7,665 research outputs found

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

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    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

    Seasons: A motion graphics depicts activities of ancient Chinese people in four seasons

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    Seasons is a 2D motion graphics film that aims to visually depict my interpretation of seasons changing and seasonal activities of ancient Chinese people. It is an attempt to reproduce two classical arts on modern media. I mimic and mix the visual effects of Chinese shadow puppets and Chinese ink wash strokes through digital media technologies. Neither Chinese painting nor shadow puppet emphasize on reproducing the appearance of subject. It is more regarded as a form of expressionistic art, which intends to capture the spirit of the subject and illustrate the perception of the scene. My graphics are not planned to fully copy external forms of shadow puppets or old Chinese paintings, instead, I target to show the beauty of Chinese traditional art forms as well as the beauty of Asian aesthetics and philosophy. Seasons represents my imaginary and visual adaptation of my knowledge and memories about cultures, traditions, and mysteries that related to seasons. The intent of project is to seek a different approach to integrate motion graphics with traditional art forms, and, to discuss more possibilities of transplanting classical arts into digital platform

    A STUDY ABOUT HOW TO CREATE A MYTHICAL BEAST SUCCESSFULLY, FOCUSING ON THE EXAMPLE OF THE NINE-TAILED FOX IN EASTERN ART

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    Mythical beasts appear in many forms across multiple cultures throughout human history. Their narratives and visual designs express important beliefs and desires of a given culture. By focusing on the aesthetics and history of the nine-tailed fox, a Chinese mythological, this thesis will explore the constructions and artistic techniques that have given shape to the myth. This thesis will also discuss my thesis project named Classic of Mountains and Seas. The ultimate aim of my creative project has been to develop an animation of new mythical beasts, and this paper situates my creations within the much broader history that has inspired them. As a classic mythical beast, the nine-tailed fox is a popular and culturally significant one in East Asian art and literature. Through out the ages, the nine-tailed fox has been depicted in a large number of artworks across a wide variety of media, including painting, sculpture, fabric, and crafts. Additionally, there is a rich archive of records about the nine-tailed fox, indicating how pervasive this figure has been throughout history. It is precisely because of how its popularity and power have been maintained over such a long period of time that the nine-tailed fox will be regarded as an important reference for my own artistic practice as an animator

    teamLab Research

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    teamLab undoubtedly opened a new era of art. It allows professionals in multi-industries to use the latest science and technology to create art, they are all popular for local audiences from Japan to the United States, from Italy to China, wherever they go. As a significant representative form of the trendy show and immersive exhibition, teamLab\u27s works are completely different from the past in terms of creative logic, exhibition experience, and collection methods. By going through the development history of teamLab, this article studies the characteristics of its exhibitions, audience, and the connection with traditional art, in order to explore the development of today\u27s art and look forward to the future of new art

    Unit

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    It is a basic concept in Taoism that personal infinity can be achieved by visualizing the process where human bodies unify with the Universe through Taoism study and practice. This project, Unit is an animated adaptation of drawings created by my mother, Mrs. Hanjinying, who is writing and painting for a textbook on Taoism. It is a visualized journey of a Taoism experience featuring two characters who are different manifestations of the same self that unite and connect to nature and the Universe through their spiritual development. The animation is four minutes in length. The imagery consists of 2D based characters composited with surreal environments and effects. The characters were hand drawn and colored digitally. The elements in the environment, such as smoke and bubbles, were generated as 3D elements using After Effects. The prerecorded music soundtrack was edited in Soundbooth. My creative intent was to visualize a concept based on existing arts and documents and animate it without narration. The production process progressively emphasized idea refinement and simplification. The challenge was to create an atmosphere of a Taoist space. Finally, Unit was created to honor my Mother with a revision of her interpretation on life, the Universe and Taoism. Unit has been donated to the Art Museum of Taoism in Beijing, China as a display video within the museum

    Mist

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    Mist is an abstract, animated graduate thesis film with a duration of five minutes. It is an extremely personal film, which is inspired by my childhood memories and Chinese culture. It is a reflection of my own life, which just like the fluid ink in the film, reacts with the environment naturally and leaves distinct marks on the paper of my life. This is a live action and 2D animation mixed film that was produced with After Effects and Premiere software. The primary plan was to produce this film in 3D. However, in order to achieve a more dynamic look, I eventually made changes in my medium. The majority of the footage in the film was shot in live action and edited in After Effects. This thesis paper is about the creation of Mist from my point of view. It involves the generation of the ideas, experiments and trials, production processes and the challenges I encountered

    Spatialising narrative pictures : transforming 2D narrative drawing/illustration to video installations

