NASA Presents the “Major Space Act Award” to Clement Shimizu for the development of a significant scientific or technical contribution, entitled Nasa Eyes, that has been determined to be of major value in the conduct of an aeronautical or space activity of NASA!
This is a very humbling award because I was only a very small part of a big team including my crew including D’nardo Colucci, Clayton, Hilary McVicker, Michael Ford, Ken Yager, Juan, Daryl, Kathy Fortier, Tony Berger, Adam Wales, and the rest of The Elumenati and the NASA Jet Propulsion Laboratory.
Kevin Hussey presenting eyes under NASA Shuttle enterprise
Worldviewer running in a small dome display
Created for use in Elumenati’s GeoDome immersive environments, Worldviewer is a tool that allows users to easily author interactive presentations while incorporating up-to-date multimedia content from a variety of sources. The WorldComposer content authoring platform is easy to learn and simple to use, allowing educators to produce fully interactive experiences based on their own expertise, without requiring programming skills.
World Viewer’s built in Flexible Projection Mapping based on the Perspective Projection Mapping Article
Users can build docent-guided presentations, user-driven experiences, and recorded scripts using movies, still images, and high definition video created for both standard and spherical (panoramic) media. Worldviewer simplifies the process of providing audiences with a fresh, continuously integrated interactive experience.
Worldviewer uses the Omnity “Perspective Projection Mapping” toolkit for projection mapping the earth visualization data onto any type of display surface using a wide variety of video projectors, lens, edge blending, stereoscopic, and camera calibration technologies. Omnity was devloped by Clement Shimizu and D’nardo Colucci for the Elumenati and was based on a publication titled OmniMap Perspective Projection Mapping authored by Clement Shimizu and com during graduate school.
Pracilla Davanzo 口付け – A VIDEO POETRY
Creative collaboration with body modification and performance artist Pracilla Devanzo from Sao Paulo Brazil.
Title: 口付け – A Video Poetry
Artists: Pracilla Devanzo and Clement Shimizu
More Info: 1080p@24p Freelensed Video, 5:34
Location: Filmed in Porto, Portugal, March 2016.
Music: Tetine – Mata Hari Voodoo (Used with permission)
Exhibition: Funarte MG, Belo Horizonte, Brazil, May 30th 2016
Exhibition: Tran(S)arau – do Pulso à Virilha – 2ª Edição in Coimbra, Portugal, May 26th 2016
Virtual Mosque Dome Simulator Children’s Museum of Manhattan’s Muslim Cultures Exhibit
This beautiful video showcases Elumenati’s installation for the Children’s Museum of Manhattan’s America to Zanzibar: Muslim Cultures Near and Far exhibit. It uses Elumenati WorldViewer software for a 3D exploration of mosque architecture projected inside of a Geodome display.
“When the Children’s Museum of Manhattan began work on our exhibition six years ago, it was our dream to be able transport visitors around the world. With the help of the Elumenati’s amazing GeoDome Panorama and WorldViewer, that dream became a reality.” — Andrew Ackerman / Executive Director, Children’s Museum of Manhattan
DreamPlace is an unforgettable journey inspired by a child’s most memorable experience of meeting Santa Claus. DreamPlace will take families on a magical sleigh ride to the North Pole with the help of Shrek and his Friends. -DreamWorks Animation Website
Elumenati was enlisted to produce the Virtual Sleigh Ride that is part of the DreamWorks DreamPlace.
Panorama display: http://www.Elumenati.com
OmniPlayer Software: Clement Shimizu for Elumenati
Ride Automation and Building Experience Design: Parker3D
Ryan Abellera's Concept Design for CCS Class. Paint formulated on site using Dupont ColorNet and Spectramaster.
Abstract: A computer aided design system for determining the color appearance of metallic automotive coatings has been developed. A sketch based bidirectional reflectance distribution function design interface allows simple concept art to be used to style new metallic car colors. The final design is specified using industrial measurement standards for metallic color appearance, and paint formulations are determined by employing an automotive refinish system. A virtual collection of existing automotive paints, specified using the measurement standard, is provided, and tools for searching this database, for both design and manufacturing purposes, are described. The system is assessed by using it in industrial and educational design studios.
