Interactive Extraction of High-Frequency Aesthetically-Coherent Colormaps

Color transfer functions (i.e. colormaps) exhibiting a high frequency luminosity component have proven to be useful in the visualization of data where feature detection or iso-contours recognition is essential. Having these colormaps also display a wide range of color and an aesthetically pleasing composition holds the potential to further aid image understanding and analysis. However producing such colormaps in an efficient manner with current colormap creation tools is difficult. We hereby demonstrate an interactive technique for extracting colormaps from artwork and pictures. We show how the rich and careful color design and dynamic luminance range of an existing image can be gracefully captured in a colormap and be utilized effectively in the exploration of complex datasets

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

Virtual tour

Interactive 3D Visualization of Architectural models might be the best way to get some idea about an Architecture Plan. Photo-realistic visualization often attracts the investors and customers for whom the architectural blueprints are obscure. Architectural Visualization is considered to have a bright future ahead of it as more and more architects and real estate developers are using this technology. Virtual Walk-through can give not only ideas about your building but its interiors and design too. The Architectural Virtual Environment also most widely used in Gaming and Entertainment Industry in creating a complex movie scenes or a game environment

Towards photo watercolorization with artistic verisimilitude

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Animated Film Production Process: The Creation of Lighting for Gear Up

The following thesis details the creation of a shot for an animated production titled Gear Up. The process for creating this shot was patterned after professional animated productions and included the following steps: pre-visualization, story boarding, modeling and asset creation, UV layouts, texturing and surfacing, scene assembly and camera layout, character and prop rigging, character animation, lighting, rendering, and compositing. The motivation for this project was to create a product that artistically has a darker aesthetic than many previous Clemson DPA animations, but still enjoyed high quality visuals. One of the goals was to create a large-scale scene centered in a post apocalyptic robot war. This project also served as the first opportunity for incorporating the rendering engine called Arnold into the Clemson DPA animation pipeline and artist workflow. In order to accomplish the goals set above, a series of technical and artistic problems needed to be solved. With the use of 3D preproduction prototyping, modular and procedural asset gen-eration, new content generation tools, and optimized workflows, the team was able to tackle all production challenges and create high quality content efficiently and with minimal stress to the artists. This thesis also delves into the elaborate process of scene lighting; detailing the artistic decisions and motivations that lead to the final product. The lighting is created by examining references from film and real life, lighting designs, and advanced lighting techniques. The results of the project was a 400 frame animation of a post apocalyptic city block featuring a detailed robot, armed for war, standing guard by his tank amidst piles of debris, barbed wire, and rubble. The shot was rendered entirely in Arnold apart from the FX elements, which was rendered using Houdini Mantra. It also represents a successful collaboration between several volunteer artists with various skills and time commitments

Emerging Technologies in Architectural Visualization: Implementation Strategies for Practice

Representation has always been a critical component in architectural practice and representational techniques have been evolving over time. The relatively recent advent of the digital media is revolutionizing architectural representation. Digital representation techniques are proving to be a more effective means of communicating the design to the client and the collaborative project team. The techniques are advancing so rapidly that it is becoming increasingly difficult to keep in pace with the digital acceleration and utilize these representation techniques in architectural practice. There is a wide difference between what is possible using digital architectural visualization and what is implemented in practice. The research explores the extent of utilization of these digital representation techniques and the challenges they pose in practical implementation. Employing a logical approach to selectively implement this digital procedural change in representation would help in realizing the strategic benefits of these rapidly progressing techniques

3D Animation: Creating an Experiential Environment.

This thesis is a supporting paper for three of my 3D animations created and presented for a Master of Fine Arts graduate exhibition. It discusses how the two realms of graphic design and 3D animation helped me to develop my heuristic techniques of creating animations. Using the three animations as examples, I make an attempt to explain how linear and figurative images influence each other in the creative process of creature/character development. I also discuss the various influences and cumulative explorations behind the imageries of animation. A brief discussion about Asian Indian aesthetic concepts and the general methodology of creating 3D animation using Alias|Wavefront Maya is also included

Pigeon vision: Exploring illustrative processes

Scientific illustrators rely on a variety of illustrative techniques to create comprehensive depictions of complex topics and subjects. The applications of these techniques can greatly impact not only the illustrative and stylistic choices of the individual artist but the information depicted as well. In many cases, a figuratively rendered illustration will not sufficiently convey scientific illustration, therefore abstraction is applied to highlight key elements, eliminate unnecessary components, and create an effective illustration. This thesis examines the application of existing methods of abstraction within the context of ornithological illustration. Additionally, the application of these techniques is explored within the concept of picture and abstraction planes. This thesis uses interdisciplinary literature review, visual research, and process-based illustration research to define a process for creating ornithological illustrations. The outcome of this thesis is divided into two separate visual components. The first Component is a series of nine illustrations based on the visual capabilities of the Common pigeon. These nine illustrations are further divided into three subjects: 1. The Pigeon’s Field of Vision, 2. Ultraviolet and Contrast Perception, and 3.The Common Pigeon. Each of these subjects is comprised of three illustrations created using varying levels of abstraction. These illustrations test out the aforementioned abstraction scales within the context of ornithological illustration and are a culmination of literature review and visual research. The second component of this thesis is an experimental guide book highlighting forty-three of the fifty-three visual experiments conducted throughout the thesis. This field guide book examines the context of science visualization in the context of ornithology. In conclusion, through process-based research, this thesis determines that applying illustrative abstraction techniques to ornithological illustration pushes the illustrations beyond species identification, allowing for images to include information on additional processes associated with the depicted birds