Atmospheric cloud modeling methods in computer graphics: A review, trends, taxonomy, and future directions

The modeling of atmospheric clouds is one of the crucial elements in the natural phenomena visualization system. Over the years, a wide range of approaches has been proposed on this topic to deal with the challenging issues associated with visual realism and performance. However, the lack of recent review papers on the atmospheric cloud modeling methods available in computer graphics makes it difficult for researchers and practitioners to understand and choose the well-suited solutions for developing the atmospheric cloud visualization system. Hence, we conducted a comprehensive review to identify, analyze, classify, and summarize the existing atmospheric cloud modeling solutions. We selected 113 research studies from recognizable data sources and analyzed the research trends on this topic. We defined a taxonomy by categorizing the atmospheric cloud modeling methods based on the methods' similar characteristics and summarized each of the particular methods. Finally, we underlined several research issues and directions for potential future work. The review results provide an overview and general picture of the atmospheric cloud modeling methods that would be beneficial for researchers and practitioners

Atmospheric cloud representation methods in computer graphics: A review

Cloud representation is one of the important components in the atmospheric cloud visualization system. Lack of review papers on the cloud representation methods available in the area of computer graphics has directed towards the difficulty for researchers to understand the appropriate solutions. Therefore, this paper aims to provide a comprehensive review of the atmospheric cloud representation methods that have been proposed in the computer graphics domain, involving the classical and the current state-of-the-art approaches. The reviewing process was conducted by searching, selecting, and analyzing the prominent articles collected from online digital libraries and search engines. We highlighted the taxonomic classification of the existing cloud representation methods in solving the atmospheric cloud-related problems. Finally, research issues and directions in the area of cloud representations and visualization have been discussed. This review would be significantly beneficial for researchers to clearly understand the general picture of the existing methods and thus helping them in choosing the best-suited approach for their future research and development

Interactive freeform editing techniques for large-scale, multiresolution level set models

Level set methods provide a volumetric implicit surface representation with automatic smooth blending properties and no self-intersections. They can handle arbitrary topology changes easily, and the volumetric implicit representation does not require the surface to be re-adjusted after extreme deformations. Even though they have found some use in movie productions and some medical applications, level set models are not highly utilized in either special effects industry or medical science. Lack of interactive modeling tools makes working with level set models difficult for people in these application areas.This dissertation describes techniques and algorithms for interactive freeform editing of large-scale, multiresolution level set models. Algorithms are developed to map intuitive user interactions into level set speed functions producing specific, desired surface movements. Data structures for efficient representation of very high resolution volume datasets and associated algorithms for rapid access and processing of the information within the data structures are explained. A hierarchical, multiresolution representation of level set models that allows for rapid decomposition and reconstruction of the complete full-resolution model is created for an editing framework that allows level-of-detail editing. We have developed a framework that identifies surface details prior to editing and introduces them back afterwards. Combining these two features provides a detail-preserving level set editing capability that may be used for multi-resolution modeling and texture transfer. Given the complex data structures that are required to represent large-scale, multiresolution level set models and the compute-intensive numerical methods to evaluate them, optimization techniques and algorithms have been developed to evaluate and display the dynamic isosurface embedded in the volumetric data.Ph.D., Computer Science -- Drexel University, 201

Stylised procedural animation

This thesis develops a stylised procedural paradigm for computer graphics animation. Cartoon effects animations - stylised representations of natural phenomena - have presented a long-standing, difficult challenge to computer animators. We propose a framework for achieving the intricacy of effects motion with minimal animator intervention.Our approach is to construct cartoon effects by simulating the hand-drawing process through synthetic, computational means. We create a system which emulates the stylish appearance, movements of cartoon effects in both 2D and 3D environments. Our computational models achieve this by capturing the essential characteristics common to all cartoon effects: structure modelling, dynamic controlling and stylised rendering.To validate our framework, we have implemented a cartoon effects system for a range of effects including water effects, fire, smoke, rain and snow. Each effect model has its own static structure such as how the different parts are related temporarily. The flexibility of our approach is suggested most evidently by the high-level controls on shape, colour, timing and rendering on the effects. Like their hand-drawn counterparts, they move consistently while retaining the hand-crafted look.Since the movements of cartoon effects are animated procedurally, their detailed motions need not be keyframed. This thesis therefore demonstrates a powerful approach to computer animation in which the animator plays the role of a high level controller, rather than the more conventional hand-drawing slave. Our work not only achieves cartoon effects animation of un-precedented complexity, but it also provides an interesting experimental domain for related research disciplines toward more creative and expressive image synthesis in animation

