Volumetric cloud generation using a Chinese brush calligraphy style

Includes bibliographical references.Clouds are an important feature of any real or simulated environment in which the sky is visible. Their amorphous, ever-changing and illuminated features make the sky vivid and beautiful. However, these features increase both the complexity of real time rendering and modelling. It is difficult to design and build volumetric clouds in an easy and intuitive way, particularly if the interface is intended for artists rather than programmers. We propose a novel modelling system motivated by an ancient painting style, Chinese Landscape Painting, to address this problem. With the use of only one brush and one colour, an artist can paint a vivid and detailed landscape efficiently. In this research, we develop three emulations of a Chinese brush: a skeleton-based brush, a 2D texture footprint and a dynamic 3D footprint, all driven by the motion and pressure of a stylus pen. We propose a hybrid mapping to generate both the body and surface of volumetric clouds from the brush footprints. Our interface integrates these components along with 3D canvas control and GPU-based volumetric rendering into an interactive cloud modelling system. Our cloud modelling system is able to create various types of clouds occurring in nature. User tests indicate that our brush calligraphy approach is preferred to conventional volumetric cloud modelling and that it produces convincing 3D cloud formations in an intuitive and interactive fashion. While traditional modelling systems focus on surface generation of 3D objects, our brush calligraphy technique constructs the interior structure. This forms the basis of a new modelling style for objects with amorphous shape

The use of photogrammetry in the conservation of painted outdoor sculpture:Adressing Jean Dubutffet’s <i>Jardin d'Email</i>

This research evaluates the use of innovative imaging technolo- gies to aid the conservation of large-scale contemporary painted outdoor sculpture. It explores photogrammetry and image- based 3D modelling as tools during the conservation of Jardin d’émail (1974) by Jean Dubuffet (1901-1985), owned by the Kröller-Müller Museum.In partnership with the 4D Research Lab at the University of Amsterdam, 3D digital models of the sculpture and two scale-models were created.This research assesses the effectiveness of using 3D digital models to inform the repainting of the sculpture’s black lines on white background as part of the treatment process. The use of photogrammetry to document the patterns and forms of the sculpture and scale-models is also evaluated. The creation of 3D digital models from the photogrammetric data allows for devi- ation analysis to be carried out, highlighting where areas of the scale-model and sculpture deviate significantly. The 3D models were uploaded on an app for use on tablets to enable responsive access during treatment. This research showed that photogram- metry is not only useful for large scale sculpture documentation, but can also aid the treatment of outdoor sculpture by producing geometrically accurate representations of the scale-model to be used as a reference during repainting

The use of photogrammetry in the conservation of painted outdoor sculpture:Adressing Jean Dubutffet’s <i>Jardin d'Email</i>

This research evaluates the use of innovative imaging technolo- gies to aid the conservation of large-scale contemporary painted outdoor sculpture. It explores photogrammetry and image- based 3D modelling as tools during the conservation of Jardin d’émail (1974) by Jean Dubuffet (1901-1985), owned by the Kröller-Müller Museum.In partnership with the 4D Research Lab at the University of Amsterdam, 3D digital models of the sculpture and two scale-models were created.This research assesses the effectiveness of using 3D digital models to inform the repainting of the sculpture’s black lines on white background as part of the treatment process. The use of photogrammetry to document the patterns and forms of the sculpture and scale-models is also evaluated. The creation of 3D digital models from the photogrammetric data allows for devi- ation analysis to be carried out, highlighting where areas of the scale-model and sculpture deviate significantly. The 3D models were uploaded on an app for use on tablets to enable responsive access during treatment. This research showed that photogram- metry is not only useful for large scale sculpture documentation, but can also aid the treatment of outdoor sculpture by producing geometrically accurate representations of the scale-model to be used as a reference during repainting