Title: A Computer Aided Color Appearance Design System for Metallic Car Paint
Authors: Clement Shimizu and Gary W. Meyer
Published in Journal of Imaging Science and Technology, 59(3): 030403-1–030403-10, 2015.
Society for Imaging Science and Technology 2015
Presented at 23th Color and Imaging Conference 2015 (CIC23)
BIBTEX CITATION
@inproceedings{shimizu2015,
author = {Clement Shimizu and Gary W. Meyer},
title = {A Computer Aided Color Appearance Design System for Metallic Car Paint},
year = {2015},
booktitle = {Journal of Imaging Science and Technology}
}
Movement drives dynamic natural imagery with a Kinect-based user interface in the Grotto, a contemplative space for patients and their families at the Children’s Pain and Palliative Clinic (Minneapolis). We collaborated with U+B Architecture and Design and the hospital staff to create the immersive environment. Visitors use the Kinect to interact with patterns that imitate the natural flow of ripples and currents in water.
Clement Shimizu through Elumenati
For U+B
Automotive design course at CCS
Clement Shimizu and Gary Meyer of the University of Minnesota
The students of the College for Creative Studies
As visiting scholars, Clement Shimizu and Gary Meyer helped teach a special course at the renowned College for Creative Studies.
The industrial design department offers an automotive design course where students design a car from concept art to fully painted clay mock-up. The students used the BRDF Design Suite to pick and design colors for their concept vehicles. The colors were formulated and sprayed onto clay models.
Image of the the Ford Motor Company’s S Studio
Clement Shimizu and Seth Berrier of the University of Minnesota
A special rendering engine was designed to allow for real time material editing when using high dynamic range environment maps. In this image Ford’s S Studio was photographically captured using hundreds of photos from various angles and exposures. This environment map is used for interactive design and realistic rendering of automotive paints.
Paige Dansinger showing off at her art gallery in the heart of downtown Minneapolis’s skyway system.
A custom bench was built to celebrate the opening of Paige Dansinger’s art gallery.
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3D Pac-Man was a collaborative project between Dr. Clement Shimizu from The Elumenati and Keita Takahashi (The creator of Katamari Damacy) created for Babycastles video game events at the Museum of Arts and Design (Manhattan) and Telfair Museum (Savannah).
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A.C.E.S. Surround View Flight Simulator powers a giant wrap around screen using a single projector. In this video, we illustrate Lockheed Martin’s Prepar3D training software in a panoramic projection system using Elumenati’s Omnimap Software.
Love for a farmer’s Wife, Paige Dansinger. Original artist Kitagawa Utamaro I
Paige Dansinger, Woman Putting on Face Powder, (Original by Kitagawa Utamaro)
Artist: Paige Dansinger
Programmer: Dr. Clement Shimizu
#DrawArt is an application created to help Paige Dansinger teach art history in a new and engaging way. The artist digitally paints historical works of art using an iPad. The software records the painting and a animation that can be replayed from a blank canvas.
BRDF Design software developed by Clement Shimizu while at the University Of Minnesota
Abstract: Cynthia Challener discusses the use of Colour Rendering by way of computers to define a popular trend and to speed up colour design. Color Design software by Clement Shimizu, Ph.D. and Gary W. Meyer’s computer graphics lab are discussed.
Title: Computerised Color
Authors: Cynthia Challener
Published in Polymers Paint Color Journal Vol 202 no 4573 June 2012 pages 10-11.
Raul Osorio’s Project Runway application
Sassy Honduran fashion designer Raul Osorio enlisted Kate Iverson and Clement Shimizu to produce his successfully Project Runway Season 10 video application.
Producers: Kate Iversion and Clement Shimizu for Raul Osorio
By Clement Shimizu
With Denny Park, Nick Lee, Helena Shimizu, and James Sommerfeld
A *Munny escapes his box at the toy store and goes on the adventure of his life. He explores the toy store and runs wild through the shopping mall decorated for the holidays. Inspired by Corduroy by Don Freeman and also Jigglypuff from Pokemon.
