Painterly rendering techniques: A state-of-the-art review of current approaches

In this publication we will look at the different methods presented over the past few decades which attempt to recreate digital paintings. While previous surveys concentrate on the broader subject of non-photorealistic rendering, the focus of this paper is firmly placed on painterly rendering techniques. We compare different methods used to produce different output painting styles such as abstract, colour pencil, watercolour, oriental, oil and pastel. Whereas some methods demand a high level of interaction using a skilled artist, others require simple parameters provided by a user with little or no artistic experience. Many methods attempt to provide more automation with the use of varying forms of reference data. This reference data can range from still photographs, video, 3D polygonal meshes or even 3D point clouds. The techniques presented here endeavour to provide tools and styles that are not traditionally available to an artist. Copyright © 2012 John Wiley & Sons, Ltd

Art in the Age of Networks - Networks as a Way of Thinking

The theme-based and material-based units (with lessons and lesson sequences) propose a curriculum for one academic semester in an undergraduate visual arts school (for sophomore, 2nd year, or junior, 3rd year students). However the lessons could be modified and tailored to any age group developmentally. This curricular framework aims to foster collaboration (within individuals, materials and disciplines), explore networked pedagogy and networks in pedagogy as a collaborating force through and with the visual arts and explore the materiality of the code and the digital media. The course also engages with new media theory and literature, investigates the materiality of the digital media as collaborators, mediators and metaphors and reflects on how technology affects pedagogy and allows students to tailor projects according to their own interests. The course content is flexible in its approach with plenty of elbowroom. The 3rd Unit of the suggested curriculum also seeks to advocate for social justice; students cultivate perspectives about the power of digital media to address social issues, they probe into matters of social justice or injustice with the featured artists and make connections with the artistic processes and goals of the artists (listed in the lessons) to reflect on the sociopolitical context of their own art making. The students also think about networks as an abstract or tangible concept (digital, social, physical, and biological networks) and create works in an open-ended, student-centric environment that encourages critical thinking, independent decision-making and enables them to chose their own nature/ track of projects.https://scholarscompass.vcu.edu/cstae_resource_higher_education/1002/thumbnail.jp

Drawing machines, bathing machines, motorbikes, the stars…: where are the masterpieces?

The term ‘digital drawing’ may imply a special kind of drawing, set against a natural approach. Previous generations also had to adjust to the new technologies of the time. Some resisted, some went ahead. New methods present difficulties as well as opportunities. The how-to-draw books of the 1900’s show not just one ‘traditional’ approach, but a wide range, and a healthy debate. For the past two centuries such books have here and there discussed both drawing machines, and the connected question of how to draw machines. One way or another the world of drawing will absorb the impact of computers, and it won’t be just as an isolated genre of slightly weird drawing. So it is wrong to exclude ‘digital’ drawing from surveys, to think of this category as distinct from mainstream drawing. Museums have already collected the significant works, and traced the history. The way forward should be to integrate digital tools within the broad spectrum of drawing types. There are no good reasons for not using digital devices, and no good reasons for not using pencils. All the same, I cite three cases where a pencil and paper technique would not be up to the job: football, a drawing jam session, and astronomy

Sketching-out virtual humans: A smart interface for human modelling and animation

In this paper, we present a fast and intuitive interface for sketching out 3D virtual humans and animation. The user draws stick figure key frames first and chooses one for “fleshing-out” with freehand body contours. The system automatically constructs a plausible 3D skin surface from the rendered figure, and maps it onto the posed stick figures to produce the 3D character animation. A “creative model-based method” is developed, which performs a human perception process to generate 3D human bodies of various body sizes, shapes and fat distributions. In this approach, an anatomical 3D generic model has been created with three distinct layers: skeleton, fat tissue, and skin. It can be transformed sequentially through rigid morphing, fatness morphing, and surface fitting to match the original 2D sketch. An auto-beautification function is also offered to regularise the 3D asymmetrical bodies from users’ imperfect figure sketches. Our current system delivers character animation in various forms, including articulated figure animation, 3D mesh model animation, 2D contour figure animation, and even 2D NPR animation with personalised drawing styles. The system has been formally tested by various users on Tablet PC. After minimal training, even a beginner can create vivid virtual humans and animate them within minutes

Primary children’s understanding and relationship with cartoon characters : a multimodal praxis-based research experience

This paper presents the research outcomes of a two-year research venture conducted by Attard (2019) which links theory to classroom-based praxis. In brief, the first part of the paper presents a sound theoretical grounding based on international literature about primary school children’s understanding and relationship with cartoon characters. Later, based on the critical theoretical literature review presented in the first part, the paper links the outcomes to two levels of praxis. Initially, it presents how nine / ten-year-old children attending Maltese primary schools understand and relate to cartoon characters based on their everyday cartoon watching experiences. Then, based on an original multimodal framework (Cremona, 2017), as a main conclusion, a set of practical multimodal suggestions are proposed. These suggestions are intended to be used by educators, parents or guardians with primary school children.peer-reviewe

TMFD 146: Visualization Studio—A Peer Review of Teaching Project Benchmark Portfolio—Student Perceptions of Learning to Draw the Human Form

This course portfolio examines student experiences while taking Visualization Studio and illustrates the various drawing and design projects they complete. While this document illustrates the overall course experience it focuses on student perceptions of learning to draw the human form by two students. Student A, Alesha, demonstrates a high pass example and student B, Mallory, demonstrates a mid pass example. I feel it is obvious to compare high and low pass samples but the difference between high and mid is much harder to differentiate. Key elements are highlighted to identify the differences between them. Although final course grades were close between each student their perceived learning varies greatly. This conundrum is caused by the difference between the experiences of each student. Student A felt she had a lot of experience entering the course while Student B felt she had no experience and therefore had learned more. The question is: should the instructor grade for improvement or for actual skill in a course with students who have little to no experience in art, drawing or designing

TMFD 146: Visualization Studio—A Peer Review of Teaching Project Benchmark Portfolio—Student Perceptions of Learning to Draw the Human Form

This course portfolio examines student experiences while taking Visualization Studio and illustrates the various drawing and design projects they complete. While this document illustrates the overall course experience it focuses on student perceptions of learning to draw the human form by two students. Student A, Alesha, demonstrates a high pass example and student B, Mallory, demonstrates a mid pass example. I feel it is obvious to compare high and low pass samples but the difference between high and mid is much harder to differentiate. Key elements are highlighted to identify the differences between them. Although final course grades were close between each student their perceived learning varies greatly. This conundrum is caused by the difference between the experiences of each student. Student A felt she had a lot of experience entering the course while Student B felt she had no experience and therefore had learned more. The question is: should the instructor grade for improvement or for actual skill in a course with students who have little to no experience in art, drawing or designing

The Making of The Letter

None provided