An investigation on the framework of dressing virtual humans

This thesis was submitted for the degree of Doctor of Philosophy and awarded by Brunel University.Realistic human models are widely used in variety of applications. Much research has been carried out on improving realism of virtual humans from various aspects, such as body shapes, hair, and facial expressions and so on. In most occasions, these virtual humans need to wear garments. However, it is time-consuming and tedious to dress a human model using current software packages [Maya2004]. Several methods for dressing virtual humans have been proposed recently [Bourguignon2001, Turquin2004, Turquin2007 and Wang2003B]. The method proposed by Bourguignon et al [Bourguignon2001] can only generate 3D garment contour instead of 3D surface. The method presented by Turquin et al. [Turquin2004, Turquin2007] could generate various kinds of garments from sketches but their garments followed the shape of the body and the side of a garment looked not convincing because of using simple linear interpolation. The method proposed by Wang et al. [Wang2003B] lacked interactivity from users, so users had very limited control on the garment shape.This thesis proposes a framework for dressing virtual humans to obtain convincing dressing results, which overcomes problems existing in previous papers mentioned above by using nonlinear interpolation, level set-based shape modification, feature constraints and so on. Human models used in this thesis are reconstructed from real human body data obtained using a body scanning system. Semantic information is then extracted from human models to assist in generation of 3 dimensional (3D) garments. The proposed framework allows users to dress virtual humans using garment patterns and sketches. The proposed dressing method is based on semantic virtual humans. A semantic human model is a human body with semantic information represented by certain of structure and body features. The semantic human body is reconstructed from body scanned data from a real human body. After segmenting the human model into six parts some key features are extracted. These key features are used as constraints for garment construction.Simple 3D garment patterns are generated using the techniques of sweep and offset. To dress a virtual human, users just choose a garment pattern, which is put on the human body at the default position with a default size automatically. Users are allowed to change simple parameters to specify some sizes of a garment by sketching the desired position on the human body.To enable users to dress virtual humans by their own design styles in an intuitive way, this thesis proposes an approach for garment generation from user-drawn sketches. Users can directly draw sketches around reconstructed human bodies and then generates 3D garments based on user-drawn strokes. Some techniques for generating 3D garments and dressing virtual humans are proposed. The specific focus of the research lies in generation of 3D geometric garments, garment shape modification, local shape modification, garment surface processing and decoration creation. A sketch-based interface has been developed allowing users to draw garment contour representing the front-view shape of a garment, and the system can generate a 3D geometric garment surface accordingly. To improve realism of a garment surface, this thesis presents three methods as follows. Firstly, the procedure of garment vertices generation takes key body features as constraints. Secondly, an optimisation algorithm is carried out after generation of garment vertices to optimise positions of garment vertices. Finally, some mesh processing schemes are applied to further process the garment surface. Then, an elaborate 3D geometric garment surface can be obtained through this series of processing. Finally, this thesis proposes some modification and editing methods. The user-drawn sketches are processed into spline curves, which allow users to modify the existing garment shape by dragging the control points into desired positions. This makes it easy for users to obtain a more satisfactory garment shape compared with the existing one. Three decoration tools including a 3D pen, a brush and an embroidery tool, are provided letting users decorate the garment surface by adding some small 3D details such as brand names, symbols and so on. The prototype of the framework is developed using Microsoft Visual Studio C++,OpenGL and GPU programming

