Developing Generalized Volume Sampling and Volume Shading for Non-Photorealistic Rendering

This paper presents a methodology for sampling and rendering 3-dimensional (3D) volume data to give it the appearance of classical ink-and-paint techniques. Although tremendous strides have been made in the realm of realistic volume rendering, research on rendering techniques for non-photorealistic (NPR) images is limited and does not yield results that provides artists the ability to create and render volumes in a classical animation style. Currently, the industry standard is to render the volume using 3D volume data and the diffuse channel, or to provide a card and play an image sequence on the card. This paper discusses a technique that allows for the non-photorealistic rendering of 3D volume data which can be used to sample and shade a variety of shapes to create a stylized render of a volume, similar to classical ink-and-paint techniques. This approach can be summarized in the following steps: (1) Scatter point data within 3D volume data based off of density values, or create a custom point cloud; (2) Ray cast from the camera to the hit position of the volume; (3) From the hit position of the ray, cast towards a direction (either towards a light for shading, or continue in the same direction for a headlamp effect); and (4) Tally and normalize the number of scattered points within a radius of the direction of said ray; then (5) Use this value to interpolate between the lit color of the volume and the background color

Developing Generalized Volume Sampling and Volume Shading for Non-Photorealistic Rendering

This paper presents a methodology for sampling and rendering 3-dimensional (3D) volume data to give it the appearance of classical ink-and-paint techniques. Although tremendous strides have been made in the realm of realistic volume rendering, research on rendering techniques for non-photorealistic (NPR) images is limited and does not yield results that provides artists the ability to create and render volumes in a classical animation style. Currently, the industry standard is to render the volume using 3D volume data and the diffuse channel, or to provide a card and play an image sequence on the card. This paper discusses a technique that allows for the non-photorealistic rendering of 3D volume data which can be used to sample and shade a variety of shapes to create a stylized render of a volume, similar to classical ink-and-paint techniques. This approach can be summarized in the following steps: (1) Scatter point data within 3D volume data based off of density values, or create a custom point cloud; (2) Ray cast from the camera to the hit position of the volume; (3) From the hit position of the ray, cast towards a direction (either towards a light for shading, or continue in the same direction for a headlamp effect); and (4) Tally and normalize the number of scattered points within a radius of the direction of said ray; then (5) Use this value to interpolate between the lit color of the volume and the background color

Developing Generalized Volume Sampling and Volume Shading for Non-Photorealistic Rendering

This paper presents a methodology for sampling and rendering 3-dimensional (3D) volume data to give it the appearance of classical ink-and-paint techniques. Although tremendous strides have been made in the realm of realistic volume rendering, research on rendering techniques for non-photorealistic (NPR) images is limited and does not yield results that provides artists the ability to create and render volumes in a classical animation style. Currently, the industry standard is to render the volume using 3D volume data and the diffuse channel, or to provide a card and play an image sequence on the card. This paper discusses a technique that allows for the non-photorealistic rendering of 3D volume data which can be used to sample and shade a variety of shapes to create a stylized render of a volume, similar to classical ink-and-paint techniques. This approach can be summarized in the following steps: (1) Scatter point data within 3D volume data based off of density values, or create a custom point cloud; (2) Ray cast from the camera to the hit position of the volume; (3) From the hit position of the ray, cast towards a direction (either towards a light for shading, or continue in the same direction for a headlamp effect); and (4) Tally and normalize the number of scattered points within a radius of the direction of said ray; then (5) Use this value to interpolate between the lit color of the volume and the background color

No foto realismo con esgrafiado

Cuando se crea una imagen para comunicar una idea, se está utilizando un lenguaje visual. Podemos “visualizar” nuestro pensamiento de la misma manera en que lo verbalizamos. Un diagrama, un mapa, una pintura son ejemplos del uso del lenguaje visual. Sus unidades estructurales son la línea, la forma, el color, el movimiento, la textura, entre otros. El arte pictórico ha demostrado que el uso de dichas unidades permite transmitir significados sin utilizar palabras. El área de No Foto realismo estudia la generación de imágenes que permitan la transmisión de mensajes visuales con expresión y estilo. En este trabajo, se presenta un prototipo de herramienta para la simulación de la técnica artística del Esgrafiado. La misma reúne elementos provenientes del área de la computación gráfica, el procesamiento de imágenes, el arte y la psicología cognitiva experimental, intentando brindar un medio para el desarrollo de habilidades de comunicación visual en un usuario observador así como también lo habilita al uso de los conceptos con otras herramientas para propósitos específicos a ámbitos no artísticos.A visual language is used when creating an image to communicate a subject. We can visualize our thinking as we can verbalize it. A diagram, a map, a painting are different examples of our visual language use. Line, shape, color, movement, texture, among others are their structural units, and pictorial art have shown their power for communicating messages without words. The Non Foto realism area studies the use of expresion and style in the creation of images for communicating visual messages. At this work, we present a prototype tool for the simulation of the artistic technique called Esgrafiado. The technique gathers elements from computer graphics, image processing, art and and experimental cognitive psychology trying to give a means for the development of visual communication skills to a user-observer. The technique enables the given concepts could be applied by the user into non artistic fields with specific subjects tools.V Workshop de Computación Gráfica, Imágenes Y VisualizaciónRed de Universidades con Carreras en Informática (RedUNCI

