Stereoscopic Sketchpad: 3D Digital Ink

--Context-- This project looked at the development of a stereoscopic 3D environment in which a user is able to draw freely in all three dimensions. The main focus was on the storage and manipulation of the ‘digital ink’ with which the user draws. For a drawing and sketching package to be effective it must not only have an easy to use user interface, it must be able to handle all input data quickly and efficiently so that the user is able to focus fully on their drawing. --Background-- When it comes to sketching in three dimensions the majority of applications currently available rely on vector based drawing methods. This is primarily because the applications are designed to take a users two dimensional input and transform this into a three dimensional model. Having the sketch represented as vectors makes it simpler for the program to act upon its geometry and thus convert it to a model. There are a number of methods to achieve this aim including Gesture Based Modelling, Reconstruction and Blobby Inflation. Other vector based applications focus on the creation of curves allowing the user to draw within or on existing 3D models. They also allow the user to create wire frame type models. These stroke based applications bring the user closer to traditional sketching rather than the more structured modelling methods detailed. While at present the field is inundated with vector based applications mainly focused upon sketch-based modelling there are significantly less voxel based applications. The majority of these applications focus on the deformation and sculpting of voxmaps, almost the opposite of drawing and sketching, and the creation of three dimensional voxmaps from standard two dimensional pixmaps. How to actually sketch freely within a scene represented by a voxmap has rarely been explored. This comes as a surprise when so many of the standard 2D drawing programs in use today are pixel based. --Method-- As part of this project a simple three dimensional drawing program was designed and implemented using C and C++. This tool is known as Sketch3D and was created using a Model View Controller (MVC) architecture. Due to the modular nature of Sketch3Ds system architecture it is possible to plug a range of different data structures into the program to represent the ink in a variety of ways. A series of data structures have been implemented and were tested for efficiency. These structures were a simple list, a 3D array, and an octree. They have been tested for: the time it takes to insert or remove points from the structure; how easy it is to manipulate points once they are stored; and also how the number of points stored effects the draw and rendering times. One of the key issues brought up by this project was devising a means by which a user is able to draw in three dimensions while using only two dimensional input devices. The method settled upon and implemented involves using the mouse or a digital pen to sketch as one would in a standard 2D drawing package but also linking the up and down keyboard keys to the current depth. This allows the user to move in and out of the scene as they draw. A couple of user interface tools were also developed to assist the user. A 3D cursor was implemented and also a toggle, which when on, highlights all of the points intersecting the depth plane on which the cursor currently resides. These tools allow the user to see exactly where they are drawing in relation to previously drawn lines. --Results-- The tests conducted on the data structures clearly revealed that the octree was the most effective data structure. While not the most efficient in every area, it manages to avoid the major pitfalls of the other structures. The list was extremely quick to render and draw to the screen but suffered severely when it comes to finding and manipulating points already stored. In contrast the three dimensional array was able to erase or manipulate points effectively while the draw time rendered the structure effectively useless, taking huge amounts of time to draw each frame. The focus of this research was on how a 3D sketching package would go about storing and accessing the digital ink. This is just a basis for further research in this area and many issues touched upon in this paper will require a more in depth analysis. The primary area of this future research would be the creation of an effective user interface and the introduction of regular sketching package features such as the saving and loading of images

A study of how Chinese ink painting features can be applied to 3D scenes and models in real-time rendering

Past research findings addressed mature techniques for non-photorealistic rendering. However, research findings indicate that there is little information dealing with efficient methods to simulate Chinese ink painting features in rendering 3D scenes. Considering that Chinese ink painting has achieved many worldwide awards, the potential to effectively and automatically develop 3D animations and games in this style indicates a need for the development of appropriate technology for the future market. The goal of this research is about rendering 3D meshes in a Chinese ink painting style which is both appealing and realistic. Specifically, how can the output image appear similar to a hand-drawn Chinese ink painting. And how efficient does the rendering pipeline have to be to result in a real-time scene. For this study the researcher designed two rendering pipelines for static objects and moving objects in the final scene. The entire rendering process includes interior shading, silhouette extracting, textures integrating, and background rendering. Methodology involved the use of silhouette detection, multiple rendering passes, Gaussian blur for anti-aliasing, smooth step functions, and noise textures for simulating ink textures. Based on the output of each rendering pipeline, rendering process of the scene with best looking of Chinese ink painting style is illustrated in detail. The speed of the rendering pipeline proposed by this research was tested. The framerate of the final scenes created with this pipeline was higher than 30fps, a level considered to be real-time. One can conclude that the main objective of the research study was met even though other methods for generating Chinese ink painting rendering are available and should be explored