Sanal gerçeklik sanatı ve sürükleyici deneysel tipografi

As an emerging technology, Virtual Reality (VR) is perceived as a platform with the potential to changethe artwork generation methods and consumption paradigms The immersion, presence and interactionfeatures of VR provides for art unique opportunities to find new forms of expression. The potential ofVR in the artistic context will be revealed more clearly as researches in this area increase. The way artuses VR, how it interprets it, and the change VR will cause in art will expand the perspective for both.It is seen that in most of the researches on the relationship between VR and art, this relationship isconsidered in a general context. Very few researches has been done on the use of writing for artisticpurposes in VR and a limited number of practical studies have been produced. From this point of view,in this article, the relationship between experimental typography and VR art is examined with examples.The most effective use of writing in both a linguistic context and as a visual expression has been withinthe scope of conceptual art and this has brought new discourses and perspectives to the art. In thisregards, the inclusion of VR in the combination of writing and art may provide completely differentresults in conceptual and intellectual contexts. The intersection of writing, art and VR has a rich potentialfor different perspectives and new patterns. In this paper, the use of writing as the main narrative elementin VR Artworks has been discussed as an experimental typography study. Experimental typography isa practice based on exploration and interpretation, seeking new forms of visual expression apart fromtraditional patterns. VR Artworks based on experimental typography may reveal various contents thatexplore the role of language for art as structured images in virtual environment. Within this article, threeVR Artworks based on the experimental typography are examined and it has seen that they all presenteddifferent visual solutions than the clean, meticulous 3D visualization approach used in most VRapplications. In this context, it has been suggested that the use of experimental typography in VR Artcan expand the narrative language of VR.Gelişmekte olan bir teknoloji olarak Sanal Gerçeklik (SG), sanat üretimi ve tüketimi paradigmalarınıdeğiştirme potansiyeline sahip bir platform olarak görülmektedir. SG’nin daldırma, varlık ve etkileşimözellikleri yeni ifade biçimleri bulma konusunda sanata benzersiz olanaklar sunmaktadır. SG’ninsanatsal bağlamda potansiyeli bu alanda yapılan uygulamalı çalışmalar ve araştırmalar arttıkça daha netortaya konacaktır. Sanatın SG’yi kullanış biçimi, onu nasıl yorumladığı ve SG’nin sanatta yaratacağıdeğişim her iki alanda da perspektifi genişletecektir. Bugüne kadar SG ve sanat ilişkisi üzerine yapılanaraştırmaların çoğunda bu ilişkinin genel bağlamda ele alındığı görülmüştür. Yazının SG’de sanatsalamaçla kullanımını üzerine çok az araştırma yapılmış ve sınırlı sayıda uygulama çalışması üretilmiştir.Buradan hareketle bu makalede SG’de sanatsal bağlamda yazının kullanımını araştırılmıştır. Yazınıngerek dilbilimsel gerekse görsel ifade biçimi olarak en etkin kullanımı, kavramsal sanat kapsamındaolmuş ve bu sanata yeni söylemler ve bakış açıları kazandırmıştır. Bu bakımdan, yazı ve sanatbirlikteliğine SG’nin de dahil olması, kavramsal ve düşünsel bağlamda ortaya bambaşka sonuçlarçıkarabilir. Yazı, sanat ve SG’nin kesişim noktasının farklı perspektifler yakalama ve yeni örüntülerkeşfetme konusunda yüksek bir potansiyeli vardır. Bu makalede SG sanat projelerinde ana anlatı ögesiolarak yazının kullanımı deneysel bir tipografi çalışması olarak ele alınmıştır. Deneysel tipografi,geleneksel kalıpların dışında, keşfe ve yoruma dayalı, yeni görsel ifade biçimleri aramaya yönelik birpratiktir. Deneysel tipografiye dayalı SG sanat çalışmaları yapılandırılmış imgeler olarak dilin sanattakirolünü sanal ortam içinde keşfeden farklı içerikler ortaya koyabilir. Bu makale kapsamında deneyseltipografiye dayalı üç SG sanatı çalışması incelenmiş ve çoğu SG uygulamasında kullanılan temiz, özenli3D görselleştirme yaklaşımdan daha farklı görsel çözümler ortaya koydukları görülmüştür. Bubağlamda SG sanatında deneysel tipografi kullanımının SG’nin anlatım dilini genişletebileceği önesürülmüştür.Publisher's Versio

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

Hierarchical Motion Brushes for Animation Instancing

International audienceOur work on "motion brushes" provides a new workflow for the creation and reuse of 3D animation with a focus on stylized movement and depiction. Conceptually, motion brushes expand existing brush models by incorporating hierarchies of 3D animated content including geometry, appearance information, and motion data as core brush primitives that are instantiated using a painting interface. Because motion brushes can encompass all the richness of detail and movement offered by animation software, they accommodate complex, varied effects that are not easily created by other means. To support reuse and provide an effective means for managing complexity, we propose a hierarchical representation that allows simple brushes to be combined into more complex ones. Our system provides stroke-based control over motion-brush parameters, including tools to effectively manage the temporal nature of the motion brush instances. We demonstrate the flexibility and richness of our system with motion brushes for splashing rain, footsteps appearing in the snow, and stylized visual effects

Automated Landscape Painting in the Style of Bob Ross

This thesis presents a way of automatically generating a landscape painting in the artistic style of Bob Ross. First, a relatively simple, yet effective and versatile, painting model is presented. The brushes of the painting model can be used on their own for creative applications or as a lower layer to the software components responsible for automation. Next, the brush strokes and parameters used to automatically paint eight different landscape features, each with its own adjustable attributes and randomized forms, are described. Finally, the placement of all of the automated landscape features required to achieve the layout of one of Bob Ross's landscape paintings is shown