Collomosse, John

Isenberg, Tobias

English

Collomosse, John,

Isenberg, Tobias,

University of Groningen Digital Archive

Special section on Non-Photorealistic Animation and Rendering (NPAR) 2010

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HAL Id: hal-00781514https://hal.inria.fr/hal-00781514Submitted on 27 Jan 2013HAL is a multi-disciplinary open accessarchive for the deposit and dissemination of sci-entific research documents, whether they are pub-lished or not. The documents may come fromteaching and research institutions in France orabroad, or from public or private research centers.L’archive ouverte pluridisciplinaire HAL, estdestinée au dépôt et à la diffusion de documentsscientifiques de niveau recherche, publiés ou non,émanant des établissements d’enseignement et derecherche français ou étrangers, des laboratoirespublics ou privés.Special Section on Non-Photorealistic Animation andRendering (NPAR) 2010John Collomosse, Tobias IsenbergTo cite this version:John Collomosse, Tobias Isenberg. Special Section on Non-Photorealistic Animation and Rendering(NPAR) 2010. Computers and Graphics, Elsevier, 2011, 35 (1), pp.iv-v. ￿10.1016/j.cag.2010.11.016￿.￿hal-00781514￿Preface: Special Section on Non-Photorealistic Animation and Rendering (NPAR)2010John Collomossea, Tobias Isenbergb,caCentre for Vision, Speech and Signal Processing, University of Surrey, UK.bJohann Bernoulli Institute for Mathematics and Computer Science, University of Groningen, The Netherlands.cDIGITEO & CNRS/INRIA, France.Non-Photorealistic Animation and Rendering (NPAR) is afirmly established and vibrant research field within Com-puter Graphics, delivering new techniques for expressiverendering and visual communication of ideas and informa-tion. As a field, NPAR’s origins reach back over twentyyears, to seminal works exploring the emulation of tradi-tional artistic media and the stylized visualisation and ab-straction of geometry and images. Today, NPAR has diver-sified to cover a much broader range of topics, spanningcomputational photography, vector graphics, perceptualmodels, interactive methods to augment the creative pro-cess, motion stylization, and video enhancement. Accord-ingly, NPAR has become a focal point for the convergenceof several disciplines; drawing not only from computergraphics, but also from computer vision, human computerinteraction, psychology, and the Arts. NPAR is now a trulycross-disciplinary research field.Within this Special Section we are pleased to presentextended versions of nine research papers presented at the6th ACM / Eurographics International Symposium on Non-Photorealistic Animation and Rendering (NPAR 2010) inAnnecy, France. This prestigious symposium was estab-lished a decade ago in response to the growing interestin NPAR research, and remains a highly competitive pub-lication forum for this specialism. The papers collectedherein have been extended from their NPAR 2010 versionsthrough addition of a further significant technical contri-bution and new results. All papers passed through at leastone additional round of peer review, further to the double-blind review process already conducted via NPAR 2010.Any extended paper for which one guest editor held aconflict was handled separately and independently by theother editor. Where possible, the reviewers evaluating thepaper accepted to NPAR 2010 were the same invited toreview the extended paper for this Special Section. Weare also indebted to the additional reviewers recruitedto ensure the high quality of this Special Section, andthank all of the anonymous reviewers for their thoughtfulfeedback.The papers within the Special Section touch on manyEmail addresses: j.collomosse@surrey.ac.uk (John Collomosse),isenberg@cs.rug.nl (Tobias Isenberg)of the topics outlined above, representing a good cross-section of current activity and trends in NPAR. One suchtrend is style transfer through example-based rendering,which has gathered considerable momentum through thefusion of NPAR with Computer Vision and Machine Learn-ing techniques. “Directional Texture Transfer with EdgeEnhancement” [1] describes how high-frequency texturessuch as brush-work, may be learned and re-applied tostylize