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technato · 6 years ago

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Video Friday: Kuka’s Home Robot, Nao Upgrade, and Bionic Cuttlefish

Your weekly selection of awesome robot videos

Photo: Festo

Video Friday is your weekly selection of awesome robotics videos, collected by your Automaton bloggers. We’ll also be posting a weekly calendar of upcoming robotics events for the next few months; here’s what we have so far (send us your events!):

RoboCup 2018 – June 18-22, 2018 – Montreal, Canada

RSS 2018 – June 26-30, 2018 – Pittsburgh, Pa., USA

Ubiquitous Robots 2018 – June 27-30, 2018 – Honolulu, Hawaii

MARSS 2018 – July 4-8, 2018 – Nagoya, Japan

AIM 2018 – July 9-12, 2018 – Auckland, New Zealand

ICARM 2018 – July 18-20, 2018 – Singapore

ICMA 2018 – August 5-8, 2018 – Changchun, China

SSRR 2018 – August 6-8, 2018 – Philadelphia, Pa., USA

ISR 2018 – August 24-27, 2018 – Shenyang, China

BioRob 2018 – August 26-29, 2018 – University of Twente, Netherlands

RO-MAN 2018 – August 27-30, 2018 – Nanjing, China

Let us know if you have suggestions for next week, and enjoy today’s videos.

Kuka, who has a near monopoly on industrial robots that are painted orange, is now getting into consumer robots. Or, they’re thinking about it, at least.

Our i-do concept study, that we presented at Hannover Fair 2018, goes a considerable step further, however. I-do is a home robot platform that already hints at how we expect our homes to be in the future. Our home assistant is designed to assume all types of duties and makes our homes safer, achieving all this equipped with the requisite modular features and controlled by voice commands.

[ KUKA ]

The Yamanaka Laboratory at the University of Tokyo hosted an expo this week called Parametric Move. It featured some creative robots (each driven by just one motor) that make me slighty uncomfortable:

And one that makes me VERY uncomfortable:

There was also this beautifully delicate robotic head called SEER, by Takayuki Todo:

And this robot made from servos and sticks that evolved its own optimized walking gait:

[ Parametric Move ]

Early riders in Arizona are using Waymo every day to get around town. Hear what it’s like to be one of the first in the world with access to fully self-driving cars.

[ Waymo ]

Softbank Robotics has super low-key launched a new version of NAO, the V6. It looks like the upgrades are mostly internal, but you can tell a new V6 from the dark grey color and the “NAO” logo on the chest (instead of the Aldebaran logo). RoboLab has the V6 for sale, and here’s a look at what’s new:

[ RobotLab ]

Usually, Festo releases all of its bionic learning network experiments at once, but they’ve snuck this robot in late. Called BionicFinWave, it’s inspired by the cuttlefish (and some other less interesting swimmy things):

The BionicFinWave uses its two side fins to move along. They are completely cast from silicone and do without struts or other support elements. This makes them extremely flexible and thus able to implement the fluid wave movements of their biological role models true to nature.

For this purpose, the two fins on the left and right are each fastened to nine small lever arms. These in turn are driven by two servo motors located in the body of the underwater robot. Two attached crankshafts transfer the force to the levers in such a way that the two fins can move individually. They can thereby generate different wave patterns, which are particularly suitable for a slow and precise movement and whirl up water less than a conventional screw drive does, for example.

In order to swim in a curved line, for example, the outer fin moves faster than the inner one – similar to the chains on a digger. A third servo motor on the head of the BionicFinWave controls the flexure of the body, which helps it to swim up and down. So that the crankshafts are suitably flexible and supple, a cardan joint is fitted between each lever segment. For this purpose the crankshafts including the joints and the connecting rod were made out of a single piece of plastic with the 3D printing method.

[ Festo BionicFinWave ]

Robocon is a robotics competition kind of like FIRST, except with more of an emphasis on autonomy. This year’s competition may have been a little bit miscalibrated, though, because the winning team in Japan took just 15 seconds to complete the entire challenge:

The goal here was to for each team’s robot to autonomously toss a ball through the red (or blue) hoop twice, and then the first team to toss a ball through the gold hoop and into the round catching thing wins the match.

[ Robocon ]

This video from Kod*lab is essentially a demonstration of all the different ways that Minitaur can bounce around adorably:

[ Kod*lab ]

We don’t just share the road with other vehicles. We share the road with people as they walk, run and bike to their destinations. Our autonomous car system, Asimov, is designed to treat people differently than cars, because they move differently. Torc’s number one priority has always been safety. While navigating traffic, the safest decision may require assertive driving. However, we always take a cautious approach toward pedestrians.

