Written by experts from the world’s leading institutions in the field, this is the only book to cover virtual and augmented reality in manufacturing from a manufacturing perspective, rather than a computer science angle. It details applications of state-of-the-art technologies in real industrial situations.

Heterogeneous object modelling is a new and quickly developing research area. This book is one of the first attempts to systematically cover the most relevant themes and problems of this new and challenging subject area. It is a collection of invited papers and papers co-authored by the editors. Each chapter presents either new research results or a survey on the following topics: Formal models and abstractions of heterogeneous objects including geometric, topological, discrete and continuous models, operations forming special algebras and conversions between different model types. Data structures and algorithms for representing, modifying and computing with heterogeneous objects. Computational techniques for the design, reconstruction, optimization, analysis and simulation of heterogeneous objects that incorporate information on shape, material and physical behavior using a common framework. Applications of heterogeneous object modelling in engineering and scientific areas, including geophysical, biomedical, artistic and multi-material fabrication applications.

Abstract: "The task of computer-based free-form shape design is fraught with practical and conceptual difficulties. Incorporating elements of traditional clay sculpting has long been recognised as a means of shielding a user from the complexities inherent in this form of modelling. The premise is to deform a mathematically-defined solid in a fashion that loosely simulates the physical moulding of an inelastic substance, such as modelling clay or silicone putty. Virtual sculpting combines this emulation of clay sculpting with interactive feedback. Spatial deformations are a class of powerful modelling techniques well suited to virtual sculpting. They indirectly reshape an object by warping the surrounding space. This is analogous to embedding a flexible shape within a lump of jelly and then causing distortions by flexing the jelly. The user controls spatial deformations by manipulating points, curves or a volumetric hyperpatch. Directly Manipulated Free-Form Deformation (DMFFD), in particular, merges the hyperpatch- and point-based approaches and allows the user to pick and drag object points directly. This thesis embodies four enhancements to the versatility and validity of spatial deformation: 1. We enable users to specify deformations by manipulating the normal vector and tangent plane at a point. A first derivative frame can be tilted, twisted and scaled to cause a corresponding distortion in both the ambient space and inset object. This enhanced control is accomplished by extending previous work on bivariate surfaces to trivariate hyperpatches. 2. We extend DMFFD to enable curve manipulation by exploiting functional composition and degree reduction. Although the resulting curve-composed DMFFD introduces some modest and bounded approximation, it is superior to previous curve-based schemes in other repects. Our technique combines all three forms of spatial deformation (hyperpatch, point and curve), can maintain any desired degree of derivative continuity, is amenable to the automatic detection and prevention of self-intersection, and achieves interactive update rates over the entire deformation cycle. 3. The approximation quality of a polygon-mesh object frequently degrades under spatial deformation to become either oversaturated or undersaturated with polygons. We have devised an efficient adaptive mesh refinement and decimation scheme. Our novel contributions include: incorporating fully symmetrical decimation, reducing the computation cost of the refinement/decimation trigger, catering for boundary and crease edges, and dealing with sampling problems. 4. The potential self-intersection of an object is a serious weakness in spatial deformation. We have developed a variant of DMFFD which guards against self-intersection by subdividing manipulations into injective (one-to-one) mappings. This depends on three novel contributions: analytic conditions for identifying self-intersection, and two injectivity tests (one exact but computationally costly and the other approximate but efficient)."

Our culture is obsessed with design. Sometimes designers can fuse utility and fantasy to make the mundane appear fresh—a cosmetic repackaging of the same old thing. Because of this, medicine—grounded in the unforgiving realities of the scientific method and peer review, and of flesh, blood, and pain—can sometimes confuse “design” with mere “prettifying.” Design solves real problems, however. This collection of papers underwrites the importance of design for the MMVR community, within three different environments: in vivo, in vitro and in silico. in vivo: we design machines to explore our living bodies. Imaging devices, robots, and sensors move constantly inward, operating within smaller dimensions: system, organ, cell, DNA. in vitro: Using test tubes and Petri dishes, we isolate in vivo to better manipulate and measure biological conditions and reactions. in silico: We step out of the controlled in vitro environment and into a virtual reality. The silica mini-worlds of test tubes and Petri dishes are translated into mini-worlds contained within silicon chips. The future of medicine remains within all three environments: in vivo, in vitro, and in silico. Design is what makes these pieces fit together—the biological, the informational, the physical/material—into something new and more useful.

Digital sculpting is the use of tools to push, pull, smooth, grab, pinch or otherwise manipulate a digital object as if it were made of a real-life substance such as clay. Mudbox is the premier sculpting solution for digital artists, in that it allows them to naturally and easily sculpt detailed, organic characters and models in a way that feels like traditional sculpting. This book guides CG professionals through the process of creating amazing digital sculptures using the Mudbox arsenal of ground-breaking digital sculpting and 3D painting tools, and porting the models into their Maya or Max work. Artists will explore tried and true, traditional, sculpting techniques and learn to apply them to digital sculpting. A series of in-depth tutorials are incluced, each challenging them with progressively more complex models as they go on. Unique to this book are topics specific to fine art sculptors transitioning from traditional sculpting to digital sculpting. information found nowhere else for professional sculptors shows them how to successfully integrate digital sculpting into their workflow. Associated web site with: support files, models, materials, and textures for completing the tutorials in the book.