A Process to Create Dynamic Landscape Paintings Using Barycentric Shading with Control Paintings

In this work, we present a process that uses a Barycentric shading method to create dynamic landscape paintings that change based on the time of day. Our process allows for the creation of dynamic paintings for any time of the day using simply a limited number of control paintings. To create a proof of concept, we have used landscape paintings of Edgar Payne, one of the leading landscape painters of the American West. His specific style of painting that blends Impressionism with the style of other painters of the AmericanWest is particularly appropriate for the demonstration of the power of our Barycentric shading method

Using Texture Synthesis for Non-Photorealistic Shading from Paint Samples

This paper presents several methods for shading meshes from scanned paint samples that represent dark to light transitions. Our techniques emphasize artistic control of brush stroke texture and color. We first demonstrate how the texture of the paint sample can be separated from its color gradient. We demonstrate three methods, two real-time and one off-line for producing rendered, shaded images from the texture samples. All three techniques use texture synthesis to generate additional paint samples. Finally, we develop metrics for evaluating how well each method achieves our goal in terms of texture similarity, shading correctness and temporal coherence

Developing Generalized Cross Hatching Shader Approach for Non-Photorealistic Rendering

In this research, I present a method for rendering a geometric scene that has the look and feel of artistic hand drawings, particularly using a medium such as charcoal or crosshatching. While there have been many approaches to non-photorealistic (NPR) renderings in the past two decades, there seems to be very little research done on how to obtain such charcoal or cross-hatching effects, especially with attention to reflections and specularity, which often at times seems to break the illusion of the drawing effect. I developed a new class of techniques, using a Barycentric shading method, that allows the non-photorealistic rendering of a variety of artistic drawing styles. My approach can be summarized as follows: (1) a Barycentric shader that can provide generalized crosshatching with opaque multi-textures, (2) a Barycentric shader using transparent multitextures, and (3) a texture synthesis method that can automatically produce crosshatching textures from any given image

Developing Generalized Cross Hatching Shader Approach for Non-Photorealistic Rendering

In this research, I present a method for rendering a geometric scene that has the look and feel of artistic hand drawings, particularly using a medium such as charcoal or crosshatching. While there have been many approaches to non-photorealistic (NPR) renderings in the past two decades, there seems to be very little research done on how to obtain such charcoal or cross-hatching effects, especially with attention to reflections and specularity, which often at times seems to break the illusion of the drawing effect. I developed a new class of techniques, using a Barycentric shading method, that allows the non-photorealistic rendering of a variety of artistic drawing styles. My approach can be summarized as follows: (1) a Barycentric shader that can provide generalized crosshatching with opaque multi-textures, (2) a Barycentric shader using transparent multitextures, and (3) a texture synthesis method that can automatically produce crosshatching textures from any given image

A Process to Create Dynamic Landscape Paintings Using Barycentric Shading with Control Paintings

In this work, we present a process that uses a Barycentric shading method to create dynamic landscape paintings that change based on the time of day. Our process allows for the creation of dynamic paintings for any time of the day using simply a limited number of control paintings. To create a proof of concept, we have used landscape paintings of Edgar Payne, one of the leading landscape painters of the American West. His specific style of painting that blends Impressionism with the style of other painters of the AmericanWest is particularly appropriate for the demonstration of the power of our Barycentric shading method

Digital compositing with traditional artwork

This thesis presents a general method and guidelines for compositing digital characters into traditional artwork by matching a character to the perspective, lighting, style, and complexity of the particular work of art. The primary goal of this integration is to make the resulting image believable, but not necessarily to create an exact match. As a result, the approach used here is not limited to a single rendering style or medium, but can be used to create a very close match for almost any artistic image. To develop and test this method and set of guidelines I created composites using a variety of styles and mediums

3D Line textures and the visualization of confidence in Architecture

technical reportThis work introduces a technique for interactive walkthroughs of non-photorealistically rendered (NPR) scenes using 3D line primitives to define architectural features of the model, as well as indicate textural qualities. Line primitives are not typically used in this manner in favor of texture mapping techniques which can encapsulate a great deal of information in a single texture map, and take advantage of GPU optimizations for accelerated rendering. However, texture mapped images may not maintain the visual quality or aesthetic appeal that is possible when using 3D lines to simulate NPR scenes such as hand-drawn illustrations or architectural renderings. In addition, line textures can be modi ed interactively, for instance changing the sketchy quality of the lines, and can be exported as vectors to allow the automatic generation of illustrations and further modi cation in vector-based graphics programs. The technique introduced here extracts feature edges from a model, and using these edges, generates a reduced set of line textures which indicate material properties while maintaining interactive frame rates. A clipping algorithm is presented to enable 3D lines to reside only in the interior of the 3D model without exposing the underlying triangulated mesh. The resulting system produces interactive illustrations with high visual quality that are free from animation artifacts

Decorated Sheds

Industrialization changed domestic material culture and established collage as a mode of sociological critique. My practice hijacks consumer habits and design histories to better understand the space between consumption and production. Assembling contemporary readymades with play and humor points to the ridiculous pastiches our homes have become

Stylized 3D Scene Synthesis in Virtual Reality

Many forms of life in the natural world have the extraordinary capacity to sense their environments, to learn, and to remember, just as humans do, even though they are vastly different from us. In this dissertation, I presented novel techniques developed to exhibit an interactive abstract virtual reality experience that invites viewers to see the natural world from a different perspective. I developed the vertex displacement and color turbulence approaches to showcase organisms. The organisms can also modulate their shapes according to the volumes and frequencies of sound. Furthermore, the experience displays turbulent flow on the organisms’ surface to demonstrate the concept of energy flow, or vitality, among all organisms in the natural world. Another novel feature is that viewers can interact with the surface colors through ray casting from a handheld controller

Implementing non-photorealistic rendreing enhancements with real-time performance

We describe quality and performance enhancements, which work in real-time, to all well-known Non-photorealistic (NPR) rendering styles for use in an interactive context. These include Comic rendering, Sketch rendering, Hatching and Painterly rendering, but we also attempt and justify a widening of the established definition of what is considered NPR. In the individual Chapters, we identify typical stylistic elements of the different NPR styles. We list problems that need to be solved in order to implement the various renderers. Standard solutions available in the literature are introduced and in all cases extended and optimised. In particular, we extend the lighting model of the comic renderer to include a specular component and introduce multiple inter-related but independent geometric approximations which greatly improve rendering performance. We implement two completely different solutions to random perturbation sketching, solve temporal coherence issues for coal sketching and find an unexpected use for 3D textures to implement hatch-shading. Textured brushes of painterly rendering are extended by properties such as stroke-direction and texture, motion, paint capacity, opacity and emission, making them more flexible and versatile. Brushes are also provided with a minimal amount of intelligence, so that they can help in maximising screen coverage of brushes. We furthermore devise a completely new NPR style, which we call super-realistic and show how sample images can be tweened in real-time to produce an image-based six degree-of-freedom renderer performing at roughly 450 frames per second. Performance values for our other renderers all lie between 10 and over 400 frames per second on homePC hardware, justifying our real-time claim. A large number of sample screen-shots, illustrations and animations demonstrate the visual fidelity of our rendered images. In essence, we successfully achieve our attempted goals of increasing the creative, expressive and communicative potential of individual NPR styles, increasing performance of most of them, adding original and interesting visual qualities, and exploring new techniques or existing ones in novel ways.KMBT_363Adobe Acrobat 9.54 Paper Capture Plug-i