Non-Photorealistic Computer Graphics Library

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Found 16 item(s) authored in "1996".
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Technical Report A Resolution-Independent Representation for Pen-and-Ink Illustrations
Michael P. Salisbury, Corin Anderson, Dani Lischinski, David H. Salesin.
Department of Computer Science and Engineering, University of Washington, No. UW-CSE-96-01-02, 1996. [BibTeX]

Proceedings Assessing the Effect of Non-Photorealistic Rendered Images in CAD
Jutta Schumann, Thomas Strothotte, Andreas Raab, Stefan Laser.
Proceedings of the SIGCHI conference on Human factors in computing systems: common ground, pp. 35--41, 1996. [BibTeX]

Technical Report Cartoon-Looking Rendering of 3D-Scenes
Philippe Decaudin.
INRIA, Universite de Technologie de Compiegne, No. 2919, France, June, 1996. [BibTeX]

Proceedings Comic Chat
David Kurlander, Tim Skelly, David H. Salesin.
SIGGRAPH 96, 1996. [BibTeX]

PhD Thesis Computer-Generated Pen-and-Ink Illustration
George Winkenbach.
University of Washington, 1996. [BibTeX]

PhD Thesis Illustrating Transparency: communicating the 3D shape of layered transparent surfaces via texture
Victoria Interrante.
University of North Carolina, Chapel Hill, 1996. [BibTeX]

Proceedings On the Silhouette Cartoon Animation
Tosiyasu L. Kunii, Takao Maeda.
Computer Animation, pp. 110--117, June, 1996. [BibTeX]

Proceedings Painterly Rendering for Animation

Author(s): Barbara J. Meier.
Proceedings: Proceedings of SIGGRAPH '96, 1996.
[BibTeX] Find this paper on Google

We present a technique for rendering animations in a painterly style. The difficulty in using existing still frame methods for animation is getting the paint to “stick” to surfaces rather than randomly change with each frame, while still retaining a hand-crafted look. We extend the still frame method to animation by solving two major specific problems of previous techniques. First our method eliminates the “shower door” effect in which an animation appears as if it were being viewed through textured glass because brush strokes stick to the viewplane not to the animating surfaces. Second, our technique provides for frame-to-frame coherence in animations so that the resulting frames do not randomly change every frame. To maintain coherence, we model surfaces as 3d particle sets which are rendered as 2d paint brush strokes in screen spacemuch like an artist lays down brush strokes on a canvas. We use geometric and lighting properties of the surfaces to control the appearanceof brush strokes. This powerful combination of using 3d particles, surface lighting information, and rendering 2d brush strokes in screen space gives us the painterly style we desire and forces the brush strokes to stick to animating surfaces. By varying lighting and choosing brush stroke parameters we can createmany varied painterly styles. We illustrate the method with images and animated sequences and present specific technical and creative suggestions for achieving different looks.

Article Pertinent Data for Modelling Pigmented Materials in Realistic Rendering
Patrick Le Callet.
Computer Graphics Forum, Vol. 15, No. 2, pp. 119--127, 1996. [BibTeX]

Proceedings Rendering Line Drawings with Limited Resources
Stefan Schlechtweg, Thomas Strothotte.
Proceedings of GraphiCon'96, Vol. 2, pp. 131--137, St. Petersburg, Russia, July, 1996. [BibTeX]

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