R. Turner, D. Thalmann, "The Elastic Surface Layer Model for Animated Character Construction", Proc. Computer Graphics International '93, Lausanne, Switzerland, Springer-Verlag, Tokyo, pp. 399-412.  Home/Search   Document Details and Download   Summary   Related Articles   Check

....seem not be the best model for solving these problems, although the vector field based texturing approach reviewed in Section 4.2 could give a partial answer to the problem. More practical solutions to character animation consist in embedding the implicit volumetric model into a parametric skin [30, 27]. This solution is perfectly wise since the character has little chances to break into pieces during the animation: a skin mesh of fixed topology, whose points are re projected onto the surface at each time step, is sufficient. The parametric skin will automatically smooth the tangent ....

Russel Turner and Daniel Thalmann. The elastic surface layer model for animated character construction. In Computer Graphics International'93, June 1993.

....abstractly represents underlying body tissues and mediates skin movement. Chadwick et al. demonstrated expressive three dimensional cartoon characters but deformation of a realistic character was not shown. Other researchers have investigated modeling the underlying body tissues in greater depth [27, 24, 8, 35]. Most recently, several groups have undertaken ambitious efforts to produce anatomically inspired multi layered models of animals and humans with considerable verisimilitude. Nedel and Thalmann [19] simulate the surface deformation of muscles using spring mesh dynamics; a modeled skin cross ....

R. Turner and D. Thalmann, The Elastic Surface Layer Model for Animated Character Construction. in N. M. Thalmann and D. Thalmann, eds., Proc. Computer Graphis International, New York: Springer Verlag, 1993, pp. 399-412.

....refineable on the fly. By controlling the refinement, stiff or soft surfaces could be created without fear of numerical instabilities, but this requires special handling of the external forces to determine which mass points an external force is applied to. Recently, both Turner and Thalmann [turn93], and Lee, et al..ii, lee93] have proposed modeling only the skin of a character with a finite element model. This reduces the computation time, but requires that the interior of the character be composed of rigid objects. Since the finite element model remains springy, the simulation of the ....

Russell Turner and Daniel Thalmann. "The elastic surface layer model for animated character construction". Proceedings of Computer Graphics International '93. Springer-Verlag, 1993.

.... Magnenat Thalmann and Thalmann used two layered approach in their film Randez vous a Motreal [13] the digitized polygonal skin surface was deformed according to the skeleton pose change using a set of so called joint dependent local deformation operators (JLD) 10] Turner and Thalmann in [24] use the name Layered elastic model to describe layered model with some added physically based elastic components. The combination of physical simulation with layered approach improves realism of animation results rapidly. Chadwick, Haumann and Parent presented some sophisticated results of ....

....and Parent presented some sophisticated results of their animation system (Critter) in [5] They used four layered approach, but only one of these layers were physically based. Another example of succesful layered model is Elastic surface layer model implementated in LEMAN system as presented in [24]. Gourret et al. used finite element method to describe a human hand as a volume element mesh surrounding bones in [4] Recent research projects still use layered principles, morover, they tend to create human body model which is as close to reality as possible. Nedel and Thalmann used ....

R. Turner and D. Thalmann. The elastic surface layer model for animated character construction. In Computer Graphics International, 1993.

....free form deformation approach was also used by Komatsu [8] for skin. Mark Henne used a layered approach [6] in which implicit fields simulated body tissue. Singh et al. also used implicit functions to simulate skin behavior [13] Turner et al. used an elastic skin model for character animation [14]. Skin wrinkling has been explored by Wu et al. 21] Gourret et al. 5] used a finite element method to model the hand during grasping. None of these methods attempted to model individual three dimensional muscles. Chen and Zeltzer presented a biomechanically based muscle model using a finite ....

R. Turner and D. Thalmann. The Elastic Surface Layer Model for Animated Character Construction. In N. M. Thalmann and D. Thalmann, editors, Proceedingsof Computer Graphics International '93, pages 399--412, Lausanne, Switzerland, June 1993. Springer-Verlag.

....around the joints, and simulates muscle bulging due to flexion. Gascuel extracted a spline surface around a skeleton [9] Sometimes the surface is geometrically adjusted during motion to mimic deformation [12] Turner et al. used a deformable, elastic skin for character animation [26]. A variant of this class of methods have attempted to use a pre defined skin (usually a polygon mesh or spline surface of some type) which is embedded in some space filling function whose purpose is to deform the skin surface in response to movement of the hierarchy. Moccozet and ....

R. Turner and D. Thalmann. The Elastic Surface Layer Model for Animated Character Construction. In N. M. Thalmann and D. Thalmann, editors, Proceedings of Computer Graphics International '93, pages 399--412, Lausanne, Switzerland, June 1993. Springer-Verlag.

....body constituents. Articulated bodies such as humans, other animals, and robots are almost universally modeled using a tree structured hierarchy of rigid segments (sometimes called links) connected by joints that bear a more or less close relationship to the skeleton in animals [BZ91, BPW93, MTT93] The hierarchy itself only provides for motion at joints, but such a model would appear at best like a jointed plastic doll fairly realistic for a single position but obviously not correct when seen moving. For certain applications, such as ergonomics (where issues such as reachability and ....