photographs, principally in a painterly style. Visualstructures are preserved and enhanced by consideringboth the image texture and the gradient direction in thestyle transfer process. “Progressive Color Transfer forImages of Arbitrary Dynamic Range” [2] also proposesan example-based process for photograph stylization, fo-cussing on the transfer of high-dynamic range (HDR) colorrather than texture.The best paper award at NPAR 2010 was receivedby the authors of “Non-photorealistic Depth-based ImageEditing” who, for the Special Section, have extended theirwork [3] to cover additional styles and have leveragedthe GPU for real-time stylization. In doing so the tech-nique shows potential for video stylization; a perennialtopic in NPAR, but especially timely in this case due tothe increasing presence of NPAR in movie special effects,and the recent trend toward depth-aware post-productiontechniques. Progress toward temporal coherence in videostylization is presented in “Stylized Ambient Displays ofDigital Media Collections” [4]. The authors adopt a seg-mentation-based approach to stylization, presenting a newvideo segmentation algorithm. A novel NPAR applica-tion is also presented in the form of a Digital AmbientDisplay, situated in domestic living spaces, that stylizesand transitions through home media collections. Imagestylization is also addressed in both “Contour-drive Sumi-e rendering of real photos” [5] and “Scale-dependent andExample-based Stippling” [6]. The latter draws uponobservational studies of artistic practice to guide the place-ment of stipple patterns, and contributes a new user studyas well as a GPU implementation in this extended paper.The integration of artistic practice into NPAR research,and the evaluation of results using well-grounded studies,continues to be a principal challenge within the field; aPreprint submitted to Computers & Graphics February 10, 2011point noted by Doug DeCarlo and Matthew Stone [7],Aaron Hertzmann [8], and Amy Gooch et al. [9] in theirNPAR 2010 meta-papers outlining grand challenges in thefield. It is encouraging to see a trend toward such studiesin recent NPAR papers, and many of those within thisSpecial Section.A common practical motivation for NPAR is to im-prove communication and comprehension of visual con-tent. “Multi-Perspective Compact Explosion Diagrams”[10] addresses this goal through automated generation ofexploded diagrams from mesh geometry. An alternativepresentation style is explored in “Shape & Tone Depictionfor Implicit Surfaces” [11], where algorithms for strokeplacement on HRBF implicits are considered to rendergeometry in a Pen-and-Ink style. A rather unique ap-proach to producing fluid effects using vector graphicsis described in “Vector Graphics Depicting Marbled Flow”[12], with a focus on GPU implementation.The Special Section would not have been realised with-out the valued contributions of the authors, and the hardwork of a number of individuals. In particular, the effortsof Prof. Joaquim Jorge both in securing this Special Sec-tion for NPAR 2010, and in his assistance in the productionprocess. In the latter regard, our thanks are extendedto Emily Rae and all those at Elsevier for an efficientproduction schedule. We also thank those involved in theorganisation of NPAR 2010; co-chair Morgan McGuire, thelocal organisers at INRIA Grenoble and Polytech Savoie,and the many individuals on the NPAR Steering Commit-tee who facilitated this Special Section.John Collomosse, University of SurreyTobias Isenberg, University of GroningenCo-Guest Editors of the Special Section on NPAR 2010.November, 2010.References[1] Lee, H., Seo, S., Yoon, K.. Directional Texture Transfer withEdge Enhancement. Computers & Graphics 2011;35(1):81–91. doi:10.1016/j.cag.2010.11.008[2] Pouli, T., Reinhard, E.. Progressive Color Transfer for Images ofArbitrary Dynamic Range. Computers & Graphics 2011;35(1):67–80. doi: 10.1016/j.cag.2010.11.003[3] Lopez-Moreno, J., Jimenez, J., Hadap, S., Anjyo, K., Reinhard,E., Gutierrez, D.. Non-Photorealistic, Depth-Based Image Editing.Computers & Graphics 2011;35(1):99–111. doi: 10.1016/j.cag.2010.11.007[4] Wang, T., Collomosse, J., Hu, R., Slatter, D., Greig, D.,Cheatle, P.. Stylized