This video shows real situations that our self-driving car encountered with people on public roads. You’ll see our car stop for a person stepping off a crowded sidewalk into the street right in front of us. We shift over to provide space for a person walking in the bicycle lane. Our self-driving car predicts pedestrian movement to safely yield at crosswalks, stopping to allow people to cross before they even enter, or slowly passing by when it is finally determined that the person plans to wait.

[ TORC Robotics ]

The MIT Quest for Intelligence seeks to discover the foundations of human and machine intelligence and drive the development of technological tools that can positively influence society.

[ MIT ]

Researchers at the Cluster of Excellence CITEC are investigating human-machine interaction with Pepper, a humanoid robot. The robot’s capabilities include navigation, detection of objects and people, and grasping. Pepper can also learn new movements with the help of a human counterpart. Using Augmented Reality, the person interacting with Pepper can see how the robot perceives the world.

[ CITEC ]

This is not a very exciting video, but consider it a reminder that when you get tired of watching boring human football, super exciting robot football will be happening at RoboCup 2018 in Montreal next week, and it’ll be livestreamed!

[ RoboCup 2018 ] via [ Tech United ]

Here are some highlights of soft robotics research in Japan, posted by the ISI Laboratory at the University of Tokyo. To understand what these folks are saying, I’d encourage you to turn on YouTube’s auto-translated captions, which are both informative and entertaining.

“It’s like turning the bulging force into the power of the mind.”

Totally.

[ ISI Lab ]

Robots are designed for speed and precision — but their rigidity has often limited how they’re used. In this illuminating talk, biomedical engineer Giada Gerboni shares the latest developments in “soft robotics,” an emerging field that aims to create nimble machines that imitate nature, like a robotic octopus. Learn more about how these flexible structures could play a critical role in surgery, medicine and our daily lives.

[ TED ]

Many artificial intelligence researchers expect AI to outsmart humans at all tasks and jobs within decades, enabling a future where we’re restricted only by the laws of physics, not the limits of our intelligence. MIT physicist and AI researcher Max Tegmark separates the real opportunities and threats from the myths, describing the concrete steps we should take today to ensure that AI ends up being the best — rather than worst — thing to ever happen to humanity.

[ TED ]

Video Friday: Kuka’s Home Robot, Nao Upgrade, and Bionic Cuttlefish syndicated from https://jiohowweb.blogspot.com

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doodlewash · 7 years ago

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Hello friends, I am Saswati Chakraborty, currently living in Detroit, Michigan. I was born in a Bengali family in Kolkata, India and grew up in an environment where education and art are of paramount importance. You can follow me on Facebook, Instagram, Twitter and Pinterest to see more of my watercolour painting and art tutorials at the links found below.

Background and Inspiration

From my childhood, I always felt an irresistible attraction towards brushes and, with time, I realized my love of watercolour painting. I mainly work in pure watercolours. I focus primarily on photorealistic, detailed, nature paintings.

Figure 1. Lost In Dark Woods. (Photo Reference: Jacobs ATV)

In my childhood days, I was introduced to the world of colors in terms of school projects where I had opportunity to paint with pastel colors and learn a few basics about primary and secondary colors.

Figure 2. Title: The Colourful Poppy (Photo Reference Wendy Sinclair)

In high school, I had explored sketching, lino, acrylics and, of course, watercolour painting. However, for my career, I followed the traditional path of education and pursued a Masters in Microbiology and Business Administration. The desire of chasing my dream to become an artist somehow took a back seat, and I got lost in academics and my career. It took a few more years for me to fully dedicate myself to following my destiny.

When I started painting after 15 years, I found that the basic process is still the same. However, the means of painting and medium have expanded a lot. For the first year, I struggled a lot to find my genre, hopping from one subject to another, not being able to find my own style. Eventually, I started focusing on the process and learning afresh.

Alwin Toffler rightly remarked; “To educate yourself you have to learn, unlearn, and relearn”.

Why Watercolour Painting?

Watercolour is the most simple and spontaneous medium to work with. I found it is a versatile and magical medium. There are many disheartening myths regarding watercolour painting and its challenges. However, once mastered with proper knowledge, techniques, planning and research, combined with patience, it can produce surprising results!

Why Photorealistic Paintings?

Figure 3. Zinnia Detailing with Winsor and Newton Kolinsky Sable Minitaure Brushes (Photo Reference: Morgue File)

In photorealistic paintings, the artist strives to paint the intricate details observed in a photograph in his paintings. He also tries to give the light and shadow effects exactly as shown in the photo. I love taking up challenges and paint intricate subjects like macro details of a flower or the detailed foliage in a landscape. I have seen excellent photorealistic paintings in watercolours, which highly inspired me to focus on the same.

