https://www.npcglib.orgNon-photorealistic computer graphics resources.en-usCopyright 2008, NPCGLibstathis@npcglib.orgMon, 24 Mar 2008 11:12:38 +0100http://blogs.law.harvard.edu/tech/rss600 https://www.npcglib.org/paper.php?entryid=793 https://www.npcglib.org/paper.php?entryid=793 <pre>@misc{Collier:2005:IIR, author = {Mark Collier}, title = {An Investigation into Real-time Automated Painterly Video Techniques}, doi = {http://www.cs.bath.ac.uk/pubdb/download.php?resID=121}, abstract = {This investigation project presents an approach to the task of implementing a system for the real-time automatic painterly rendering of video using existing algorithms. The strengths and weaknesses of these algorithms are evaluated on numerous source videos and modifications made to improve the algorithms with further recommendations for their improvement suggested. An investigation is carried out in the non-photo realistic-rendering area of Computer Vision research. This identifies the history and current level of research within NPR. Both static and video algorithms are investigated to research the numerous techniques for painterly rendering. The research naturally leads to the design and implementation of a system for the automatic painterly rendering of video that can be evaluated against a number of criteria. Sample images are also included in an appendix to supplement the dissertation.}, howpublished = {B.Sc. Dissertation, University of Bath}, month = {May}, year = {2005}, note = {http://www.cs.bath.ac.uk/pubdb/download.php?resID=121} }</pre> Mark Collier Sun, 23 Mar 2008 18:53:13 +0100 https://www.npcglib.org/paper.php?entryid=792 https://www.npcglib.org/paper.php?entryid=792 <pre>@inbook{Yang:2006:ANR, author = {Hui-Lin Yang and Chuan-Kai Yang}, editor = {}, title = {A Non-photorealistic Rendering of Seurat's Pointillism}, doi = {10.1007/11919629}, abstract = {In recent years, there has been a trend on simulating impressionism with computers. Among the various styles of impressionism, we are particularly interested in simulating the style of pointillism, especially the style presented by Georges-Pierre Seurat, as he was deemed the founder of pointillism. The reason that his style attracts us is twofold. First, the painting process of pointillism is extremely laborious, so simulating his painting style by computers is desired. Second, though several existing impressionism algorithms may approximate pointillism with point-like strokes, some delicate features frequently observed in Seurat’s paintings are still not satisfactorily reflected by those general schemes. To achieve simulating Seurat’s painting style, we made careful observations on all accessible Seurat’s paintings and extract from them some important features, such as the few primitive colors, point sizes, and the effects of complementary colors and halos. These features have been successfully simulated and results are compared with not only Seurat’s existing paintings, but also with previous attempted simulations.}, chapter = {Advances in Visual Computing}, pages = {760--769}, publisher = {Springer Berlin / Heidelberg}, year = {2006}, volume = {4292/2006}, series = {Lecture Notes in Computer Science}, address = {Berlin}, edition = {}, month = {}, note = {} }</pre> Hui-Lin Yang, Chuan-Kai Yang Tue, 18 Mar 2008 20:38:56 +0100 https://www.npcglib.org/paper.php?entryid=790 https://www.npcglib.org/paper.php?entryid=790 <pre>@article{Guo:2006:EBP, author = {Yan-wen Guo and Jin-hui Yu and Xiao-dong Xu and Jin Wang and Qun-sheng Peng}, title = {Example based painting generation}, doi = {10.1631/jzus.2006.A1152}, abstract = {We present an approach for generating paintings on photographic images with the style encoded by the example paintings and adopt representative brushes extracted from the example paintings as the painting primitives. Our system first divides the given photographic image into several regions on which we synthesize a grounding layer with texture patches extracted from the example paintings. Then, we paint those regions using brushes stochastically chosen from the brush library, with further brush color and shape perturbations. The brush direction is determined by a direction field either constructed by a convenient user interactive manner or synthesized from the examples. Our approach offers flexible and intuitive user control over the painting process and style.}, journal = {Journal of Zhejiang University - Science A}, year = {2006}, volume = {7}, number = {7}, pages = {1152--1159}, month = {July}, note = {} }</pre> Yan-wen Guo, Jin-hui Yu, Xiao-dong Xu, Jin Wang, Qun-sheng Peng Tue, 18 Mar 2008 14:30:07 +0100 https://www.npcglib.org/paper.php?entryid=789 https://www.npcglib.org/paper.php?entryid=789 <pre>@phdthesis{Winnem:2006:PNG, author = {Holger Winnemöller}, title = {Perceptually-motivated Non-Photorealistic Graphics}, doi = {}, abstract = {At a high level, computer graphics deals with conveying information to an observer by visual means. Generating realistic images for this task requires considerable time and computing resources. Human vision faces the opposite challenge: to distill knowledge of the world from a massive influx of visual information. It is reasonable to assume that synthetic images based on human perception and tailored for a given task can (1) decrease image synthesis costs by obviating a physically realistic lighting simulation, and (2) increase human task performance by omitting superfluous detail and enhancing visually important features. This dissertation argues that the connection between non-realistic depiction and human perception is a valuable tool to improve the effectiveness of computer-generated images to support visual communication tasks, and conversely, to learn more about human perception of such images. Artists have capitalized on non-realistic imagery to great effect, and have become masters of conveying complex and even abstract messages by visual means. The relatively new field of non-photorealistic computer graphics attempts to harness artists’ implicit expertise by imitating their visual styles, media, and tools, but only few works move beyond such simulations to verify the effectiveness of generated images with perceptual studies, or to investigate which stylistic elements are effective for a given visual communication task. This dissertation demonstrates the mutual beneficence of non-realistic computer graphics and perception with two rendering frameworks and accompanying psychophysical studies: (1) Inspired by low-level human perception, a novel image-based abstraction framework simplifies and enhances images to make them easier to understand and remember. (2) A non-realistic rendering framework generates isolated visual shape cues to study human perception of fast-moving objects. The first framework leverages perception to increase effectiveness of (non-realistic) images for visually-driven tasks, while the second framework uses non-realistic images to learn about task-specific perception, thus closing the loop. As instances of the bi-directional connections between perception and non-realistic imagery, the frameworks illustrate numerous benefits including effectiveness (e.g. better recognition of abstractions versus photographs), high performance (e.g. real-time image abstraction), and relevance (e.g. shape perception in non-impoverished conditions).}, school = {Northwestern University}, year = {2006}, address = {Evanston, Illinois, U.S.A.}, month = {}, note = {} }</pre> Holger Winnemöller Mon, 17 Mar 2008 14:42:32 +0100 https://www.npcglib.org/paper.php?entryid=788 https://www.npcglib.org/paper.php?entryid=788 <pre>@inproceedings{Flagg:2006:PP, author = {Matthew Flagg and James M. Rehg}, title = {Projector-guided painting}, doi = {http://doi.acm.org/10.1145/1166253.1166290}, abstract = {This paper presents a novel interactive system for guiding artists to paint using traditional media and tools. The enabling technology is a multi-projector display capable of controlling the appearance of an artist’s canvas. This display-oncanvas guides the artist to construct the painting as a series of layers. Our process model for painting is based on classical techniques and was designed to address three main issues which are challenging to novices: (1) positioning and sizing elements on the canvas, (2) executing the brushstrokes to achieve a desired texture and (3) mixing pigments to make a target color. These challenges are addressed through a set of interaction modes. Preview and color selection modes enable the artist to focus on the current target layer by highlighting the areas of the canvas to be painted. Orientation mode displays brushstroke guidelines for the creation of desired brush texture. Color mixing mode guides the artist through the color mixing process with a user interface similar to a color wheel. These interaction modes allow a novice artist to focus on a series of manageable subtasks in executing a complex painting. Our system covers the gamut of the painting process from overall composition down to detailed brushwork. We present the results from a user study which quantify the benefit that our system can provide to a novice painter.}, booktitle = {UIST '06: Proceedings of the 19th annual ACM symposium on User interface software and technology}, year = {2006}, editor = {}, volume = {}, number = {}, series = {}, pages = {235--244}, address = {New York, NY, USA}, month = {}, organization = {}, publisher = {ACM}, note = {} }</pre> Matthew Flagg, James M. Rehg Mon, 17 Mar 2008 14:42:58 +0100 https://www.npcglib.org/paper.php?entryid=785 https://www.npcglib.org/paper.php?entryid=785 <pre>@inproceedings{Goodwin:2007:IDA, author = {Todd Goodwin and Ian Vollick and Aaron Hertzmann}, title = {Isophote Distance: A Shading Approach to Artistic Stroke Thickness}, doi = {http://doi.acm.org/10.1145/1274871.1274880}, abstract = {This paper presents an approach for determining stroke thickness in computer-generated illustrations of smooth surfaces. We assume that dark strokes are drawn to approximate the dark regions of the shaded surface. This assumption leads to a simple formula for thickness of contours and suggestive contours; this formula depends on depth, radial curvature, and light direction in a manner that reproduces aspects of thickness observed in hand-made drawings. These strokes convey local shape and depth relationships, and produce appealing imagery. Our method is simple to implement, provides temporally-coherent strokes, and runs at interactive rates.