Ambient Displays of Digital Media Collections.Computers & Graphics 2011;35(1):54–66. doi: 10.1016/j.cag.2010.11.004[5] Ning, X., Laga, H., Saito, S., Nakajima, M.. Contour-Driven Sumi-e Rendering of Real Photos. Computers & Graphics2011;35(1):122–134. doi: 10.1016/j.cag.2010.11.017[6] Mart́ın, D., Arroyo, G., Luzón, M.V., Isenberg, T.. Scale-Dependent and Example-Based Stippling. Computers & Graphics2011;35(1):160–174. doi: 10.1016/j.cag.2010.11.006[7] DeCarlo, D., Stone, M.. Visual Explanations. In: Proc. NPAR.New York: ACM Press; 2010, p. 173–178. doi: 10.1145/1809939.1809960[8] Hertzmann, A.. Non-Photorealistic Rendering and the Science ofArt. In: Proc. NPAR. New York: ACM Press; 2010, p. 147–157. doi:10.1145/1809939.1809957[9] Gooch, A.A., Long, J., Ji, L., Estey, A., Gooch, B.S.. ViewingProgress in Non-Photorealistic Rendering Through Heinlein’s Lens.In: Proc. NPAR. New York: ACM Press; 2010, p. 165–171. doi:10.1145/1809939.1809959[10] Tatzgern, M., Kalkofen, D., Schmalstieg, D.. Multi-Perspective Compact Explosion Diagrams. Computers & Graphics2011;35(1):135–147. doi: 10.1016/j.cag.2010.11.005[11] Brazil, E.V., Macêdo, I., Costa Sousa, M., Velho, L., de Figueiredo,L.H.. Shape & Tone Depiction for Implicit Surfaces. Computers &Graphics 2011;35(1):43–53. doi: 10.1016/j.cag.2010.09.017[12] Ando, R., Tsuruno, R.. Vector Graphics Depicting Marbling Flow.Computers & Graphics 2011;35(1):148–159. doi: 10.1016/j.cag.2010.11.002John Collomosse is a lecturer withinthe Centre for Vision Speech and Sig-nal Processing (CVSSP) at the Univer-sity of Surrey. His research exploresthe relationships between artistic de-piction and real-world imagery. Ap-plications focus on non-photorealisticrendering of images and video, andthe use of sketches to drive visual search of multimediacollections. He holds PhD in Computer Science from theUniversity of Bath (2004) and is a Chartered Engineer.Tobias Isenberg is an assistant pro-fessor for computer graphics and in-teractive systems at the University ofGroningen, the Netherlands. SinceSeptember 2010, he also holds a Digi-teo Chair in collaboration with CNRSand INRIA in Orsay, France. He workson topics in non-photorealistic andillustrative rendering and explores ap-plications, for example, in scientificvisualization. He also investigates interaction approachesfor non-photorealistic and illustrative visualization, inparticular, using large, touch-sensitive displays.2

Special Section on Non-Photorealistic Animation and Rendering (NPAR) 2010

University of Groningen Research Database

  
 University of Groningen
Special section on Non-Photorealistic Animation and Rendering (NPAR) 2010
Collomosse, John; Isenberg, Tobias
Published in:
Computers & graphics-Uk
DOI:
10.1016/j.cag.2010.11.016
IMPORTANT NOTE: You are advised to consult the publisher's version (publisher's PDF) if you wish to cite from
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Citation for published version (APA):
Collomosse, J., & Isenberg, T. (2011). Special section on Non-Photorealistic Animation and Rendering
(NPAR) 2010. Computers & graphics-Uk, 35(1), IV-V. DOI: 10.1016/j.cag.2010.11.016
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Editorial
Special section on Non-Photorealistic Animation and Rendering (NPAR) 2010
Non-Photorealistic Animation and Rendering (NPAR) is a ﬁrmly
established and vibrant research ﬁeld within Computer Graphics,
delivering new techniques for expressive rendering and visual
communication of ideas and information. As a ﬁeld, NPAR’s origins
reach back over twenty years, to seminal works exploring the
emulation of traditional artistic media and the stylized visualisa-
tion and abstraction of geometry and images. Today, NPAR has
diversiﬁed to cover a much broader range of topics, spanning
computational photography, vector graphics, perceptual models,
interactive methods to augment the creative process, motion
stylization, and video enhancement. Accordingly, NPAR has
become a focal point for the convergence of several disciplines;
drawing not only from computer graphics, but also from computer
vision, human computer interaction, psychology, and the Arts.
NPAR is now a truly cross-disciplinary research ﬁeld.