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By: Clement Shimizu
For: Janaki Ranpura
Music: Olli Johnson on the Baritone Uke
Puppeteers: Dwane Blake Love and Hannah Rivenburgh
This is a test of some of the mini siege warfare props made for Janaki Ranpura’s Jim Henson grant proposal. John Austin’s book Mini Weapons of Mass Destruction was used as starting point for the designs of the siege catapult and claymore mine. The trebuchet is a counterweight design specifically tuned to not launch far to allow it to work in the confines of a small puppet show.
This research documents the creation and application of the first complete computer aided design system for color appearance. In this thesis, the fundamental components of computer aided geometric design (CAD) are applied to computer aided color appearance design (CACAD) including visualization, design, analysis/optimization, and scanning/prototyping tools. A series of experiments demonstrate the CACAD system’s maturity by showing that it is effective at designing, visualizing, and formulating paints in a wide variety of real world situations. Continue reading →
Creative tools are proposed that allow color stylists to take advantage of their training in the art and design fields. A simple reflection model is employed that has the minimum number of free parameters required to design solid and metallic color finishes from conceptualization to fabrication. The parameters correspond to color specification terms familiar to designers such as face color, flop color, travel, and gloss. We demonstrate how the reflection model can also be used to develop effective interfaces for color stylists. We create a virtual mood board that allows direct selection of the reflection model parameters from pictures. We also develop an image based BRDF tweaker for adjusting color appearance directly on a 3D object.
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By: Clement Shimizu, The Elumenati, Patrick Bradely, and The Chicago Field Museum
This interactive exhibit invites visitors to use Wii controllers inside of a dome to explore historians’ theories on the origins of Cave Art. The Elumenati produced Cave Art in collaboration with the team at the Field and animator Pat Bradley, as part of the Mammoths and Mastodons exhibit currently touring museums around the country.
Cave Art Interactive installation won the 2011 Silver MUSE Award, an honor from the Media and Technology arm of the American Association of Museums.
Authors: Seth Berrier, Gary W. Meyer, and Clement Shimizu
A computer graphic program for organizing and displaying the colors in a paint collection is presented. A virtual representation for the traditional color card fan deck is described. This interactive program provides a lightness, chroma and hue interface for selecting a color from the collection. Software for visualizing a paint color on a three dimensional surface is also discussed. This tool allows the user to evaluate the sheen of a solid paint color and the travel of a metallic or pearlescent paint color.
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Why do car bumpers often look like they are painted the wrong color, even if the paint is a perfect match? Small geometric misalignment (labeled angle β) can cause significant perceived color mismatches especially in metallic automotive paints.
Authors: Clement Shimizu and Gary W. Meyer
Color mismatches that result from geometric misalignment are studied. Differences in color can result when adjacent parts of an object are coated with the same paint but are not aligned to create a continuous geometric surface. The color difference that results due to shading can be accentuated by the use of metallic and pearlescent paints with goniochromatic properties. A metric is developed for determining when the color difference is large enough for the misalignment to become apparent. A technique is also presented for selecting a paint that matches the adjacent part and creates the illusion of geometric continuity even though the two parts are misaligned. Continue reading →
The Hot Dog Lady
By: Hal Schuler and Clement Shimizu
These animations are a result of a collaboration between Hal Schuler (Timesquid at the Time, but now known as Hal Lovemelt of Playatta) and Clement Shimizu for a Valentine’s day party hosted by DJ Real Talk Radio. They created a photo booth that superimposes party attendants into looping animations. Participants enjoyed the animations at the party and had the option to download the results afterwards.
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“Bust out the strawberry lip gloss and meet us under the mistletoe! We’ve turned boring ol’ Christmas on its ear this year with a sexy holiday party – Tendercakes style!”