My Approach

Talent is God-gifted, but it’s the perseverance that makes one stand out. Talent, aided with relevant knowledge, creative thinking and a systematic approach – that’s all it takes to create magic. It’s not so difficult after all, as long as you have hunger to learn and improve. When it is accompanied with a knack for perfection, anybody can create a masterpiece!

Figure 4. Title: Wild Flowers of Farmington (Photo Reference-Own Photo)

Over the years, I learnt, one needs to have a right plan to bring the image in mind onto a canvas. Generally, I follow a three-phase approach for my projects.

Planning – It is often essential to create good compositions and plan the color schemes.

Research At Each Stage – This enriches me with the knowledge of the right techniques and tricks to handle difficult stages of my painting.

Execution – The above two stages being conducted appropriately, gives me enough confidence to enjoy the watercolour painting process.

Learning Stages

I am self-taught and I am constantly learning new methods of improvement. To make photorealistic paintings, one needs to have the right knowledge of light and shadow, colour theories, basic knowledge of sketching, and techniques to produce the detailing on paper or canvas. I discovered the huge realm of You Tube online instructional videos and demonstrations.

Figure 5. Title: Sunkissed Irises (Photo Reference: Self)

Gradually, I learnt new processes, brush strokes, and was more attracted to realistic paintings with detailing. I will be happy to share with you a few significant factors, which helped me to increase my knowledge base and improve my watercolour painting style.

Watercolor Painting Tips

Understanding of Color Theories and their Properties

Use of Good Art Supplies (For e.g. Light-Fast Pigments, Good Brushes, professional quality watercolours)

Use of Good Watercolour Paper (Professional Grade)

Finding the right subject or Genre for painting

Using the right photo reference (if painting from a reference photo)

Knowledge of techniques like Glazing, Wet on Wet, Wet on Dry, Lifting.

Concept of Light and Shadow

Open to feedback or criticisms

Figure 6. Title: Pink Plumerias (Photo Reference: Wendy Sinclair)

At First, I was shy in sharing my art as I thought it was amateurish. Then I realized that in order to progress further, feedback (positive or negative) is mandatory. The feedback essentially helped me to develop my skills and to produce professional quality paintings.

Figure 7. Title: Dahlia Painting (Challenge Entry)(Photo Reference: LiveDan330.com)

The final breakthrough came when I joined social media groups and actively started taking part in the monthly art challenges. I was not sure whether I was prepared for it, but I started planning for them right from the beginning. They gave me the momentum and confidence, which I needed at that moment. After this, I did not have to look back and started my own official page on Facebook. I am grateful to the master artists, who endowed me with the skills and knowledge of watercolour painting techniques and for whom, today, I am capable of offering my own tutorials and demos.

Materials Used

I love to experiment with materials but my favorite professional brand of pigments are Daniel Smith Professional Watercolours, Winsor & Newton Professional Watercolours and Kokuyu Camlin Watercolours. I tend to use a limited palette technique.

Figure 8. Title: Blooming Holly Hocks in Watercolours and Watercolour Brush Pens (Photo Refernce: Self)

My palette ranges from warm to cool shades with a few earth colors, which I use very rarely (mostly for landscapes). I love to derive my colors and mix my colors mostly on paper rather than on a palette.

Watercolour Paper

I prefer St. Cuthbert’s Mill (Cold Pressed/Not) 140lbs mold-free papers when I am painting some photo-realistic works, which involve multiple washes and use of masking fluid. For Botanical works, I prefer Arches (Hot Pressed) 140 lbs papers. I also love Fabriano Artistico (Rough) 140lbs paper for landscapes.

Figure 9. A Botanical Study of Grape Leaf in Arches Hot Pressed Paper (140 lbs)Photo Reference (Self)

Brushes & Palettes

I love to continuously experiment with new watercolour brushes. I mostly do my Botanical works with pure kolinsky sable brushes for their flexibility and water holding capacity. For large washes, I love the hake brush and squirrel mop brush. I also use the Black Silver brushes or Grumbacher semi-synthetic brushes for practice washes.

Figure 10. Begonia Painting in Detail. Reference: Self Study

I use a ceramic palette with a large mixing well, and also love the Winsor & Newton travel size half–pan set which are good for a few botanical works. I’m a huge fan of masking fluid and masking tapes. As I do photorealistic paintings, I apply these in quantitative amounts to my paintings. I use a 0.5 mechanical pencil for my initial sketch in most of my works, and a kneaded putty rubber eraser, which helps to remove the extra graphite marks efficiently.