Within this Special Section we are pleased to present extended
versions of nine research papers presented at the 6th ACM/
Eurographics International Symposium on Non-Photorealistic Ani-
mation and Rendering (NPAR 2010) in Annecy, France. This
prestigious symposium was established a decade ago in response
to the growing interest in NPAR research, and remains a highly
competitive publication forum for this specialism. The papers
collected herein have been extended from their NPAR 2010
versions through addition of a further signiﬁcant technical con-
tribution and new results. All papers passed through at least one
additional round of peer review, in addition to the double-blind
review process already conducted via NPAR 2010. Any extended
paper for which one guest editor held a conﬂict was handled
separately and independently by the other editor. Where possible,
the reviewers evaluating the paper accepted to NPAR 2010 were
the same as invited to review the extended paper for this Special
Section. We are also indebted to the additional reviewers recruited
to ensure the high quality of this Special Section, and thank all the
anonymous reviewers for their thoughtful feedback.
The papers within the Special Section touch on many of the
topics outlined above, representing a good cross-section of current
activity and trends in NPAR. One such trend is style transfer
through example-based rendering, which has gathered consider-
ablemomentum through the fusion of NPARwith Computer Vision
and Machine Learning techniques. ‘‘Directional Texture Transfer
with Edge Enhancement’’ [1] describes how high-frequency tex-
tures such as brush-work, may be learned and re-applied to stylize
photographs, principally in a painterly style. Visual structures are
preserved and enhanced by considering both the image texture and
the gradient direction in the style transfer process. ‘‘Progressive
Color Transfer for Images of Arbitrary Dynamic Range’’ [2] also
proposes an example-based process for photograph stylization,
focussing on the transfer of high-dynamic range (HDR) color rather
than texture.
The best paper award at NPAR 2010was received by the authors
of ‘‘Non-photorealistic Depth-based Image Editing’’ who, for the
Special Section, have extended their work [3] to cover additional
styles and have leveraged the GPU for real-time stylization. In
doing so the technique shows potential for video stylization; a
perennial topic inNPAR, but especially timely in this case due to the
increasing presence ofNPAR inmovie special effects, and the recent
trend toward depth-aware post-production techniques. Progress
toward temporal coherence in video stylization is presented in
‘‘Stylized Ambient Displays of Digital Media Collections’’ [4]. The
authors adopt a segmentation-based approach to stylization,
presenting a new video segmentation algorithm. A novel NPAR
application is also presented in the form of a Digital Ambient
Display, situated in domestic living spaces, that stylizes and
transitions through home media collections. Image stylization is
also addressed in both ‘‘Contour-drive Sumi-e rendering of real
photos’’ [5] and ‘‘Scale-dependent and Example-based Stippling’’
[6]. The latter draws upon observational studies of artistic practice
to guide the placement of stipple patterns, and contributes a new
user study aswell as a GPU implementation in this extended paper.
The integration of artistic practice into NPAR research, and the
evaluation of results usingwell-grounded studies, continues to be a
principal challengewithin the ﬁeld; a point noted by Doug DeCarlo
andMatthew Stone [7], AaronHertzmann [8], and AmyGooch et al.
[9] in their NPAR 2010 meta-papers outlining grand challenges in
the ﬁeld. It is encouraging to see a trend toward such studies in the
recent NPAR papers, andmany of those within this Special Section.
A common practical motivation for NPAR is to improve the
communication and comprehension of visual content. ‘‘Multi-per-
spective Compact Explosion Diagrams’’ [10] addresses this goal
through automated generation of exploded diagrams from mesh
geometry. An alternative presentation style is explored in ‘‘Shape &
Tone Depiction for Implicit Surfaces’’ [11], where algorithms for
stroke placement on HRBF implicits are considered to render the
geometry in a Pen-and-Ink style. A rather unique approach to
producing ﬂuid effects using vector graphics is described in ‘‘Vector
Graphics Depicting Marbled Flow’’ [12], with a focus on GPU
implementation.
