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

Digital compositing with traditional artwork

This thesis presents a general method and guidelines for compositing digital characters into traditional artwork by matching a character to the perspective, lighting, style, and complexity of the particular work of art. The primary goal of this integration is to make the resulting image believable, but not necessarily to create an exact match. As a result, the approach used here is not limited to a single rendering style or medium, but can be used to create a very close match for almost any artistic image. To develop and test this method and set of guidelines I created composites using a variety of styles and mediums

2.5D cartoon models

We present a way to bring cartoon objects and characters into the third dimension, by giving them the ability to rotate and be viewed from any angle. We show how 2D vector art drawings of a cartoon from different views can be used to generate a novel structure, the 2.5D cartoon model, which can be used to simulate 3D rotations and generate plausible renderings of the cartoon from any view. 2.5D cartoon models are easier to create than a full 3D model, and retain the 2D nature of hand-drawn vector art, supporting a wide range of stylizations that need not correspond to any real 3D shape.MathWorks, Inc. (Fellowship

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

Using Texture Synthesis for Non-Photorealistic Shading from Paint Samples

This paper presents several methods for shading meshes from scanned paint samples that represent dark to light transitions. Our techniques emphasize artistic control of brush stroke texture and color. We first demonstrate how the texture of the paint sample can be separated from its color gradient. We demonstrate three methods, two real-time and one off-line for producing rendered, shaded images from the texture samples. All three techniques use texture synthesis to generate additional paint samples. Finally, we develop metrics for evaluating how well each method achieves our goal in terms of texture similarity, shading correctness and temporal coherence

Planes Crazy: Transformations of Pictorial Space in 1930s Cartoons

À regarder les courts métrages qu’ont produits les studios Disney durant les années 1930, il appert que la façon de penser la représentation de l’espace a beaucoup évolué au cours de cette décennie. À l’époque, les grands studios cherchaient tous à améliorer l’illusion de la troisième dimension dans la composition des dessins. L’intention était peut-être de produire des courts métrages qui, plutôt que de contraster avec les longs métrages aux côtés desquels ils figuraient dans les programmes, fonctionneraient selon des codes visuels similaires. Le présent article s’attarde aux innovations dans la représentation de l’espace ainsi qu’aux usages de nouvelles techniques dans les films des studios Disney et des studios concurrents.It is apparent from viewing the short films produced by the Disney studio in the 1930s that the concepts of pictorial space changed dramatically during the decade. All the major studios experimented with increasing the three-dimensionality of their compositions. The motivation may have been to produce films that complemented, rather than contrasted with, the visual norms of the feature films they accompanied on film programs. This article looks at the spatial innovations and evidence of new techniques found in the films of Disney and competing studios

The Homeless Bird: A Motion Graphics Narrative About Deforestation and Animals.

The Homeless Bird is a short animated story expressing the loss of homes for wildlife due to the destruction of habitats such as deforestation. With the loss of natural habitats each year, many animals have to migrate to areas that are unfit to provide for them. The main goal is to draw attention to this problem and to help encourage the audience to act. The project concerns the combination of practicing motion graphics design theories and experimenting with available computer graphics integration technologies. The final piece is a 2:55 minute visual story that combines both a fantasy and realistic setting

How the Advancement of Computer Graphics has Improved the Representation of Monsters in Cinema

Monsters, creatures, and beasts have always been a part of any civilization’s culture. Through documentation and stories passed down from one generation to the other, we as a society have seen a huge variety of monsters in literature, arts, and movies. The correlation between society and its fascination with monsters stems from fear. Fear is the overall driving force for the creation of all monsters in every form of entertainment because of humanity’s attraction to the weird and abnormal. Often either a fear of science or a fear of one’s self, there is a monster that is created that corresponds. From Dracula to Godzilla, these monsters represent fear that were among the people of their time. Monster representation in film provides a surreal way to present those pure, exotic, and frightful themes in a way that the audience can appreciate. Computer generated effects have advanced significantly toward photo-realism, improving the impact of monsters in stories, folklore, and myths, portrayed in cinema.This thesis will discuss the origins of monsters; their impact on art, literature and early cinema; and how the visual effects industry reshaped and strengthened the representation of monsters in movies