Dynamic Stylized Shading Primitives

Honorable Mention in RenderingInternational audienceShading appearance in illustrations, comics and graphic novels is designed to convey illumination, material and surface shape characteristics at once. Moreover, shading may vary depending on different configurations of surface distance, lighting, character expressions, timing of the action, to articulate storytelling or draw attention to a part of an object. In this paper, we present a method that imitates such expressive stylized shading techniques in dynamic 3D scenes, and which offers a simple and flexible means for artists to design and tweak the shading appearance and its dynamic behavior. The key contribution of our approach is to seamlessly vary appearance by using a combination of shading primitives that take into account lighting direction, material characteristics and surface features. We demonstrate their flexibility in a number of scenarios: minimal shading, comics or cartoon rendering, glossy and anisotropic material effects; including a variety of dynamic variations based on orientation, timing or depth. Our prototype implementation combines shading primitives with a layered approach and runs in real-time on the GPU

Visual Aesthetics in Digital Games: A Comparative Analysis Between Photorealism and Stylized Graphicsgraphics

This dissertation starts from the assumption that every digital game has some kind of visual display. Based on that, it investigates photorealistic and stylized graphics, two popular visual styles in digital games, in order to comprehend the process of creating a prototype that incorporates those styles, as well as the technological artistic challenges of implementing each style in a solo development scenario, with the goal of assisting in the practice of designing this type of content. A literature review on digital game appearance and the development of both photorealistic and stylized styles was conducted to ground the development of a prototype. The result of the prototype creation is documented, so its findings can lead to the expansion of knowledge that can be used in practice and can inform practitioners and other designers

A Process to Create Dynamic Landscape Paintings Using Barycentric Shading with Control Paintings

In this work, we present a process that uses a Barycentric shading method to create dynamic landscape paintings that change based on the time of day. Our process allows for the creation of dynamic paintings for any time of the day using simply a limited number of control paintings. To create a proof of concept, we have used landscape paintings of Edgar Payne, one of the leading landscape painters of the American West. His specific style of painting that blends Impressionism with the style of other painters of the AmericanWest is particularly appropriate for the demonstration of the power of our Barycentric shading method

Development of a videogame using cel-shading in Unity3D Final Degree Work Report

Treball final de Grau en Disseny i Desenvolupament de Videojocs. Codi: VJ1241. Curs acadèmic: 2020/2021This document constitutes the final memory for the Final Degree Project in Videogame Design and Development based on the development of a videogame in Unity 3D, with its own models in cartoon style, using a custom cel-shading. The videogame is a platformer one in which the ultimate goal is to get the fives moons hidden in the level. For this, the player will have to achieve five different goals that unlock the five moons, when the player collects them, the game ends

Oil Painting 3D Scene: A Desert Survival Game Environment

Oil Painting 3D Scene: A Desert Survival Game Environment is a hand-painted, stylized game level. The whole environment includes desert, animals, plants, rocks, small particle effects and a shack built in Unreal Engine. This report outlines the whole production process, from the very beginning of visual development stage till completion, and illustrates my ideas, sketches, obstacles, tests, design choices, failures and successes, as well as technical specifics

Interactive toon shading using mesh smoothing

Toon shading mimics the style of few colour bands and hence offers an effective way to convey the cartoon-style rendering. Despite an increasing amount of research on toon shading, little research has been reported on generation of toon shading style with more simplicity. In this paper, we present a method to create a simplified form of toon shading using mesh smoothing from 3D objects. The proposed method exploits the Laplacian smoothing to emphasise the simplicity of 3D objects. Motivated by simplified form of Phong lighting model, we create non-photorealistic style capable of enhancing the cartoonish appearance. An enhanced toon shading algorithm is applied on the simple 3D objects in order to convey more simple visual cues of tone. The experimental result reveals the ability of proposed method to produce more cartoonish simplistic effects

Virtual humans and Photorealism: The effect of photorealism of interactive virtual humans in clinical virtual environment on affective responses

The ability of realistic vs stylized representations of virtual characters to elicit emotions in users has been an open question for researchers and artists alike. We designed and performed a between subjects experiment using a medical virtual reality simulation to study the differences in the emotions aroused in participants while interacting with realistic and stylized virtual characters. The experiment included three conditions each of which presented a different representation of the virtual character namely; photo-realistic, non-photorealistic cartoon-shaded and non-photorealistic charcoal-sketch. The simulation used for the experiment, called the Rapid Response Training System was developed to train nurses to identify symptoms of rapid deterioration in patients. The emotional impact of interacting with the simulation on the participants was measured via both subjective and objective metrics. Quantitative objective measures were gathered using skin Electrodermal Activity (EDA) sensors, and quantitative subjective measures included Differential Emotion Survey (DES IV), Positive and Negative Affect Schedule (PANAS), and the co-presence or social presence questionnaire. The emotional state of the participants was analyzed across four distinct time steps during which the medical condition of the virtual patient deteriorated, and was contrasted to a baseline affective state. The data from the EDA sensors indicated that the mean level of arousal was highest in the charcoal-sketch condition, lowest in the realistic condition, with responses in the cartoon-shaded condition was in the middle. Mean arousal responses also seemed to be consistent in both the cartoon-shaded and charcoal-sketch conditions across all time steps, while the mean arousal response of participants in the realistic condition showed a significant drop from time step 1 through time step 2, corresponding to the deterioration of the virtual patient. Mean scores of participants in the DES survey seems to suggest that participants in the realistic condition elicited a higher emotional response than participants in both non-realistic conditions. Within the non-realistic conditions, participants in the cartoon-shaded condition seemed to elicit a higher emotional response than those in the charcoal-sketch condition

Interactive non-photorealistic rendering

Due to increasing demands of artistic style with Interactive Rate, we propose this review paper as a starting point for any person interested in researching of interactive non-photorealistic rendering. As a simple yet effective means of visual communication, interactive non-photorealistic rendering generates images that are closer to human-drawn than are created by traditional computer graphics techniques with more expressing meaningful visual information. This paper presents taxonomy of interactive non-photorealistic rendering techniques which developed over the past two decades, structured according to the design characteristics and behavior of each technique. Also, it covers the most important algorithms in interactive stylized shade and line drawing, and separately discussing their advantages and disadvantages. The review then concludes with a discussion of the main issues and technical challenges for Interactive Non-Photorealistic Rendering techniques. In addition, this paper discusses the effect of modified phong shading model in order to create toon shading appearance

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