The Special Section would not have been realised without the
valued contributions of the authors, and the hard work of a number
of individuals. In particular, the efforts of Joaquim Jorge both in
securing this Special Section for NPAR 2010, and in his assistance in
the production process. In the latter regard, our thanks are extended
to Emily Rae and all those at Elsevier for an efﬁcient production
schedule. We also thank those involved in the organisation of NPAR
Contents lists available at ScienceDirect
journal homepage: www.elsevier.com/locate/cag
Computers & Graphics
0097-8493/$ - see front matter & 2010 Elsevier Ltd. All rights reserved.
doi:10.1016/j.cag.2010.11.016
Computers & Graphics 35 (2011) iv–v
2010; co-chair Morgan McGuire, the local organisers at INRIA
Grenoble and Polytech Savoie, and the many individuals on the
NPAR Steering Committee who facilitated this Special Section.
References
[1] Lee H, Seo S, Yoon K. Directional texture transfer with edge enhancement.
Computers and Graphics 2009;35(1). in this issue, doi:10.1016/j.cag.2010.11.
008.
[2] Pouli T, Reinhard E. Progressive color transfer for images of arbitrary dynamic
range. Computers and Graphics 2009;35(1). in this issue, doi:10.1016/j.cag.
2010.11.003.
[3] Lopez-Moreno J, Jimenez J, Hadap S, Anjyo K, Reinhard E, Gutierrez D. Non-
photorealistic, depth-based image editing. Computers and Graphics
2009;35(1). in this issue, doi:10.1016/j.cag.2010.11.007.
[4] WangT,Collomosse J,HuR,SlatterD,GreigD,CheatleP. Stylizedambientdisplaysof
digitalmedia collections. Computers and Graphics 2009;35(1). in this issue, doi:10.
1016/j.cag.2010.11.004.
[5] Ning X, Laga H, Saito S, Nakajima M. Contour-driven sumie rendering of real
photos. Computers and Graphics 2009;35(1). in this issue, doi:10.1016/j.cag.
2010.11.017.
[6] MartınD, ArroyoG, Luz onMV, Isenberg T. Scale-dependent and example-based
stippling. Computers and Graphics 2009;35(1). In this issue, doi:10.1016/j.cag.
2010.11.006.
[7] DeCarlo D, Stone M. Visual explanations. In: Proceedings of the NPAR. New
York: ACM Press; 2010. p. 173–8. doi:10.1145/1809939.1809960.
[8] Hertzmann A. Non-photorealistic rendering and the science of art. In:
Proceedings of the NPAR. New York: ACM Press; 2010. p. 147–57, doi:10.
1145/1809939.1809957.
[9] GoochAA, Long J, Ji L, EsteyA, GoochBS. Viewingprogress in non-photorealistic
rendering throughHeinlein’s lens. In: Proceedings of theNPAR.NewYork:ACM
Press; 2010. p. 165–71, doi:10.1145/1809939.1809959.
[10] Tatzgern M, Kalkofen D, Schmalstieg D. Multi-perspective compact explosion
diagrams. Computers andGraphics 2009;35(1). in this issue, doi:10.1016/j.cag.
2010.11.005.
[11] Brazil EV, Maceˆdo I, Costa Sousa M, Velho L, de Figueiredo LH. Shape and tone
depiction for implicit surfaces. Computers and Graphics 2009;35(1). in this issue,
doi:10.1016/j.cag.2010.09.017.
[12] Ando R, Tsuruno R. Vector graphics depicting marbling ﬂow. Computers and
Graphics 2009;35(1). in this issue, doi:10.1016/j.cag.2010.11.002.
John Collomosse is a lecturer within the Centre for Vision
Speech and Signal Processing (CVSSP) at the University of
Surrey. His research explores the relationships between
artistic depiction and real-world imagery. Applications
focusonnon-photorealistic renderingof imagesandvideo,
and the use of sketches to drive visual search of multi-
media collections. He holds a Ph.D. in Computer Science
from the University of Bath (2004) and is a Chartered
Engineer.
Tobias Isenberg is an assistant professor for computer
graphics and interactive systems at the University of
Groningen, the Netherlands. Since September 2010, he
also holds a Digiteo Chair in collaboration with CNRS
and INRIA in Orsay, France. He works on topics in non-
photorealistic and illustrative rendering and explores
applications, for example, in scientiﬁc visualization.
