Improving Filtering for Computer Graphics

When drawing images onto a computer screen, the information in the scene is typically more detailed than can be displayed. Most objects, however, will not be close to the camera, so details have to be filtered out, or anti-aliased, when the objects are drawn on the screen. I describe new methods for filtering images and shapes with high fidelity while using computational resources as efficiently as possible. Vector graphics are everywhere, from drawing 3D polygons to 2D text and maps for navigation software. Because of its numerous applications, having a fast, high-quality rasterizer is important. I developed a method for analytically rasterizing shapes using wavelets. This approach allows me to produce accurate 2D rasterizations of images and 3D voxelizations of objects, which is the first step in 3D printing. I later improved my method to handle more filters. The resulting algorithm creates higher-quality images than commercial software such as Adobe Acrobat and is several times faster than the most highly optimized commercial products. The quality of texture filtering also has a dramatic impact on the quality of a rendered image. Textures are images that are applied to 3D surfaces, which typically cannot be mapped to the 2D space of an image without introducing distortions. For situations in which it is impossible to change the rendering pipeline, I developed a method for precomputing image filters over 3D surfaces. If I can also change the pipeline, I show that it is possible to improve the quality of texture sampling significantly in real-time rendering while using the same memory bandwidth as used in traditional methods

A survey on personal computer applications in industrial design process

Thesis (Master)--Izmir Institute of Technology, Industrial Design, Izmir, 1999Includes bibliographical references (leaves: 157-162)Text in English, Abstract: Turkish and Englishxii, 194 leavesIn this thesis, computer aided design systems are studied from the industrial designer's point of view. The study includes industrial design processes, computer aided design systems and the integration aspects.The technical issues are priorly studied, including current hardware and software technologies. The pure technical concepts are tried to be supported with real-world examples and graphics. Several important design software are examined, whether by personal practice or by literature research, depending on the availability of the software.Finally, the thesis include a case study, a 17" LCD computer monitor designed with a set of graphic programs including two-dimensional and three-dimensional packages.Keywords: Computers, industrial design methods, design software, computer aided design

B-splines for physically-based rendering

technical reportAlthough B-spline curves and surfaces have enjoyed a long established place in the graphics community as constructive modeling tools, the use of B-spline approximation techniques has received relatively little attention in rendering. In this work we explore the use of 4D and 5D tensor product B-spline functions to represent surface radiance, and establish that, when appropriately applied, they can be used effectively for static scenes with diffuse to moderately specular elements. Once computed, the surface radiance representation is view independent, can be evaluated quickly, and is equally suited for incorporation into ray tracing or scan-line rendering algorithms. Furthermore, we use B-spline approximation techniques to solve the problem of global illumination for general parametric surfaces with a wide range of reflectance and transmission properties. We conclude that addressing functional approximation aspects offers a fertile research ground relative to the already impressive gains that splines have made in other fields

Constructing 3D faces from natural language interface

This thesis presents a system by which 3D images of human faces can be constructed using a natural language interface. The driving force behind the project was the need to create a system whereby a machine could produce artistic images from verbal or composed descriptions. This research is the first to look at constructing and modifying facial image artwork using a natural language interface. Specialised modules have been developed to control geometry of 3D polygonal head models in a commercial modeller from natural language descriptions. These modules were produced from research on human physiognomy, 3D modelling techniques and tools, facial modelling and natural language processing. [Continues.

The slicing extent technique for fast ray tracing

A new technique for image generation using ray tracing is introduced. The “Slicing Extent Technique” (SET) partitions object space with slicing planes perpendicular to all three axes. Planes are divided into two dimensional rectangular cells, which contain pointers to nearby objects. Cell size and the space between slices varies, and is determined by the objects’ locations and orientations. Unlike oct-tree and other space-partitioning methods, SET is not primarily concerned with dividing space into mutually exclusive volume elements (‘voxels’) and identifying objects within each voxel. Instead, SET is based on analysis of projections of objects onto slicing planes. In comparison to the existing space subdivision methods for ray tracing, SET avoids tree traversal and exhibit no anomalous behavior. There is no reorganization when new objects arrive. Preprocessing to create slices is inexpensive and produces a finely tuned filter mechanism which supports rapid ray tracing

Microcomputer-assisted site design in landscape architecture: evaluation of selected commercial software