By: Clement Shimizu
Director of Photography: Stephen Stephens
Featuring: Tendercakes and Beatrix Jar. (Clip of Snails from Claude Nuridsany’s Microcosmos used without permission)
Music Selection: Tendercakes and Millions Billions
A Tendercakes’ Kissmas was a kissing centric video for a Kissing Themed Xmas Party, hosted by the fabulous sister DJ duo Tendercakes!
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Authors: Jonathan Konieczny, John Heckman, Gary W. Meyer, Marty Manyen, Marty Rabens, and Clement Shimizu
A system is introduced for the simulation of spray painting. Head mounted display goggles are combined with a tracking system to allow users to paint a virtual surface with a spray gun. Ray tracing is used to simulate droplets landing on the surface of the object, allowing arbitrary shapes and spray gun patterns to be used. This system is combined with previous research on spray gun characteristics to provide a realistic simulation of the spray paint including the effects of viscosity, air pressure, and paint pressure. The simulation provides two different output modes: a non-photorealistic display that gives a visual representation of how much paint has landed on the surface, and a photorealistic simulation of how the paint would actually look on the object once it has dried. Useful feedback values such as overspray are given. Experiments were performed to validate the system.
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Authors: Clement Shimizu, Jim Terhorst, and David McConville (done under D’nardo Colucci for the Elumenati)
Typical video projection systems display rectangular images on flat screens. Optical and perspective correction techniques must be employed to produce undistorted output on non-planar display surfaces. A two-pass algorithm, called projective perspective mapping, is a solution well suited for use with commodity graphics hardware. This algorithm is implemented in the OmniMap API providing an extensible, reusable C++ interface for porting 3D engines to wide field-of-view, non-planar displays. This API is shown to be easily integrated into a wide variety of 3D applications.
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Authors: Jonathan Konieczny, Gary W. Meyer, Clement Shimizu, John Heckman, Marty Manyen, and Marty Rabens
A system is introduced for the simulation of spray painting. Head mounted display goggles are combined with a tracking system to allow users to paint a virtual surface with a spray gun. Ray tracing is used to simulate droplets landing on the surface of the object, allowing arbitrary shapes and spray gun patterns to be used. This system is combined with previous research on spray gun characteristics to provide a realistic simulation of the spray paint including the effects of viscosity, air pressure, and paint pressure. The simulation provides two different output modes: a non-photorealistic display that gives a visual representation of how much paint has landed on the surface, and a photorealistic simulation of how the paint would actually look on the object once it dried. Useful feedback values such as overspray are given. Experiments were performed to validate the system.
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Authors: Seth Berrier, Gary Meyer, and Clement Shimizu
A metallic paint scheme for an architectural wall is created using computer aided color appearance design techniques. New computer graphic hardware that allows real-time rendering of complex reflectance functions is employed to produce photo-realistic images of the metallic paint applied to the surface of the wall. An interpolation scheme is developed that permits one and two dimensional metallic shade sequences to be determined between individual bricks in a single row of the wall and between the complete rows of bricks that compose the wall. Paint formulation software, originally developed for auto refinish applications, is used to determine the paint mixtures necessary to realize the metallic colors in the design. A prototype of the wall is constructed and exhibited in a museum gallery.
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Authors: Seth Berrier, Clement Shimizu, Patrick Chong, D’nardo Colucci, and Gary Meyer
Computer graphics hardware and software is used to create a new set of tools for selecting a household paint color. Important surface reflection effects, such as gloss and pearlescence, are rendered in real time using pixel shading hardware. Unlike traditional paint chips, this feature permits colors to be evaluated on three dimensional shapes and in different surface finishes. A novel set of color navigation tools is provided to allow the user to visualize the color collection supplied by the manufacturer, to select subsets of the collection for consideration, and to match or modify an existing color sample. This interface is easier to use and less expensive to produce than the fan deck found in most paint stores. The pictures produced by the software are displayed on a four panel video wall. The large size of the wall allows the user to evaluate the appearance of the color at a scale similar to its final dimension once it has been applied to a surface.