He also investigates interaction approaches for non-
photorealistic and illustrative visualization, in particu-
lar, using large, touch-sensitive displays.
Co-Guest Editors
John Collomosse
Centre for Vision, Speech and Signal Processing,
University of Surrey, UK
E-mail address: j.collomosse@surrey.ac.uk
Tobias Isenberg
Johann Bernoulli Institute for Mathematics and Computer Science,
University of Groningen, The Netherlands
DIGITEO & CNRS/INRIA, France
E-mail address: isenberg@cs.rug.nl
Editorial / Computers & Graphics 35 (2011) iv–v v


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   University of GroningenSpecial section on Non-Photorealistic Animation and Rendering (NPAR) 2010Collomosse, John; Isenberg, TobiasPublished in:Computers & GraphicsDOI:10.1016/j.cag.2010.11.016IMPORTANT NOTE: You are advised to consult the publisher's version (publisher's PDF) if you wish to cite fromit. Please check the document version below.Document VersionPublisher's PDF, also known as Version of recordPublication date:2011Link to publication in University of Groningen/UMCG research databaseCitation for published version (APA):Collomosse, J., & Isenberg, T. (2011). Special section on Non-Photorealistic Animation and Rendering(NPAR) 2010. Computers & Graphics, 35(1), IV-V. https://doi.org/10.1016/j.cag.2010.11.016CopyrightOther than for strictly personal use, it is not permitted to download or to forward/distribute the text or part of it without the consent of theauthor(s) and/or copyright holder(s), unless the work is under an open content license (like Creative Commons).The publication may also be distributed here under the terms of Article 25fa of the Dutch Copyright Act, indicated by the “Taverne” license.More information can be found on the University of Groningen website: https://www.rug.nl/library/open-access/self-archiving-pure/taverne-amendment.Take-down policyIf you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediatelyand investigate your claim.Downloaded from the University of Groningen/UMCG research database (Pure): http://www.rug.nl/research/portal. For technical reasons thenumber of authors shown on this cover page is limited to 10 maximum.Download date: 06-06-2022Computers & Graphics 35 (2011) iv–vContents lists available at ScienceDirectComputers & Graphics0097-84doi:10.1journal homepage: www.elsevier.com/locate/cagEditorialSpecial section on Non-Photorealistic Animation and Rendering (NPAR) 2010Non-Photorealistic Animation and Rendering (NPAR) is a firmlyestablished and vibrant research field within Computer Graphics,delivering new techniques for expressive rendering and visualcommunication of ideas and information. As a field, NPAR’s originsreach back over twenty years, to seminal works exploring theemulation of traditional artistic media and the stylized visualisa-tion and abstraction of geometry and images. Today, NPAR hasdiversified to cover a much broader range of topics, spanningcomputational photography, vector graphics, perceptual models,interactive methods to augment the creative process, motionstylization, and video enhancement. Accordingly, NPAR hasbecome a focal point for the convergence of several disciplines;drawing not only from computer graphics, but also from computervision, human computer interaction, psychology, and the Arts.NPAR is now a truly cross-disciplinary research field.Within this Special Section we are pleased to present extendedversions of nine research papers presented at the 6th ACM/Eurographics International Symposium on Non-Photorealistic Ani-mation and Rendering (NPAR 2010) in Annecy, France. Thisprestigious symposium was established a decade ago in responseto the growing interest in NPAR research, and remains a highlycompetitive publication forum for this specialism. The paperscollected herein have been extended from their NPAR 2010versions through addition of a further significant technical con-tribution and new results. All papers passed through at least oneadditional round of peer review, in addition to the double-blindreview process already conducted via NPAR 2010. Any extendedpaper for which one guest editor held a conflict was handledseparately and independently by the other editor. Where possible,the reviewers evaluating the paper accepted to NPAR 2010 werethe same as invited to review the extended