}, booktitle = {NPAR '07: Proceedings of the 5th international symposium on Non-photorealistic animation and rendering}, year = {2007}, editor = {}, volume = {}, number = {}, series = {}, pages = {53--62}, address = {New York, NY, USA}, month = {}, organization = {}, publisher = {ACM}, note = {} }</pre> Todd Goodwin, Ian Vollick, Aaron Hertzmann Sat, 08 Mar 2008 22:43:05 +0100 https://www.npcglib.org/paper.php?entryid=710 https://www.npcglib.org/paper.php?entryid=710 <pre>@inproceedings{Kolliopoulos:2006:S3A, author = {Alexander Kolliopoulos and Jack M. Wang and Aaron Hertzmann}, title = {Segmentation-Based 3D Artistic Rendering}, doi = {http://dx.doi.org/10.2312/EGWR/EGSR06/361-370}, abstract = {This paper introduces segmentation-based 3D non-photorealistic rendering, in which 3D scenes are rendered as a collection of 2D image segments. Segments abstract out unnecessary detail and provide a basis for defining new rendering styles. These segments are computed by a spectral clustering algorithm that can incorporate 3D information, including depth, user-defined importance, and object grouping information. Temporally coherent animation sequences are created by biasing adjacent frames to have similar segmentations. We describe algorithms for rendering segments in styles inspired by a number of hand-painted images.}, booktitle = {Eurographics Symposium on Rendering (EGSR'06)}, year = {2006}, editor = {}, volume = {}, number = {}, series = {}, pages = {361--370}, address = {}, month = {}, organization = {}, publisher = {}, note = {} }</pre> Alexander Kolliopoulos, Jack M. Wang, Aaron Hertzmann Tue, 04 Mar 2008 23:45:32 +0100 https://www.npcglib.org/paper.php?entryid=784 https://www.npcglib.org/paper.php?entryid=784 <pre>@masterthesis{Levin:2000:PIF, author = {Golan Levin}, title = {Painterly Interfaces for Audiovisual Performance}, doi = {}, abstract = {This thesis presents a new computer interface metaphor for the real-time and simultaneous performance of dynamic imagery and sound. This metaphor is based on the idea of an inexhaustible, infinitely variable, time-based, audiovisual "substance" which can be gesturally created, deposited, manipulated and deleted in a free-form, non-diagrammatic image space. The interface metaphor is exemplified by five interactive audiovisual synthesis systems whose visual and aural dimensions are deeply plastic, commensurately malleable, and tightly connected by perceptually-motivated mappings. The principles, patterns and challenges which structured the design of these five software systems are extracted and discussed, after which the expressive capacities of the five systems are compared and evaluated.}, school = {School of Architecture and Planning, Massachusetts Institute of Technology}, year = {2000}, address = {}, month = {August}, note = {} }</pre> Golan Levin Tue, 04 Mar 2008 11:55:37 +0100 https://www.npcglib.org/paper.php?entryid=779 https://www.npcglib.org/paper.php?entryid=779 <pre>@article{Hayes:2008:CP, author = {Brian Hayes}, title = { Computational Photography}, doi = {http://www.americanscientist.org/template/AssetDetail/assetid/56681}, abstract = {The digital camera has brought a revolutionary shift in the nature of photography, sweeping aside more than 150 years of technology based on the weird and wonderful photochemistry of silver halide crystals. Curiously, though, the camera itself has come through this transformation with remarkably little change. A digital camera has a silicon sensor where the film used to go, and there's a new display screen on the back, but the lens and shutter and the rest of the optical system work just as they always have, and so do most of the controls. The images that come out of the camera also look much the same-at least until you examine them microscopically.}, journal = {American Scientist}, year = {2008}, volume = {96}, number = {2}, pages = {}, month = {March-April}, note = {} }</pre> Brian Hayes Mon, 03 Mar 2008 03:32:14 +0100 https://www.npcglib.org/paper.php?entryid=783 https://www.npcglib.org/paper.php?entryid=783 <pre>@article{Huang:2007:IIR, author = {Jingshu Huang and Brian Bue and Avin Pattath and David Ebert and Krystal M. Thomas}, title = {Interactive Illustrative Rendering on Mobile Devices}, doi = {http://dx.doi.org/10.1109/MCG.2007.63}, abstract = {Illustrative rendering is a widely used visualization technique to display conceptual information, describe problems, and give insight to solve them efficiently in science, engineering, and the arts. Providing users with automated tools to generate illustrations at will is a challenging problem. Adapting illustrative rendering techniques from desktop platforms to mobile devices creates many hardware and software issues. The authors discuss adaptations of different illustration techniques for rendering 3D models directly on mobile devices for education and training purposes. The implementations of these illustration techniques address the limitations widely encountered in low-end devices. An interactive mobile graphical and textual rendering system with a toolkit of different illustration modes has been implemented.}, journal = {IEEE Computer Graphics and Applications}, year = {2007}, volume = {27}, number = {3}, pages = {48--56}, month = {}, note = {} }</pre> Jingshu Huang, Brian Bue, Avin Pattath, David Ebert, Krystal M. Thomas Mon, 03 Mar 2008 03:30:26 +0100