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(To see a larger version of any of the images below, click on the thumbnail image.)

Decal Texturing

ShapeShop's decal texturing tools make it relatively quick and easy to texture a model from a photograph. To make this model, I took about 20 digital pictures of the clay statue shown below left. After using Photoshop to cut out the parts of the images I wanted to use (with feathered edges), I whipped up a quick model, made a base texture, and then layered on the detail decals. The whole thing took about 3 hours, but a large chunk of that time was spent manually color-balancing the photos (I forgot to turn off auto color-balancing...argh...)

Here are some more texturing examples. The first is textured from two photographs of Shadow the dog. Most of the decals were taken from the image below, but I had to use another image for the fur on the nose. The skin texture on the Gremlin is a repeating tile based on a (tweaked) photo of a piece of art. Most of the other parts are pictures of me, tinted green...

One cool feature of ShapeShop's decal textures is that they automatically update as the underlying surface changes, even as separate shapes blend and merge together. In this example I tiled a brick texture across two pieces, and then had them collide into eachother and blend together. The decals automatically flow across the surface - I didn't do any touching up by hand.

Character Models

ShapeShop is pretty useful for creating character models. The models below are some of the most complex I have created so far using ShapeShop. The dog on the right is shown in two poses. Re-posing is very easy in ShapeShop, since the model is made up of a bunch of hierarchically-blended volumes.

These next models were created before I had save and load implemented, so they are lost forever. The skeleton was the most complex I had done with the version of ShapeShop I first presented at SIGGRAPH 2005, in the sketches program. It was a miracle that I managed to finish it without crashing (although there were a few false starts...). It was also the first model I did on a Wacom Cintiq, which is an awesome piece of hardware for ShapeShop modeling.

Biological Models

ShapeShop's implicit blending makes it very easy to create the smoothly curving and branching surfaces necessary in biological models. The branching veins on the top of the heart (below, left) are composed of a bunch of small tube-like shapes all blended together. This is quick and easy to do, the heart took about 30 minutes. The vertebra model (right) was not sketched, but re-constructed from a CT Scan dataset. Once imported* into ShapeShop, it can be edited just like any other surface (see below).


* the functionality to import these CT scans is not available in ShapeShop v002

Mechanical Models

The CSG operations in ShapeShop are useful for creating things like the car body on the left. The rough volume of the outer body was sketched first, and then the interior was "hollowed out" using CSG Subtraction. That image is actually a cut-away view, the roof has been removed. The car took about 30 minutes to sketch. The shuttle was also made in ShapeShop, although it was done with the traditional modeling tools, rather than the sketching tools - because I can't draw very well. A better artist could have made the same model by sketching, since I used all the same operations, I just did them with spline curves instead of sketched curves.

These mechanical parts nicely show that ShapeShop can be used to model smoothly blending surfaces (left) and sharp edges (right). The pipes on the manifold are actually 3D Bezier curve primitives, blended together at the base. The piston was sketched in about 10 minutes (on my first try!). It has interior cavities, like a real piston would.

These are some early models of more real-world objects. Everything here is sketched except the wire on the plug, which is Bezier sweep primitive. These did not take long to make, even with the interface at that time, which was much more primitive than in ShapeShop v002.

Design Iterations

ShapeShop's sketch-based implicit surface modeling tools allow you to smoothly blend new volumes onto an existing model. For example, starting with the basic dog model (below left), I created a pig-dog, punk-rock dog, and space dog. The nose in the pig-dog was created by blending a new surface onto the dog's nose. The original model is still under there - I can load up the pig-dog and erase the pig nose to get back to the dog nose. Click for larger images.

Weird Arty Stuff and Other Things

The first model on the left below was based on a vertebra reconstructed from a CT scan (see above) . I added some "wings" to make it look like a spaceship, but I didn't like where it was going so I just subtracted the EG 2005 logo out of the middle. Weird? yes.

The center model is maybe my favorite model so far, because it completely changed my perception of what was possible with Sketch-Based modeling. I had been looking at Dali paintings when I got a phone call which was not terribly interesting, so I started doodling. But I wasn't absentmindedly doodling on a scrap of paper (like I usually do). I was absentmindedly doodling in ShapeShop, and after the call ended (about 15 minutes), I had what might be the first 3D doodle. When was the last time you "doodled" a 3D model?

Finally, on the right is a snapshop of a friend of mine using ShapeShop on an interactive tabletop display. He had never used a 3D modeling program before, but he caught on very quickly, and he had fun doing it. I took that as a good sign, since at that point he was the third person to have used the software.

These are some early ShapeShop models, done before a lot of the sketching tools were implemented. The elephant is a combination of sketching and traditional CSG modeling techniques, which are trivial to combine with ShapeShop's implicit representation. The rat character is the first real model that I created with ShapeShop, before it even had an erase function (!). The medusa model with horns was made even earlier, when the only sketching tool I had implemented was drawing with metaballs on the surface (which were used to make the SMI 2005 text). The rest of the model is procedural, provided by Eric Galin, as was the cup and face on the right.





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