Call number: LD2668 .T4 1985 H33Master of Landscape Architectur

Digital Light

Light symbolises the highest good, it enables all visual art, and today it lies at the heart of billion-dollar industries. The control of light forms the foundation of contemporary vision. Digital Light brings together artists, curators, technologists and media archaeologists to study the historical evolution of digital light-based technologies. Digital Light provides a critical account of the capacities and limitations of contemporary digital light-based technologies and techniques by tracing their genealogies and comparing them with their predecessor media. As digital light remediates multiple historical forms (photography, print, film, video, projection, paint), the collection draws from all of these histories, connecting them to the digital present and placing them in dialogue with one another. Light is at once universal and deeply historical. The invention of mechanical media (including photography and cinematography) allied with changing print technologies (half-tone, lithography) helped structure the emerging electronic media of television and video, which in turn shaped the bitmap processing and raster display of digital visual media. Digital light is, as Stephen Jones points out in his contribution, an oxymoron: light is photons, particulate and discrete, and therefore always digital. But photons are also waveforms, subject to manipulation in myriad ways. From Fourier transforms to chip design, colour management to the translation of vector graphics into arithmetic displays, light is constantly disciplined to human purposes. In the form of fibre optics, light is now the infrastructure of all our media; in urban plazas and handheld devices, screens have become ubiquitous, and also standardised. This collection addresses how this occurred, what it means, and how artists, curators and engineers confront and challenge the constraints of increasingly normalised digital visual media. While various art pieces and other content are considered throughout the collection, the focus is specifically on what such pieces suggest about the intersection of technique and technology. Including accounts by prominent artists and professionals, the collection emphasises the centrality of use and experimentation in the shaping of technological platforms. Indeed, a recurring theme is how techniques of previous media become technologies, inscribed in both digital software and hardware. Contributions include considerations of image-oriented software and file formats; screen technologies; projection and urban screen surfaces; histories of computer graphics, 2D and 3D image editing software, photography and cinematic art; and transformations of light-based art resulting from the distributed architectures of the internet and the logic of the database. Digital Light brings together high profile figures in diverse but increasingly convergent fields, from academy award-winner and co-founder of Pixar, Alvy Ray Smith to feminist philosopher Cathryn Vasseleu

Digital light

Light symbolises the highest good, it enables all visual art, and today it lies at the heart of billion-dollar industries. The control of light forms the foundation of contemporary vision. Digital Light brings together artists, curators, technologists and media archaeologists to study the historical evolution of digital light-based technologies. Digital Light provides a critical account of the capacities and limitations of contemporary digital light-based technologies and techniques by tracing their genealogies and comparing them with their predecessor media. As digital light remediates multiple historical forms (photography, print, film, video, projection, paint), the collection draws from all of these histories, connecting them to the digital present and placing them in dialogue with one another.Light is at once universal and deeply historical. The invention of mechanical media (including photography and cinematography) allied with changing print technologies (half-tone, lithography) helped structure the emerging electronic media of television and video, which in turn shaped the bitmap processing and raster display of digital visual media. Digital light is, as Stephen Jones points out in his contribution, an oxymoron: light is photons, particulate and discrete, and therefore always digital. But photons are also waveforms, subject to manipulation in myriad ways. From Fourier transforms to chip design, colour management to the translation of vector graphics into arithmetic displays, light is constantly disciplined to human purposes. In the form of fibre optics, light is now the infrastructure of all our media; in urban plazas and handheld devices, screens have become ubiquitous, and also standardised. This collection addresses how this occurred, what it means, and how artists, curators and engineers confront and challenge the constraints of increasingly normalised digital visual media.While various art pieces and other content are considered throughout the collection, the focus is specifically on what such pieces suggest about the intersection of technique and technology. Including accounts by prominent artists and professionals, the collection emphasises the centrality of use and experimentation in the shaping of technological platforms. Indeed, a recurring theme is how techniques of previous media become technologies, inscribed in both digital software and hardware. Contributions include considerations of image-oriented software and file formats; screen technologies; projection and urban screen surfaces; histories of computer graphics, 2D and 3D image editing software, photography and cinematic art; and transformations of light-based art resulting from the distributed architectures of the internet and the logic of the database.Digital Light brings together high profile figures in diverse but increasingly convergent fields, from academy award-winner and co-founder of Pixar, Alvy Ray Smith to feminist philosopher Cathryn Vasseleu