paper for this SpecialSection. We are also indebted to the additional reviewers recruitedto ensure the high quality of this Special Section, and thank all theanonymous reviewers for their thoughtful feedback.The papers within the Special Section touch on many of thetopics outlined above, representing a good cross-section of currentactivity and trends in NPAR. One such trend is style transferthrough example-based rendering, which has gathered consider-able momentum through the fusion of NPAR with Computer Visionand Machine Learning techniques. ‘‘Directional Texture Transferwith Edge Enhancement’’ [1] describes how high-frequency tex-tures such as brush-work, may be learned and re-applied to stylizephotographs, principally in a painterly style. Visual structures arepreserved and enhanced by considering both the image texture andthe gradient direction in the style transfer process. ‘‘ProgressiveColor Transfer for Images of Arbitrary Dynamic Range’’ [2] alsoproposes an example-based process for photograph stylization,93/$ - see front matter & 2010 Elsevier Ltd. All rights reserved.016/j.cag.2010.11.016focussing on the transfer of high-dynamic range (HDR) color ratherthan texture.The best paper award at NPAR 2010 was received by the authorsof ‘‘Non-photorealistic Depth-based Image Editing’’ who, for theSpecial Section, have extended their work [3] to cover additionalstyles and have leveraged the GPU for real-time stylization. Indoing so the technique shows potential for video stylization; aperennial topic in NPAR, but especially timely in this case due to theincreasing presence of NPAR in movie special effects, and the recenttrend toward depth-aware post-production techniques. Progresstoward temporal coherence in video stylization is presented in‘‘Stylized Ambient Displays of Digital Media Collections’’ [4]. Theauthors adopt a segmentation-based approach to stylization,presenting a new video segmentation algorithm. A novel NPARapplication is also presented in the form of a Digital AmbientDisplay, situated in domestic living spaces, that stylizes andtransitions through home media collections. Image stylization isalso addressed in both ‘‘Contour-drive Sumi-e rendering of realphotos’’ [5] and ‘‘Scale-dependent and Example-based Stippling’’[6]. The latter draws upon observational studies of artistic practiceto guide the placement of stipple patterns, and contributes a newuser study as well as a GPU implementation in this extended paper.The integration of artistic practice into NPAR research, and theevaluation of results using well-grounded studies, continues to be aprincipal challenge within the field; a point noted by Doug DeCarloand Matthew Stone [7], Aaron Hertzmann [8], and Amy Gooch et al.[9] in their NPAR 2010 meta-papers outlining grand challenges inthe field. It is encouraging to see a trend toward such studies in therecent NPAR papers, and many of those within this Special Section.A common practical motivation for NPAR is to improve thecommunication and comprehension of visual content. ‘‘Multi-per-spective Compact Explosion Diagrams’’ [10] addresses this goalthrough automated generation of exploded diagrams from meshgeometry. An alternative presentation style is explored in ‘‘Shape &Tone Depiction for Implicit Surfaces’’ [11], where algorithms forstroke placement on HRBF implicits are considered to render thegeometry in a Pen-and-Ink style. A rather unique approach toproducing fluid effects using vector graphics is described in ‘‘VectorGraphics Depicting Marbled Flow’’ [12], with a focus on GPUimplementation.The Special Section would not have been realised without thevalued contributions of the authors, and the hard work of a numberof individuals. In particular, the efforts of Joaquim Jorge both insecuring this Special Section for NPAR 2010, and in his assistance inthe production process. In the latter regard, our thanks are extendedto Emily Rae and all those at Elsevier for an efficient productionschedule. We also thank those involved in the organisation of NPAREditorial / Computers & Graphics 35 (2011) iv–v v2010; co-chair Morgan McGuire, the local organisers at INRIAGrenoble and Polytech Savoie, and the many individuals on theNPAR Steering Committee who facilitated this Special Section.References[1] Lee H, Seo S, Yoon K. Directional texture transfer with edge enhancement.Computers and Graphics 2009;35(1). in this issue, doi:10.1016/j.cag.2010.11.008.