Figure 11. Light Initial Sketch of Protea Flower

Figure 12. Title: The Green and The Wood (Photo Reference: Self)

My Watercolour Painting Techniques

People often complain that their “Painting look Amateurish”! The right knowledge and the right technique can transform a painting from an ordinary one to an extraordinary one.

As I often demonstrate in my tutorials, I follow a few basic, simple techniques: (As shown through the steps of a Sunflower Painting)

1. Stretching of Paper

I always stretch my paper prior to painting, when I am working with 140lbs papers, and where the painting involves multiple washes and layering.

2. Sketching

I often draw from reference photos, where I take my reference image from groups like Photos for Artists on Facebook, or Paint my Photos, or my own Photos. If I am taking reference from photos of other artists, I never forget to give due attributions. I make a light sketch in the main watercolour paper initially

3. Finding Value Ranges

I often find it very helpful to study the value ranges (value sketch) of the elements in my painting. This helps me to decide the darkest darks and the lightest lights and decide the light and shadow sources properly.

Figure 14. Layering and Painting the Darkest Darks and Lightest Lights according to Value Ranges

4. Using the Colour Wheel and Shadows

This helps me to decide the shades for the shadows and the complementary colors. This is particularly helpful in cases, where I am making up a composition. I try to compare the values of each shade to get the reference color range for each subject, thus choosing my colors for them. I use a rough strip of paper where I make swatches and test my colors before I finally paint with them.

Figure 15. Colour Swatch of Green for Foliage

5. Painting in Layers (Wet on Wet Washes) and , Dry Brushing, and Stippling

I paint in layers and allow each layer to dry properly before painting the next layer. This is essential for wet on wet techniques. For botanical works, I tend to use the dry brushing technique a lot with stippling and hatching too.

Figure 16. The Final Layering of the Painting

6. Lifting and Glazing

I do not use white and black colour in my paintings and tend to derive my black colors, if required. For whites or highlights, I prefer saving the whites of the paper and for that, I use masking fluid for my highlights. I also use tissue papers for lifting out certain areas as needed. Sometimes in order to give a smooth feel, I do glazing at the final stage after the initial layers has completely dried out.

Figure 17. Finished Painting after Glazing (Photo Reference: Myoho Dane from Indulgy.com)

In this Sunflower watercolour painting, I used very basic colors from Daniel Smith professional watercolours. I used the Primatek set and the Basic Set colors where my greens have been mostly derived by mixing blues and yellows. I like to use transparent and light fast pigments and avoid fugitive colors like Alizarin Crimson. In this example, I did not use black color but for the dark center, I mixed French Ultramarine blue with Raw Umber mixed with dash of neutral tint to get the dark tone. To see more about my watercolour painting process, follow me on my official Facebook page.

My Final Words

“The purpose of life is to discover your gift. The work of life is to develop it. The meaning of life is to give your gift away. “ – David Viscott

Figure 18. (Photo Reference: Self)

Life is fun, when we do things that we are good at. To create good art, patience is the most important factor. The next most significant contributors are perseverance, dedication, and sincerity. As explained above, if properly planned, no painting is a difficult task.

6 Steps Towards A Great Watercolour Painting

Planning the work ahead and doing proper research for the painting.

Making a thumbnail painting and creating your own composition.

Finding the value ranges and making the colour swatches.

Mixing the colours according to the colour wheel.

Paint every day. Analyze it by standing at a distance, which helps to locate the flaws. Correct your mistakes with a fresh eye.

Complete the painting by adding the final touches.

Six years ago, I never imagined that I would reach this stage finally. However, I had the passion of creativity and reaching out to people through my work. Maybe that has pushed me to pursue my career in my favorite subject. I would like to say that if you have a dream or passion, live it, because you have just one life and life is short!!

In the end, I would like to thank Charlie O’Shields, who is kind enough to give me the opportunity to share my works and my processes with all of you out there!! I would also like to thank the photographers, especially Wendy Sinclair, for providing such beautiful reference images for my paintings.

Cheers! Happy Painting!

Saswati Chakraborty Misra Facebook Twitter Instagram Pinterest Doodlewash

#Doodlewash GUEST ARTIST: "The Dynamic World of Watercolours..." by Saswati Chakraborty Hello friends, I am Saswati Chakraborty, currently living in Detroit, Michigan. I was born in a Bengali family in Kolkata, India and grew up in an environment where education and art are of paramount importance.

#watercolour painting #Dry brushing #featured #glazing #lifting #photorealistic #stippling #stretching paper #watercolour techniques #wet on wet

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