No foto realismo con esgrafiado

Cuando se crea una imagen para comunicar una idea, se está utilizando un lenguaje visual. Podemos “visualizar” nuestro pensamiento de la misma manera en que lo verbalizamos. Un diagrama, un mapa, una pintura son ejemplos del uso del lenguaje visual. Sus unidades estructurales son la línea, la forma, el color, el movimiento, la textura, entre otros. El arte pictórico ha demostrado que el uso de dichas unidades permite transmitir significados sin utilizar palabras. El área de No Foto realismo estudia la generación de imágenes que permitan la transmisión de mensajes visuales con expresión y estilo. En este trabajo, se presenta un prototipo de herramienta para la simulación de la técnica artística del Esgrafiado. La misma reúne elementos provenientes del área de la computación gráfica, el procesamiento de imágenes, el arte y la psicología cognitiva experimental, intentando brindar un medio para el desarrollo de habilidades de comunicación visual en un usuario observador así como también lo habilita al uso de los conceptos con otras herramientas para propósitos específicos a ámbitos no artísticos.A visual language is used when creating an image to communicate a subject. We can visualize our thinking as we can verbalize it. A diagram, a map, a painting are different examples of our visual language use. Line, shape, color, movement, texture, among others are their structural units, and pictorial art have shown their power for communicating messages without words. The Non Foto realism area studies the use of expresion and style in the creation of images for communicating visual messages. At this work, we present a prototype tool for the simulation of the artistic technique called Esgrafiado. The technique gathers elements from computer graphics, image processing, art and and experimental cognitive psychology trying to give a means for the development of visual communication skills to a user-observer. The technique enables the given concepts could be applied by the user into non artistic fields with specific subjects tools.V Workshop de Computación Gráfica, Imágenes Y VisualizaciónRed de Universidades con Carreras en Informática (RedUNCI

Art Directed Shader for Real Time Rendering - Interactive 3D Painting

In this work, I develop an approach to include Global Illumination (GI) effects in non-photorealistic real-time rendering; real-time rendering is one of the main areas of focus in the gaming industry and the booming virtual reality(VR) and augmented reality(AR) industries. My approach is based on adapting the Barycentric shader to create a wide variety of painting effects. This shader helps achieve the look of a 2D painting in an interactively rendered 3D scene. The shader accommodates robust computation to obtain artistic reflection and refraction. My contributions can be summarized as follows: Development of a generalized Barycentric shader that can provide artistic control, integration of this generalized Barycentric shader into an interactive ray tracer, and interactive rendering of a 3D scene that closely represent the reference painting

Abstract Real-Time Rendering of Cartoon Smoke and Clouds

We describe an algorithm for rendering animated smoke particle systems in a cartoon style. This style includes outlines and celshading. For efficient self-shadowing effects, we introduce nailboard shadow volumes that create complex shadows from few polygons. Including shadows, the renderer draws only three polygons per particle and entirely avoids the latency of depth buffer readback. We combine the renderer with a fast simulator that generates the phenomenology of real smoke but has artistically controllable parameters. Together they produces real-time interactive smoke animations at over 30 fps. Thus our algorithm is well-suited to applications where interactive performance and expressive power are preferred to realism; for example, video games and rapid development of animation

Anales del XIII Congreso Argentino de Ciencias de la Computación (CACIC)

Contenido: Arquitecturas de computadoras Sistemas embebidos Arquitecturas orientadas a servicios (SOA) Redes de comunicaciones Redes heterogéneas Redes de Avanzada Redes inalámbricas Redes móviles Redes activas Administración y monitoreo de redes y servicios Calidad de Servicio (QoS, SLAs) Seguridad informática y autenticación, privacidad Infraestructura para firma digital y certificados digitales Análisis y detección de vulnerabilidades Sistemas operativos Sistemas P2P Middleware Infraestructura para grid Servicios de integración (Web Services o .Net)Red de Universidades con Carreras en Informática (RedUNCI