DEsignBench: Exploring and Benchmarking DALL-E 3 for Imagining Visual Design

We introduce DEsignBench, a text-to-image (T2I) generation benchmark tailored for visual design scenarios. Recent T2I models like DALL-E 3 and others, have demonstrated remarkable capabilities in generating photorealistic images that align closely with textual inputs. While the allure of creating visually captivating images is undeniable, our emphasis extends beyond mere aesthetic pleasure. We aim to investigate the potential of using these powerful models in authentic design contexts. In pursuit of this goal, we develop DEsignBench, which incorporates test samples designed to assess T2I models on both "design technical capability" and "design application scenario." Each of these two dimensions is supported by a diverse set of specific design categories. We explore DALL-E 3 together with other leading T2I models on DEsignBench, resulting in a comprehensive visual gallery for side-by-side comparisons. For DEsignBench benchmarking, we perform human evaluations on generated images in DEsignBench gallery, against the criteria of image-text alignment, visual aesthetic, and design creativity. Our evaluation also considers other specialized design capabilities, including text rendering, layout composition, color harmony, 3D design, and medium style. In addition to human evaluations, we introduce the first automatic image generation evaluator powered by GPT-4V. This evaluator provides ratings that align well with human judgments, while being easily replicable and cost-efficient. A high-resolution version is available at https://github.com/design-bench/design-bench.github.io/raw/main/designbench.pdf?download=Comment: Project page at https://design-bench.github.io

Analyse de l'espace des chemins pour la composition des ombres et lumières

La réalisation des films d'animation 3D s'appuie de nos jours sur les techniques de rendu physiquement réaliste, qui simulent la propagation de la lumière dans chaque scène. Dans ce contexte, les graphistes 3D doivent jouer avec les effets de lumière pour accompagner la mise en scène, dérouler la narration du film, et transmettre son contenu émotionnel aux spectateurs. Cependant, les équations qui modélisent le comportement de la lumière laissent peu de place à l'expression artistique. De plus, l'édition de l'éclairage par essai-erreur est ralentie par les longs temps de rendu associés aux méthodes physiquement réalistes, ce qui rend fastidieux le travail des graphistes. Pour pallier ce problème, les studios d'animation ont souvent recours à la composition, où les graphistes retravaillent l'image en associant plusieurs calques issus du processus de rendu. Ces calques peuvent contenir des informations géométriques sur la scène, ou bien isoler un effet lumineux intéressant. L'avantage de la composition est de permettre une interaction en temps réel, basée sur les méthodes classiques d'édition en espace image. Notre contribution principale est la définition d'un nouveau type de calque pour la composition, le calque d'ombre. Un calque d'ombre contient la quantité d'énergie perdue dans la scène à cause du blocage des rayons lumineux par un objet choisi. Comparée aux outils existants, notre approche présente plusieurs avantages pour l'édition. D'abord, sa signification physique est simple à concevoir : lorsque l'on ajoute le calque d'ombre et l'image originale, toute ombre due à l'objet choisi disparaît. En comparaison, un masque d'ombre classique représente la fraction de rayons bloqués en chaque pixel, une information en valeurs de gris qui ne peut servir que d'approximation pour guider la composition. Ensuite, le calque d'ombre est compatible avec l'éclairage global : il enregistre l'énergie perdue depuis les sources secondaires, réfléchies au moins une fois dans la scène, là où les méthodes actuelles ne considèrent que les sources primaires. Enfin, nous démontrons l'existence d'une surestimation de l'éclairage dans trois logiciels de rendu différents lorsque le graphiste désactive les ombres pour un objet ; notre définition corrige ce défaut. Nous présentons un prototype d'implémentation des calques d'ombres à partir de quelques modifications du Path Tracing, l'algorithme de choix en production. Il exporte l'image originale et un nombre arbitraire de calques d'ombres liés à différents objets en une passe de rendu, requérant un temps supplémentaire de l'ordre de 15% dans des scènes à géométrie complexe et contenant plusieurs milieux participants. Des paramètres optionnels sont aussi proposés au graphiste pour affiner le rendu des calques d'ombres.The production of 3D animated motion picture now relies on physically realistic rendering techniques, that simulate light propagation within each scene. In this context, 3D artists must leverage lighting effects to support staging, deploy the film's narrative, and convey its emotional content to viewers. However, the equations that model the behavior of light leave little room for artistic expression. In addition, editing illumination by trial-and-error is tedious due to the long render times that physically realistic rendering requires. To remedy these problems, most animation studios resort to compositing, where artists rework a frame by associating multiple layers exported during rendering. These layers can contain geometric information on the scene, or isolate a particular lighting effect. The advantage of compositing is that interactions take place in real time, and are based on conventional image space operations. Our main contribution is the definition of a new type of layer for compositing, the shadow layer. A shadow layer contains the amount of energy lost in the scene due to the occlusion of light rays by a given object. Compared to existing tools, our approach presents several advantages for artistic editing. First, its physical meaning is straightforward: when a shadow layer is added to the original image, any shadow created by the chosen object disappears. In comparison, a traditional shadow matte represents the ratio of occluded rays at a pixel, a grayscale information that can only serve as an approximation to guide compositing operations. Second, shadow layers are compatible with global illumination: they pick up energy lost from secondary light sources that are scattered at least once in the scene, whereas the current methods only consider primary sources. Finally, we prove the existence of an overestimation of illumination in three different renderers when an artist disables the shadow of an object; our definition fixes this shortcoming. We present a prototype implementation for shadow layers obtained from a few modifications of path tracing, the main rendering algorithm in production. It exports the original image and any number of shadow layers associated with different objects in a single rendering pass, with an additional 15% time in scenes containing complex geometry and multiple participating media. Optional parameters are also proposed to the artist to fine-tune the rendering of shadow layers