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By: Clement Shimizu, Kate Iverson, and all of the artists from www.mnartists.org
The MN Artists mashup project was created for mnartists.org, a project of the Walker Art Center, as part of the “Festival of Appropriation” exhibit at The Soap Factory curated by Jonathan Nelson and Kate Iverson and sponsored by McKnight foundation. Hundreds of thousands of art images from tens of thousands of artists were spidered from the mnartists.org site to create a 3D video mashup. The MN Artists mashup was shown as part of the Festival Appropriation for the duration of the exhibit at the Soap Factory, as well as at the Bakken Museum and the Walker Art Center in the Fall of 2007.
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Architectural Facade by Houminn Practice featuring a progression of Metallic surface coatings selected with Computer Aided Color Appearance Design tools
Title: Houminn Practice’s Cloak Wall
Team: Marc Swackhamer of HouMinn Practice; Seth Berrier, Clement Shimizu, and Gary Meyer of the University of Minnesota; Allan Rodriguez and David Griffus of DuPont Performance Coatings
The prototype of the Cloak Wall was exhibited in the Goldstein Museum of Design. The key colors in the color scheme were selected directly from the photograph of the intended site using the BRDF Design Suite and interpolated mathematically.
Susannah’s Mouth from Dead Sexy event installation
By: Clement Shimizu and Kate Iverson
Featuring: Susannah
Description: Susannah’s Mouth was produced for an art party called Dead Sexy 2 at Kingman Studios-known for its wild and hedonistic atmosphere. This video is part of a series of party videos and art installations that focus on a single body part to the point of fetish.
By: Clement Shimizu, Sarah Steil, Nicole Steinhofer
When creating product packaging, the appearance of specialty color treatments, like foils and embossing, is unknown until the design is sent through the printing press. Mistakes are costly, if not impossible, to correct at this stage. A software prototype was created to explore the utility of an Adobe Illustrator plugin to show a realistic preview of specialty foil and gloss spot colors.
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Metallic Foil Design Software Workspace
Software Title: Metallic Foil Logo Designer
By: Clement Shimizu and Sarah Steil
Sarah Steil(then graduate student from Design Housing and Apparel (DHA)) and I partnered to win first prize in a logo design contest for the University of Minnesota. Instead of creating a single static logo, we created a whole software work-space for rapid prototyping of metallic foil logo designs.
Personal note: I enjoyed the privilege of taking three courses in the UMN DHA program as a graduate student of Computer Science. This particular project was a done as part of a project where Computer Science students were paired with Design students. The student pairs created collaborative work in the area of color in computer graphics and design. I have very high recommendations for educational programs that provide opportunities where creative minds are joined with technical minds to realize ideas that would be impossible otherwise.
Authors: Jonathan Konieczny, Clement Shimizu, Gary Meyer, and D’nardo Colucci
A new close range virtual reality system is introduced that allows intuitive and immersive user interaction with computer generated objects. A projector with a special spherical lens is combined with a flexible, tracked rear projection screen that users hold in their hands. Unlike normal projectors, the spherical lens allows for a 180 degree field of view and nearly infinite depth of focus. This allows the user to move the screen around the environment and use it as a virtual “slice” to examine the interior of 3D volumes. This provides a concrete correspondence between the virtual representation of the 3D volume and how that volume would actually appear if its real counterpart was sliced open. The screen can also be used as a “magic window” to view the mesh of the volume from different angles prior to taking cross sections of it. Real time rendering of the desired 3D volume or mesh is accomplished using current graphics hardware. Additional applications of the system are also discussed.
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Benjamin Moore Wall of Inspiration for previewing architectural color finishes
Title: The Wall of Inspiration
University of Minnesota Team: Seth Berrier, Clement Shimizu, Gary Meyer, and D’nardo Colucci
Benjamin Moore Paints Team: Patrick Chong and Carl Minchew
The Wall of Inspiration was a joint project between the University of Minnesota and Benjamin Moore paints. Customers are often dissatisfied with how different a color looks on a large wall compared to a small color chip. The purpose of the project was to explore the question of electronic color on a large scale display device. By carefully utilizing gloss and BRDF measurements we were able to create a realistic shader that simulated the appearance of paint given the various gloss levels.
