines still suffer from several restrictions, accuracy in reproduction has reached an excellent level. The manufacturing industry has been the main domain of 3D printing applications over the last decade. Digital fabrication techniques have also been demonstrated to be effective in many other contexts, including the consumer domain. The Cultural Heritage is one of the new application contexts and is an ideal domain to test the flexibility and quality of this new technology. This survey overviews the various fabrication technologies, discussing their strengths, limitations and costs. Various successful uses of 3D printing in the Cultural Heritage are analysed, which should also be useful for other application contexts. We review works that have attempted to extend fabrication technologies in order to deal with the specific issues in the use of digital fabrication in the Cultural Heritage. Finally, we also propose areas for future research.

Abstract In this paper, we present EnvyDepth, an interface for recovering local illumination from a single HDR environment map. In EnvyDepth, the user quickly indicates strokes to mark regions of the environment map that should be grouped together in a single geometric primitive. From these annotated strokes, EnvyDepth uses edit propagation to create a detailed collection of virtual point lights that reproduce both the local and the distant lighting effects in the original scene. When compared to the sole use of the distant illumination, the added spatial information better reproduces a variety of local effects such as shadows, highlights and caustics. Without the effort needed to create precise scene reconstructions, EnvyDepth annotations take only tens of seconds to produce a plausible lighting without visible artifacts. This is easy to obtain even in the case of complex scenes, both indoors and outdoors. The generated lighting environments work well in a production pipeline since they are efficient to use and able to produce accurate renderings.

BACKGROUND: In living cells, proteins are in continuous motion and interaction with the surrounding medium and/or other proteins and ligands. These interactions are mediated by protein features such as electrostatic and lipophilic potentials. The availability of protein structures enables the study of their surfaces and surface characteristics, based on atomic contribution. Traditionally, these properties are calculated by physico-chemical programs and visualized as range of colors that vary according to the tool used and imposes the necessity of a legend to decrypt it. The use of color to encode both characteristics makes the simultaneous visualization almost impossible, requiring these features to be visualized in different images. In this work, we describe a novel and intuitive code for the simultaneous visualization of these properties. METHODS: Recent advances in 3D animation and rendering software have not yet been exploited for the representation of biomolecules in an intuitive, animated form. For our purpose we use Blender, an open-source, free, cross-platform application used professionally for 3D work. On the basis Blender, we developed BioBlender, dedicated to biological work: elaboration of protein motion with simultaneous visualization of their chemical and physical features. Electrostatic and lipophilic potentials are calculated using physico-chemical software and scripts, organized and accessed through BioBlender interface. RESULTS: A new visual code is introduced for molecular lipophilic potential: a range of optical features going from smooth-shiny for hydrophobic regions to rough-dull for hydrophilic ones. Electrostatic potential is represented as animated line particles that flow along field lines, proportional to the total charge of the protein. CONCLUSIONS: Our system permits visualization of molecular features and, in the case of moving proteins, their continuous perception, calculated for each conformation during motion. Using real world tactile/sight feelings, the nanoscale world of proteins becomes more understandable, familiar to our everyday life, making it easier to introduce "un-seen" phenomena (concepts) such as hydropathy or charges. Moreover, this representation contributes to gain insight into molecular functions by drawing viewer's attention to the most active regions of the protein. The program, available for Windows, Linux and MacOS, can be downloaded freely from the dedicated website http://www.bioblender.eu.

Abstract We present a statistical method for the estimation of the Spatially Varying Bidirectional Reflectance Distribution Function (SVBRDF) of an object with complex geometry, starting from video sequences acquired with fixed but general lighting conditions. The aim of this work is to define a method that simplifies the acquisition phase of the object surface appearance and allows to reconstruct an approximated SVBRDF. The final output is suitable to be used with a 3D model of the object to obtain accurate and photo‐realistic renderings. The method is composed by three steps: the approximation of the environment map of the acquisition scene, using the same object as a probe; the estimation of the diffuse color of the object; the estimation of the specular components of the main materials of the object, by using a Phong model. All the steps are based on statistical analysis of the color samples projected by the video sequences on the surface of the object. Although the method presents some limitations, the trade‐off between the easiness of acquisition and the obtained results makes it useful for practical applications.

The projection of a photographic data set on a 3D model is a robust and widely applicable way to acquire appearance information of an object. The first step of this procedure is the alignment of the images on the 3D model. While any reconstruction pipeline aims at avoiding misregistration by improving camera calibrations and geometry, in practice a perfect alignment cannot always be reached. Depending on the way multiple camera images are fused on the object surface, remaining misregistrations show up either as ghosting or as discontinuities at transitions from one camera view to another. In this paper we propose a method, based on the computation of Optical Flow between overlapping images, to correct the local misalignment by determining the necessary displacement. The goal is to correct the symptoms of misregistration, instead of searching for a globally consistent mapping, which might not exist. The method scales up well with the size of the data set (both photographic and geometric) and is quite independent of the characteristics of the 3D model (topology cleanliness, parametrization, density). The method is robust and can handle real world cases that have different characteristics: low level geometric details and images that lack enough features for global optimization or manual methods. It can be applied to different mapping strategies, such as texture or per-vertex attribute encoding.

Abstract In this paper we present a practical, simple and robust method to acquire the spatially‐varying illumination of a real‐world scene. The basic idea of the proposed method is to acquire the radiance distribution of the scene using high‐dynamic range images of two reflective balls. The use of two light probes instead of a single one allows to estimate, not only the direction and intensity of the light sources, but also the actual position in space of the light sources. To robustly achieve this goal we first rectify the two input spherical images, then, using a region‐based stereo matching algorithm, we establish correspondences and compute the position of each light. The radiance distribution so obtained can be used for augmented reality applications, photo‐realistic rendering and accurate reflectance properties estimation. The accuracy and the effectiveness of the method have been tested by measuring the computed light position and rendering synthetic version of a real object in the same scene. The comparison with standard method that uses a simple spherical lighting environment is also shown.

Abstract The support of advanced information technology (IT) to preservation, restoration and documentation of Cultural Heritage (CH) is becoming a very important goal for the research community. Michelangelo's David was one of the first applications of 3D scanning technology on a highly popular work of art. The subsequent restoration campaign, started in 2002 and concluded in 2004, was also a milestone for the adoption of modern scientific analysis procedures and IT tools in the framework of a restoration process. One of the focuses in this restoration was also methodological, i.e. to plan and adopt innovative ways to document the restoration process. In this paper, we present the results of an integration of different restoration data (2D and 3D datasets) which has been concluded recently. The recent evolution of HW and SW graphics technologies gave us the possibility to interactively visualize an extremely dense 3D model which incorporates the colour information provided by two professional photographic campaigns, made before and after the restoration. Moreover, we present the results concerning the mapping, in this case on the 2D media, of the reliefs produced by restorers to assess and document the status of the marble surface before the restoration took place. This result could lead to new and fascinating applications of computer graphics for preservation, restoration and documentation of CH.