A shader based approach to painterly rendering

The purpose of this thesis is to develop a texture-based painterly shader that would render computer generated objects or scenes with strokes that are visually similar to paint media like watercolor, oil paint or dry media such as crayons, chalk, et cetera. This method would need an input scene in the form of three dimensional polygonal or NURBS meshes. While the structure of the meshes and the lighting in the scene would both play a crucial role in the final appearance of the scene, the painterly look will be imparted through a shader. This method, therefore, is essentially a rendering technique. Several modifiable parameters in the shader gives the user artistic freedom while overall introducing some amount of automation in the painterly rendering process

Painting with Turbulence

Inspired by a study that identified a strong similarity between Vincent van Gogh\u27s and Jackson Pollock\u27s painting techniques, this thesis explores the interplay between science and art, specifically the unpredictable behaviors in turbulent flows and aesthetic concepts in painting. It utilizes data from a GPU-based air flow simulation, and presents a framework for artists to visualize the chaotic property changes in turbulent flows and create paintings with turbulence data. While the creation of individual brushstrokes is procedural and driven by simulation, artists are able to exercise their aesthetic judgments at various stages during a painting creation. A short animation demonstrates the potential results from this framework

Non-photorealistic rendering: a critical examination and proposed system.

In the first part of the program the emergent field of Non-Photorealistic Rendering is explored from a cultural perspective. This is to establish a clear understanding of what Non-Photorealistic Rendering (NPR) ought to be in its mature form in order to provide goals and an overall infrastructure for future development. This thesis claims that unless we understand and clarify NPR's relationship with other media (photography, photorealistic computer graphics and traditional media) we will continue to manufacture "new solutions" to computer based imaging which are confused and naive in their goals. Such solutions will be rejected by the art and design community, generally condemned as novelties of little cultural worth ( i.e. they will not sell). This is achieved by critically reviewing published systems that are naively described as Non-photorealistic or "painterly" systems. Current practices and techniques are criticised in terms of their low ability to articulate meaning in images; solutions to this problem are given. A further argument claims that NPR, while being similar to traditional "natural media" techniques in certain aspects, is fundamentally different in other ways. This similarity has lead NPR to be sometimes proposed as "painting simulation" — something it can never be. Methods for avoiding this position are proposed. The similarities and differences to painting and drawing are presented and NPR's relationship to its other counterpart, Photorealistic Rendering (PR), is then delineated. It is shown that NPR is paradigmatically different to other forms of representation — i.e. it is not an "effect", but rather something basically different. The benefits of NPR in its mature form are discussed in the context of Architectural Representation and Design in general. This is done in conjunction with consultations with designers and architects. From this consultation a "wish-list" of capabilities is compiled by way of a requirements capture for a proposed system. A series of computer-based experiments resulting in the systems "Expressive Marks" and 'Magic Painter" are carried out; these practical experiments add further understanding to the problems of NPR. The exploration concludes with a prototype system "Piranesi" which is submitted as a good overall solution to the problem of NPR. In support of this written thesis are : - • The Expressive Marks system • Magic Painter system • The Piranesi system (which includes the EPixel and Sketcher systems) • A large portfolio of images generated throughout the exploration

From the screen through the screen

This thesis project\u27s aim is to transfer the early or beginning read er\u27s interest and focus from the video screen; i.e.: television or Nintendo, to the printed text of the book through interaction with the computer by reinforcing the narrated story with on-screen text. Much like read-along audio tapes, the premise of this thesis is to combine pictures, words and sound into a computerized support for a story. To create interest for the proposed age group, the criteria used will be based on an entertaining tale, quest, or game, rich in language and illustration, intermixed with humor. The goal is to get the child to use imagination, creativity, and memory by reading or having the text read aloud. Next, the user will inter act with the computer by re-creating the storyline on the screen and, later, developing their own ending

Art Directed Shader for Real Time Rendering - Interactive 3D Painting

In this work, I develop an approach to include Global Illumination (GI) effects in non-photorealistic real-time rendering; real-time rendering is one of the main areas of focus in the gaming industry and the booming virtual reality(VR) and augmented reality(AR) industries. My approach is based on adapting the Barycentric shader to create a wide variety of painting effects. This shader helps achieve the look of a 2D painting in an interactively rendered 3D scene. The shader accommodates robust computation to obtain artistic reflection and refraction. My contributions can be summarized as follows: Development of a generalized Barycentric shader that can provide artistic control, integration of this generalized Barycentric shader into an interactive ray tracer, and interactive rendering of a 3D scene that closely represent the reference painting

Computer art and creative tool making

Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1985.MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH.Includes bibliographical references (leaves 124-126).A digital paint package has been developed which places attention on the design of personal "brush " patterns. The user generates an image by iterating these pattern modules on the raster display. During the application of a pattern, it can grow, shrink, and change in opacity level under the user's control. This method of digitally creating images was developed in light of the problem of representing visual characteristics effectively while "painting" with a computer graphics system . Allowing the user to design personal brush patterns, which can be stored in a library of patterns, and to make marks by repeating them, expands the potential visual qualities of the image as demonstrated by sample images included in this thesis. Software functions are provided for creating and editing patterns through a menu of selections. These functions treat individual shapes and colors in a pattern as separate entities that can be manipulated. Shapes can be manipulated individually, or as a selected group. The manipulation functions include the following: move, copy, scale, and delete. Software functions are also provided for the editing of color components. One method allows a color's red, green, and blue components to be adjusted. And the other allows its hue, lightness, and saturation levels to be adjusted.by Yuan-Lin Mao.M.S.V.S

LEAVING LEAVES -- BETWEEN SEASONS: Therapeutic Landscape Painting and Participatory Art

This thesis is an exhibition of therapeutic art. The therapeutic qualities of the work are based on scientific studies in healthcare design and psychology, and evolutionary psychology. Attributes that have been demonstrated to reduce physical and emotional pain include: 1) references to flourishing, favorable natural environments, 2) regionally familiar references, 3) stylization or abstraction, and 4) a participatory opportunity to share experiences. The thesis exhibition includes a sequence of large landscape paintings (Between Seasons) and a participatory installation (Leaving Leaves), in a sitting area of a local healthcare facility (the East Carolina Heart Institute). The work facilitates the sharing of experiences of loss, and features visual representations of seasonal change. This thesis document discusses how elements from proven pain-reducing artworks and theories are incorporated into my work

Mixed Reality Interiors: Exploring Augmented Reality Immersive Space Planning Design Archetypes for the Creation of Interior Spatial Volume 3D User Interfaces

Augmented reality is an increasingly relevant medium of interaction and media reception with the advances in user worn or hand-held input/output technologies endowing perception of the digital nested within and reactive to the native physical. Our interior spaces are becoming the media interface and this emergence affords designers the opportunity to delve further into crafting an aesthetics for the medium. Beyond having the virtual assets and applications in correct registration with the real-world environment, critical topics are addressed such as the compositional roles of virtual and physical design features including their purpose, modulation, interaction potentials and implementation into varying indoor settings. Examining and formulating methodologies for mixed reality interior 3D UI schemes derived from the convergence of digital media and interior design disciplines comprise the scope of this design research endeavor. A holistic approach is investigated to produce a framework for augmented reality 3D user interface interiors through research and development of pattern language systems for the balanced blending of complimentary digital and physical design elements. These foundational attributes serve in the creation, organization and exploration of interactive possibilities and implications of these hybrid futuristic spatial interface layouts.M.S., Digital Media -- Drexel University, 201