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    PhD Thesis 3 DVD's of animations available in print thesis only (theses can be requested for consultation from the Newcastle University Library Search Catalogue)This Ph.D. thesis is an investigation of the processes and problems, both practical and conceptual, involved in the transformation of my small-scale two-dimensional narrative drawings into video installations. The aim of this transformation was to increase the active involvement and engagement of the viewer and to enhance and open up the narrative/s within the original drawings. I use the term ‘spatialise’ for this transformation, looking particularly at three major narrative factors - character, event and space. It became apparent through the investigation that scale and position were also crucial factors. These elements are examined through creative practice and a critical body of knowledge gained from firsthand practical experience, contextualised against the historical and theoretical backdrop relating to narrative images and how images relate to spaces. As an artist coming to this inquiry from a drawing/illustration background, the three key concerns and questions were: how to transform a two-dimensional narrative illustration into an installation without losing the drawing/painting quality? When transformed into a video installation, what changes happen to the narrative and to the audience’s engagement and self-awareness, and subsequently the audience’s understanding of the narrative? How can technology, sculpture, installation, and video projection be used to develop and enhance my drawings? This desire to search for a new medium and approach for my drawing/illustration practice is in the context of both my own artistic identity and the backdrop of dramatic social transformation in China. The research has led to new insights as well as new dialogues for me - between drawing practice, my cultural identity as an artist, the narrative content of my own hand-made drawings, and comparisons between the traditions of Western/European and Chinese art. A particularly important new element for me was the idea of an ‘open narrative’ gained through spatialisation. The research therefore contributes to the field of contemporary art practice, video installation and narrative drawing through bringing together experimental video installation and a cultural critique – and by directing the audience’s self-awareness through open narrative discourse

    Spartan Daily, October 2, 2014

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    Volume 143, Issue 16https://scholarworks.sjsu.edu/spartandaily/1515/thumbnail.jp

    Volumetric cloud generation using a Chinese brush calligraphy style

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    Includes bibliographical references.Clouds are an important feature of any real or simulated environment in which the sky is visible. Their amorphous, ever-changing and illuminated features make the sky vivid and beautiful. However, these features increase both the complexity of real time rendering and modelling. It is difficult to design and build volumetric clouds in an easy and intuitive way, particularly if the interface is intended for artists rather than programmers. We propose a novel modelling system motivated by an ancient painting style, Chinese Landscape Painting, to address this problem. With the use of only one brush and one colour, an artist can paint a vivid and detailed landscape efficiently. In this research, we develop three emulations of a Chinese brush: a skeleton-based brush, a 2D texture footprint and a dynamic 3D footprint, all driven by the motion and pressure of a stylus pen. We propose a hybrid mapping to generate both the body and surface of volumetric clouds from the brush footprints. Our interface integrates these components along with 3D canvas control and GPU-based volumetric rendering into an interactive cloud modelling system. Our cloud modelling system is able to create various types of clouds occurring in nature. User tests indicate that our brush calligraphy approach is preferred to conventional volumetric cloud modelling and that it produces convincing 3D cloud formations in an intuitive and interactive fashion. While traditional modelling systems focus on surface generation of 3D objects, our brush calligraphy technique constructs the interior structure. This forms the basis of a new modelling style for objects with amorphous shape

    THE REALISM OF ALGORITHMIC HUMAN FIGURES A Study of Selected Examples 1964 to 2001

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    It is more than forty years since the first wireframe images of the Boeing Man revealed a stylized hu-man pilot in a simulated pilot's cabin. Since then, it has almost become standard to include scenes in Hollywood movies which incorporate virtual human actors. A trait particularly recognizable in the games industry world-wide is the eagerness to render athletic muscular young men, and young women with hour-glass body-shapes, to traverse dangerous cyberworlds as invincible heroic figures. Tremendous efforts in algorithmic modeling, animation and rendering are spent to produce a realistic and believable appearance of these algorithmic humans. This thesis develops two main strands of research by the interpreting a selection of examples. Firstly, in the computer graphics context, over the forty years, it documents the development of the creation of the naturalistic appearance of images (usually called photorealism ). In particular, it de-scribes and reviews the impact of key algorithms in the course of the journey of the algorithmic human figures towards realism . Secondly, taking a historical perspective, this work provides an analysis of computer graphics in relation to the concept of realism. A comparison of realistic images of human figures throughout history with their algorithmically-generated counterparts allows us to see that computer graphics has both learned from previous and contemporary art movements such as photorealism but also taken out-of-context elements, symbols and properties from these art movements with a questionable naivety. Therefore, this work also offers a critique of the justification of the use of their typical conceptualization in computer graphics. Although the astounding technical achievements in the field of algorithmically-generated human figures are paralleled by an equally astounding disregard for the history of visual culture, from the beginning 1964 till the breakthrough 2001, in the period of the digital information processing machine, a new approach has emerged to meet the apparently incessant desire of humans to create artificial counterparts of themselves. Conversely, the theories of traditional realism have to be extended to include new problems that those active algorithmic human figures present
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