An Illustration Technique Using Hardware-Based Intersections and Skeletons
Oliver Deussen, Jörg Hamel, Andreas Raab, Stefan Schlechtweg, Thomas Strothotte.
Graphics Interface (GI'99), pp. 175--182,
1999. [BibTeX]
An Interface for Sketching 3D Curves
Jonathan M. Cohen, Lee Markosian, Robert C. Zeleznik, John F. Hughes, Ronen Barzel.
Proceedings of the 1999 ACM Symposium on Interactive 3D Graphics, pp. 17--21,
1999. [BibTeX]
Animated Teleconferencing: Video Driven Facial Animation
Ian Buck.
B.S.E. Undergraduate Thesis, June,
1999. [BibTeX]
Art-Based Rendering of Fur, Grass, and Trees
Michael A. Kowalski, Lee Markosian, J.D. Northrup, Lubomir D. Bourdev, Ronen Barzel, Loring S. Holden, John F. Hughes.
Proceedings of Siggraph 99,
1999. [BibTeX]
Beyond Photorealism
Stuart Green.
10th Eurographics Workshop on Rendering,
1999. [BibTeX]
Capturing and Re-Using Rendition Styles for Non-Photorealistic Rendering
Jörg Hamel, Thomas Strothotte.
Computer Graphics Forum, Vol. 18, No. 3,
1999. [BibTeX]
Comprehensive Halftoning of 3D Scenes
Oleg Veryovka, John W. Buchanan.
Skiggraph '99,
1999. [BibTeX]
Computational expressionism : a study of drawing with computation
Author(s): Joanna Maria Berzowska.
Master Thesis: Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, February,
1999.
[BibTeX] [DOI] 
Abstract:
This thesis presents computational expressionism, an exploration of
drawing using a computer that redefines the concepts of line and
composition for the digital medium. It examines the artistic process
involved in computational drawing, addressing the issues of skill,
algorithmic style, authorship, re-appropriation, interactivity, dynamism,
and the creative/evaluative process.
The computational line augments the traditional concept of line making
as a direct deposit or a scratching on a surface. Digital representation is
based on computation; appearance is procedurally determined. The
computational line embodies not only an algorithmic construction, but
also dynamic and interactive behavior. A computer allows us to
construct drawing instruments that take advantage of the dynamism,
interactivity, behavioral elements and other features of a programming
environment.
Drawing becomes a two-fold process, at two distinct levels of
interaction with the computer. The artist has to program the appearance
and behavior of lines and subsequently draw with these lines by
dragging a mouse or gesturing with some other input device. The
compositions incorporate the beauty of computation with the creative
impetus of the hand, whose apparent mistakes, hesitations and
inspirations form a complex and critical component of visual
expression.
Computer-Generated Graphite Pencil Materials and Rendering
Mario Costa Sousa.
Department of Computing Science, University of Alberta, June,
1999. [BibTeX]
Computer-Generated Pencil Drawing
Mario Costa Sousa, John W. Buchanan.
Skiggraph '99,
1999. [BibTeX]