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

Digital Alchemy: Matter and Metamorphosis in Contemporary Digital Animation and Interface Design

The recent proliferation of special effects in Hollywood film has ushered in an era of digital transformation. Among scholars, digital technology is hailed as a revolutionary moment in the history of communication and representation. Nevertheless, media scholars and cultural historians have difficulty finding a language adequate to theorizing digital artifacts because they are not just texts to be deciphered. Rather, digital media artifacts also invite critiques about the status of reality because they resurrect ancient problems of embodiment and transcendence.In contrast to scholarly approaches to digital technology, computer engineers, interface designers, and special effects producers have invented a robust set of terms and phrases to describe the practice of digital animation. In order to address this disconnect between producers of new media and scholars of new media, I argue that the process of digital animation borrows extensively from a set of preexisting terms describing materiality that were prominent for centuries prior to the scientific revolution. Specifically, digital animators and interface designers make use of the ancient science, art, and technological craft of alchemy. Both alchemy and digital animation share several fundamental elements: both boast the power of being able to transform one material, substance, or thing into a different material, substance, or thing. Both seek to transcend the body and materiality but in the process, find that this elusive goal (realism and gold) is forever receding onto the horizon.The introduction begins with a literature review of the field of digital media studies. It identifies a gap in the field concerning disparate arguments about new media technology. On the one hand, scholars argue that new technologies like cyberspace and digital technology enable radical new forms of engagement with media on individual, social, and economic levels. At the same time that media scholars assert that our current epoch is marked by a historical rupture, many other researchers claim that new media are increasingly characterized by ancient metaphysical problems like embodiment and transcendence. In subsequent chapters I investigate this disparity

Overcoming the curse of precision: exploring the ambiguous nature of visual perception using 3D animation software

3D animation software is extensively used to create graphics for special effects sequences in live-action films, in animated feature film production and for the generation of computer games and virtual reality content. It is a commonly held view within the computer graphics community that 3D animation software is “just another tool” for self-expression. This research questions that view by examining the inherent nature of the tool itself. In doing so, some of the philosophical assumptions embedded in the design of the new digital tool are revealed. 3D software assumes that vision is a mechanical process independent of any context, and thus reduces the world to mathematical principles. This research posits that no tool is neutral; all tools orient our behavior and contribute to the way we perceive the world. The researcher has been trained in the use of traditional artistic methods, and like a growing number of other visual artists in recent years, has incorporated computer graphics into her artistic practice. This exegesis reflects upon the various ways an artist may ‘see’ and interpret a visual representation of the world and how traditional painting and drawing practice can inform the creation and manipulation of geometry in 3D animation software, and suggest what other variables and settings might be appropriate to arrive at a result that is different from the ‘photorealistic’. The project work outcomes embedded in this investigation explore how a tool of such mathematical precision can be deliberately used to create work that communicates the subjective and ambiguous nature of everyday visual experience. The researcher’s previous experience as an observational drawer and painter is compared throughout this investigation with her more recent experience as a 3D animator. The research concludes that 3D is a powerful tool for creating animated graphics and, when used in conjunction with traditional drawing and painting techniques, can successfully be used to illustrate aspects of subjective visual perception. However, without reference to paintings and observational sketches, the 3D user is likely to approach the visual world in terms of the software’s inherent Cartesian assumptions. 3D software, therefore, is too prescriptive to be used in isolation as a tool for the exploration of subjective perception. This finding has implications for the changing nature of visual arts practice and deserves further examination in order to encourage a more fruitful dialogue between traditional art practice and digital graphics software