....characters [CHP89] using free form deformations [SP86] The free form deformation approach was also used by Komatsu [Kom88] for skin. Mark Henne used a layered approach [Hen90] in which implicit fields simulated body tissue. Turner et al. use an elastic skin model for character animation [TT93] Skin wrinkling has been explored by Wu et al. WKT96] Gourret et al. GMTT89] used a finite element method to model the hand during grasping. None of these methods attempted to model individual three dimensional muscles. Chen and Zeltzer presented a biomechanically based muscle model using a ....

R. Turner and D. Thalmann. The Elastic Surface Layer Model for Animated Character Construction. In N. M. Thalmann and D. Thalmann, editors, Proceedings of Computer Graphics International '93, pages 399--412, Lausanne, Switzerland, June 1993. SpringerVerlag.

....refineable on the fly. By controlling the refinement, stiff or soft surfaces could be created without fear of numerical instabilities, but this requires special handling of the external forces to determine which mass points an external force is applied to. Recently, both Turner and Thalmann [turn93], and Lee, et al., lee93] have proposed modeling only the skin of a character with a finite element model. This reduces the computation time, but requires that the interior of the character be composed of rigid objects. Since the finite element model remains springy, the simulation of the ....

Russell Turner and Daniel Thalmann. "The elastic surface layer model for animated character construction". Proceedings of Computer Graphics International '93. SpringerVerlag, 1993.

....formulation lends itself well to inside outside tests and volume preservation constraints. Thus, several researchers use a volume preserving ellipsoid for representing a fusiform muscle [Scheepers97, Wilhelms97a] Others approximate muscles by an implicit surface extracted from a set of ellipsoids [Turner93,Thalmann96]. Finally, multi belly muscles e.g. the pectoral muscle can be represented by a set of ellipsoids positioned along two spline curves [Scheepers97] In all these works, muscle flexing and bulging is simulated by binding the degrees of freedom (scaling and possibly translation and or rotation) of ....

R. Turner, D. Thalmann, "The Elastic Surface Layer Model for Animated Character Construction", Proc. Computer Graphics International '93, Lausanne, Switzerland, Springer-Verlag, Tokyo, pp. 399-412.

....its analytic formulation lends itself well to inside outside tests and volume preservation constraints. Thus, several researchers use a volume preserving ellipsoid for representing a fusiform muscle [14, 19] Others approximate muscles by an implicit surface extracted from a set of ellipsoids [18, 17]. Finally, one research team represents multi belly muscles such as the pectoralis by a set of ellipsoids positioned along two spline curves [14] In all these works, muscle flexing and bulging is simulated by binding the degrees of freedom (scaling and possibly translation 1 and or rotation) of ....

R. Turner, D. Thalmann. The Elastic Surface Layer Model for Animated Character Construction. Proc. of Computer Graphics International '93, Lausanne, Switzerland, Springer-Verlag, Tokyo, pp. 399-412 (1993).

....control points deform at joints in accordance with several constraints such as elasticity, area preservation, and implicit repulsive force fields that mimic bones and muscles. Deformations that occur away from joints are ignored by this approach. Turner and Thalmann developed the LEMAN system [Turner93] to construct and animate articulated characters. Muscles and organs are represented by simple implicit surfaces (namely spheres, cylinders, and super ellipses) They are covered by an elastic surface, the skin, which is not permitted to penetrate the inner layers but remains free to slide over ....

....to fill in empty spaces left by organs and missing muscles. An implicit surface, corresponding to the corch 1 , is created from all the geometric primitives. 3. A fat layer with a viscoelastic behaviour. 4. A skin represented by a geometric mesh or spline patches. Unlike other approaches [Turner93, Wilhelms97] our skin is not an elastic surface. This permits to use very fine geometry e.g. laser scans without slowing down the simulation. As the skin is moreover anchored to the fat layer, it does move elastically. Though this is unacceptable from a biomechanical standpoint, it is ....

R. Turner, D. Thalmann, "The Elastic Surface Layer Model for Animated Character Construction", Proc. Computer Graphics International '93, Lausanne, Switzerland, Springer-Verlag, Tokyo, pp. 399-412.

No context found.

Turner R, Thalmann D (1993) The Elastic Surface Layer Model for Animated Character Construction. Proc. Computer Graphics International.

No context found.

Turner R, Thalmann D (1993) The Elastic Surface Layer Model for Animated Character Construction. Proc. Computer Graphics International.

No context found.

Turner R, Thalmann D. (1993) The Elastic Surface Layer Model for Animated Character Construction Proceedings Computer Graphics International 1993, Springer-Verlag

No context found.

Turner R, Thalmann D (1993) The Elastic Surface Layer Model for Animated Character Construction.

Online articles have much greater impact   More about CiteSeer.IST   Add search form to your site   Submit documents   Feedback  

CiteSeer.IST - Copyright Penn State and NEC