Non-Photorealistic Rendering of Algorithmically Generated Trees

This work presents a novel rendering technique inspired by artistic approaches. Instead of trying to recreate the appearance of a traditional medium, such as charcoal or watercolor, this approach is a mixture of both photo-realism and abstraction. Artists use a process of abstraction to provide structural information about subjects that do not have clearly defined shapes, such as groups of leaves in a tree. For example, an artist will first use a color wash to approximate a group of leaves, then add detail on top of parts of this wash to indicate individual leaves. Similarly, we use an abstract shape that approximates the image of leaves clustered at the end of a branch. To prevent oversimplification, we add photo-realistic detail using a blending process. Inter-frame coherence is achieved by smoothly interpolating the abstract shapes as well as by the continuity inherent in the photo-realistically rendered detail

Seasons: A motion graphics depicts activities of ancient Chinese people in four seasons

Seasons is a 2D motion graphics film that aims to visually depict my interpretation of seasons changing and seasonal activities of ancient Chinese people. It is an attempt to reproduce two classical arts on modern media. I mimic and mix the visual effects of Chinese shadow puppets and Chinese ink wash strokes through digital media technologies. Neither Chinese painting nor shadow puppet emphasize on reproducing the appearance of subject. It is more regarded as a form of expressionistic art, which intends to capture the spirit of the subject and illustrate the perception of the scene. My graphics are not planned to fully copy external forms of shadow puppets or old Chinese paintings, instead, I target to show the beauty of Chinese traditional art forms as well as the beauty of Asian aesthetics and philosophy. Seasons represents my imaginary and visual adaptation of my knowledge and memories about cultures, traditions, and mysteries that related to seasons. The intent of project is to seek a different approach to integrate motion graphics with traditional art forms, and, to discuss more possibilities of transplanting classical arts into digital platform

The Nothing

This thesis is a description and analysis of work that I produced during my Graduate studies at The University of New Orleans. The central theme of these work is the end of the world. Through prints, sculpture and painting I explore this idea

The Nothing

This thesis is a description and analysis of work that I produced during my Graduate studies at The University of New Orleans. The central theme of these work is the end of the world. Through prints, sculpture and painting I explore this idea

STATIC! The Aesthetics of Energy in Everyday Things

Abstract: Static! is a project investigating interaction and product design as a way of increasing our awareness of how energy is used in everyday life. Revisiting the design of everyday things with focus on issues related to energy use, we have developed a palette of design examples in the form of prototypes, conceptual design proposals and use scenarios, to be used as a basis for communication and discussion with users and designers. With respect to design research and practice, the aim has been to develop a more profound understanding of energy as material in design, including its expressive and aesthetic potential, thus locating issues related to energy use at the centre of the design process

ShanshuiDaDA: An Interactive, Generative System towards Chinese Shanshui Painting

Shanshui, which means mountain and water, is an East Asian traditional brush painting involving natural landscapes. This paper proposes an interactive and generative system based on a Generative Adversarial Network(GAN), which helps users draw Shanshui easily. We name this system and installation ShanshuiDaDA. ShanshuiDaDA is trained with CycleGAN and wrapped with a web-based interface. When participants scribble lines and sketch the landscape, the ShanshuiDaDA will assist them in generating and creating a Chinese "Shanshui" painting in real time.Comment: 4 pages, Machine Learning for Creativity and Design Workshop, the 32nd Conference on Neural Information Processing Systems (NIPS 2018), Montreal, Canada. See: https://nips2018creativity.github.io/doc/shanshui_dada.pd