Generic Mesh Refinement On GPU

International audienceMany recent publications have shown that a large variety of computation involved in computer graphics can be moved from the CPU to the GPU, by a clever use of vertex or fragment shaders. Nonetheless there is still one kind of algorithms that is hard to translate from CPU to GPU: mesh refinement techniques. The main reason for this, is that vertex shaders available on current graphics hardware do not allow the generation of additional vertices on a mesh stored in graphics hardware. In this paper, we propose a general solution to generate mesh refinement on GPU. The main idea is to define a generic refinement pattern that will be used to virtually create additional inner vertices for a given polygon. These vertices are then translated according to some procedural displacement map defining the underlying geometry (similarly, the normal vectors may be transformed according to some procedural normal map). For illustration purpose, we use a tesselated triangular pattern, but many other refinement patterns may be employed. To show its flexibility, the technique has been applied on a large variety of refinement techniques: procedural displacement mapping, as well as more complex techniques such as curved PN-triangles or ST-meshes

Quad Dominant 2-Manifold Mesh Modeling

In this dissertation, I present a modeling framework that provides modeling of 2D smooth meshes in arbitrary topology without any need for subdivision. In the framework, each edge of a quad face is represented by a smooth spline curve, which can be manipulated using edge vertices and additional tangential points. The overall smoothness is achieved by interpolating all four edges of any given quad across the quad surface. The framework consists of simple quad preserving operations that manipulate the principal curves of the smooth model. These operations are all variants of a generic “Curve Split" and its inverse, “Region Collapse". By only using these sets of simple operations, it is possibly to model any desired shape conveniently. I also provide implementation guidelines for these operations. In the results of this dissertation, I present three main applications for this modeling framework. The major application is modeling Mock3D shapes; shapes with well defined interior normals by interpolating the normals at the boundaries of the shape across its surface which can serve as a mock 3D model to mimic a 3D CGI look. As a second application, the framework can be used in origami modeling by allowing assignment of crease patterns across the surface of 2D shapes modelled. Finally, vectorization of reference photos via modeling figures by following their contours is presented as a third application

SVG 3D Graphical Presentation for Web-based Applications

Due to the rapid developments in the field of computer graphics and computer hardware, web-based applications are becoming more and more powerful, and the performance distance between web-based applications and desktop applications is increasingly closer. The Internet and the WWW have been widely used for delivering, processing, and publishing 3D data. There is increasingly demand for more and easier access to 3D content on the web. The better the browser experience, the more potential revenue that web-based content can generate for providers and others. The main focus of this thesis is on the design, develop and implementation of a new 3D generic modelling method based on Scalable Vector Graphics (SVG) for web-based applications. While the model is initialized using classical 3D graphics, the scene model is extended using SVG. A new algorithm to present 3D graphics with SVG is proposed. This includes the definition of a 3D scene in the framework, integration of 3D objects, cameras, transformations, light models and textures in a 3D scene, and the rendering of 3D objects on the web page, allowing the end-user to interactively manipulate objects on the web page. A new 3D graphics library for 3D geometric transformation and projection in the SVG GL is design and develop. A set of primitives in the SVG GL, including triangle, sphere, cylinder, cone, etc. are designed and developed. A set of complex 3D models in the SVG GL, including extrusion, revolution, Bezier surface, and point clouds are designed and developed. The new Gouraud shading algorithm and new Phong Shading algorithm in the SVG GL are proposed, designed and developed. The algorithms can be used to generate smooth shading and create highlight for 3D models. The new texture mapping algorithms for the SVG GL oriented toward web-based 3D modelling applications are proposed, designed and developed. Texture mapping algorithms for different 3D objects such as triangle, plane, sphere, cylinder, cone, etc. will also be proposed, designed and developed. This constitutes a unique and significant contribution to the disciplines of web-based 3D modelling, as well as to the process of 3D model popularization

The immediacy of the artist's mark in shape computation : from visualization to representation

Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Architecture, 2006.Includes bibliographical references (leaves 105-109).Approaches to shape computation and algorithmic art-making within the fields of shape grammars and computer graphics still do not consider the immediacy of the artist's mark in drawing and painting. This research examines the canvas, or 2D picture plane, as the expressive and dynamic problem space of the artist who naturally reframes both the problem and the solution with each successive mark. The fluidity of the artist's mark is the most important element in transforming the blank canvas into an image. In this research, I use my own traditionally drawn and painted artwork as the baseline corpus for analysis. From my analysis, I define a nonsymbolic, formal grammar for the synthesis of images in the style of the baseline corpus and develop software prototype "sketches" to support the geometric representation of freehand sketching consistent with mark-making. Curve generation is critical to the expressive marks of the artist. The result of this research is a curvilinear shape grammar that supports both explicit and implicit shape recognition while affording the artist the ability to draw (shape union) and erase (shape difference) computationally.(cont.) I compare the results of the synthesis phase with my traditional sketches showing that it is possible to compute imagery consistent with the evolving style of the artist's own hand. Additionally, the analysis phase of the research supports the supposition that formal algorithmic understanding of one's artistic process has directive and positive influences on the evolution and refinement of the style.by Jacquelyn A. Martino.Ph.D