• International Journal of CAD/CAM
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• v.11 no.1
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• pp.18-26
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• 2011

This paper proposes a new solid-shape modeling system based on a lusterware-image illustration. The proposed method reconstructs a three dimensional solid shape from a set of rough sketches that are typically drawn in the early stages of the design process. The sketches do not have to be strictly accurate, and this tolerance to the roughness of the input sketches is one of the major advantages of the proposed method. The proposed system creates an initial shape based on the silhouette of the input lusterware-images. Then the user can edit the initial shape with intuitive cutting and dishing-up operations, which are based on sketching user interface. To achieve the goal, the system retains the geometric model with two representations: a point-set data and a volume data. This dual data structure allows the program to create an initial shape from the input images with little computational cost, and the user can apply cutting and dishing-up operations without substantially increasing computational and memory requirements. In this research, we have tested the proposed system by reconstructing solid models of some mechanical parts from rough sketches. The experimental results indicate that the proposed method is useful for the prototyping of a solid shape.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.16 no.6
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• pp.1312-1317
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• 2012

ZSphere of ZBrush can be added to the canvas, and most of all, added to the existing ZSphere as mobile geometrical objects. For example, arms can be produced out of the globoid in the progress of an intermediate step. characters with multiple limbs can be produced easily in this way. With Zsphere, several Child Spheres can be produced out of single Sphere, then these can be parents spheres, and can connect other Child Spheres. In this paper, by making each form through these processes, 3D characters were modeled to shape easily and rapidly. Since 3D objects can be added, rotated, and moved, they can interact smoothly with Z-depth of campus. To place these objects on the screen, paint, build fixed perspective image, smerge pixols and transform 3D objects, diverse transforming tools and sculpturing tools were used. The characters were designed in the way that first, the finished 3D characters were transformed into poly, then each side was restructured rapidly with Topology.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2011.10a
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• pp.524-526
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• 2011

ZSphere of ZBrush can be added to the screen, and most of all, added to the existing ZSphere as mobile geometrical objects. For example, legs can be produced out of the globoid in the progress of an intermediate step. characters with multiple limbs can be produced easily in this way. With Zsphere, several Child Spheres can be produced out of single Sphere, then these can be parents spheres, and can connect other Child Spheres. In this paper, by making each form through these processes, 3D characters were modeled to shape easily and rapidly. Since 3D objects can be added, rotated, and moved, they can interact smoothly with Z-depth of campus. To place these objects on the screen, paint, build fixed perspective image, smerge pixols and transform 3D objects, diverse transforming tools and sculpturing tools were used. The characters were designed in the way that first, the finished 3D characters were transformed into poly, then each side was restructured rapidly with Topology.

• Journal of KIISE
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• v.43 no.5
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• pp.516-523
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• 2016

For old-age makeups, makeup artists first make a mold cast of an actor's face using plaster and then sculpt wrinkles in clay on the plaster mold. After finishing the clay sculpture, its negative plaster mold is fabricated and silicone skin patches are finally made for application to the actor's face. This process takes a few days and is tedious for actors and makeup artists. With recent advances in 3D printing and scanning technology, it is becoming easier to scan and fabricate 3D faces. This paper presents a new pipeline composed of facial scanning, interactive wrinkle modeling, and mold printing stages to easily and efficiently fabricate silicone masks for old-age makeups without the use of plaster and clay. An intuitive sketch interface based on a normal map is proposed for the creation of wrinkles in real time, even with a high-resolution face model. Then the geometry of the final wrinkles is reconstructed using a depth map and the negative mold of the wrinkled face is printed. We also show that the presented pipeline can fabricate a silicone mask more conveniently than the traditional one that consists of pouring silicone into the prepared negative mold and then overlapping the mold with the original positive one.