Authors: Gary W. Meyer, Clement Shimizu, Alan Eggly, David Fischer, Jim King, and Allan Rodriguez
The principles of computer aided design were applied to the creation of new automotive finishes. A computer graphic program was written that allows the user to interactively adjust the surface reflection properties of an automotive paint and visualize the appearance of that paint on a three dimensional surface. The program gives a designer intuitive controls over a second order polynomial that defines the color of the paint at a series of aspecular angles. An automotive stylist was permitted to use the program and design three new automotive paints that had never been manufactured. Formulations for the designed paints were determined by inputting the desired aspecular measurements into an automotive refinish system. The new paints were mixed and sprayed on metal panels. Comparisons between the actual and simulated finishes were judged to be adequate by those involved in the experiment.
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A computer graphic system has been developed that permits the interactive design of new automotive finishes. The software makes use of a reflection model for car paint that is based on industry standards for measuring the appearance characteristics of the paint. These measurements include gloss for the clearcoat and three aspecular measurements for the metallic basecoat. The program interface provides a means for altering the reflectance properties of the paint and for visualizing the effect of those changes on the color appearance of the car. The desired aspecular measurements for the new paint can be input to a paint formulation system so that the paint can be manufactured. A test of the system shows good correspondence between the designed and the fabricated paint.
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Material Design in Environment Map Based Lighting
Authors: Clement Shimizu and Gary W. Meyer
A BRDF approximation is developed that is suitable for interactive color appearance design in direct lighting provided by environment maps. The BRDFs are approximated as a linear combination of cosine lobes with a fixed set of specular exponents. A nonlinear optimization routine is used to fit the cosine lobes to BRDFs appropriate for a specific color appearance design application: automotive paint. Modification and rendering of the BRDF is made possible by linearly combining prefiltered environment maps for each cosine lobe in real time.
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Authors: Clement Shimizu, Gary W. Meyer, and Joseph P. Wingard
An interactive program has been developed to assist in the design of new goniochromatic colors. The program gives the user a unique set of controls over a second order polynomial that defines these color families at a sequence of aspecular reflection angles. One approach, based on traditional metallic colors, allows the user to adjust the average hue, saturation, and brightness of all of the colors interpolated by the polynomial. Another method, appropriate for the newer effect colors, permits the designer to establish face and flop colors to be reached at either end of the interpolation. In a final technique, variations produced by adjusting model parameters can be evaluated and selected.
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Authors: Clement Shimizu, Amit Shesh, and Baoquan Chen
Motion blur occurs in photography by the motion of objects during the finite exposure time that the camera shutter remains open for to record the image on film. The traditional method of rendering a motion blur with a computer is to render the scene at many discrete time instances in every frame. In this paper, we present an efficient motion blur generation method that leverages modern commodity graphics hardware. Our method avoids rendering the entire complex scene many times per frame. It first renders the scene into a texture, next renders the optic flow, created based on object transformation, to a vector field texture. The scene texture is finally efficiently blurred according to the vector field using texture mapping hardware to do a piecewise iterative line integral convolution. Though our method uses vertex velocities to calculate image pixel velocities, the line integral convolution is performed on an image, making our method largely independent of scene complexity.
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This is a very humbling award because I was only a very small part of a big team including my crew including D’nardo Colucci, Clayton, Hilary McVicker, Michael Ford, Ken Yager, Juan, Daryl, Kathy Fortier, Tony Berger, Adam Wales, and the rest of The Elumenati and the NASA Jet Propulsion Laboratory.
By: Clement Shimizu, Sarah Steil, Nicole Steinhofer
When creating product packaging, the appearance of specialty color treatments, like foils and embossing, is unknown until the design is sent through the printing press. Mistakes are costly, if not impossible, to correct at this stage. A software prototype was created to explore the utility of an Adobe Illustrator plugin to show a realistic preview of specialty foil and gloss spot colors.
Continue reading 