[2] Pouli T, Reinhard E. Progressive color transfer for images of arbitrary dynamicrange. Computers and Graphics 2009;35(1). in this issue, doi:10.1016/j.cag.2010.11.003.[3] Lopez-Moreno J, Jimenez J, Hadap S, Anjyo K, Reinhard E, Gutierrez D. Non-photorealistic, depth-based image editing. Computers and Graphics2009;35(1). in this issue, doi:10.1016/j.cag.2010.11.007.[4] Wang T, Collomosse J, Hu R, Slatter D, Greig D, Cheatle P. Stylized ambient displays ofdigital media collections. Computers and Graphics 2009;35(1). in this issue, doi:10.1016/j.cag.2010.11.004.[5] Ning X, Laga H, Saito S, Nakajima M. Contour-driven sumie rendering of realphotos. Computers and Graphics 2009;35(1). in this issue, doi:10.1016/j.cag.2010.11.017.[6] Martın D, Arroyo G, Luz on MV, Isenberg T. Scale-dependent and example-basedstippling. Computers and Graphics 2009;35(1). In this issue, doi:10.1016/j.cag.2010.11.006.[7] DeCarlo D, Stone M. Visual explanations. In: Proceedings of the NPAR. NewYork: ACM Press; 2010. p. 173–8. doi:10.1145/1809939.1809960.[8] Hertzmann A. Non-photorealistic rendering and the science of art. In:Proceedings of the NPAR. New York: ACM Press; 2010. p. 147–57, doi:10.1145/1809939.1809957.[9] Gooch AA, Long J, Ji L, Estey A, Gooch BS. Viewing progress in non-photorealisticrendering through Heinlein’s lens. In: Proceedings of the NPAR. New York: ACMPress; 2010. p. 165–71, doi:10.1145/1809939.1809959.[10] Tatzgern M, Kalkofen D, Schmalstieg D. Multi-perspective compact explosiondiagrams. Computers and Graphics 2009;35(1). in this issue, doi:10.1016/j.cag.2010.11.005.[11] Brazil EV, Macêdo I, Costa Sousa M, Velho L, de Figueiredo LH. Shape and tonedepiction for implicit surfaces. Computers and Graphics 2009;35(1). in this issue,doi:10.1016/j.cag.2010.09.017.[12] Ando R, Tsuruno R. Vector graphics depicting marbling flow. Computers andGraphics 2009;35(1). in this issue, doi:10.1016/j.cag.2010.11.002.John Collomosse is a lecturer within the Centre for VisionSpeech and Signal Processing (CVSSP) at the University ofSurrey. His research explores the relationships betweenartistic depiction and real-world imagery. Applicationsfocus on non-photorealistic rendering of images and video,and the use of sketches to drive visual search of multi-media collections. He holds a Ph.D. in Computer Sciencefrom the University of Bath (2004) and is a CharteredEngineer.Tobias Isenberg is an assistant professor for computergraphics and interactive systems at the University ofGroningen, the Netherlands. Since September 2010, healso holds a Digiteo Chair in collaboration with CNRSand INRIA in Orsay, France. He works on topics in non-photorealistic and illustrative rendering and exploresapplications, for example, in scientific visualization.He also investigates interaction approaches for non-photorealistic and illustrative visualization, in particu-lar, using large, touch-sensitive displays.Co-Guest EditorsJohn CollomosseCentre for Vision, Speech and Signal Processing,University of Surrey, UKE-mail address: j.collomosse@surrey.ac.ukTobias IsenbergJohann Bernoulli Institute for Mathematics and Computer Science,University of Groningen, The NetherlandsDIGITEO & CNRS/INRIA, FranceE-mail address: isenberg@cs.rug.nl

   University of GroningenSpecial section on Non-Photorealistic Animation and Rendering (NPAR) 2010Collomosse, John; Isenberg, TobiasPublished in:Computers & GraphicsDOI:10.1016/j.cag.2010.11.016IMPORTANT NOTE: You are advised to consult the publisher's version (publisher's PDF) if you wish to cite fromit. Please check the document version below.Document VersionPublisher's PDF, also known as Version of recordPublication date:2011Link to publication in University of Groningen/UMCG research databaseCitation for published version (APA):Collomosse, J., & Isenberg, T. (2011). Special section on Non-Photorealistic Animation and Rendering(NPAR) 2010. Computers & Graphics, 35(1), IV-V. https://doi.org/10.1016/j.cag.2010.11.016CopyrightOther than for strictly personal use, it is not permitted to download or to forward/distribute the text or part of it without the consent of theauthor(s) and/or copyright holder(s), unless the work is under an open content license (like Creative Commons).The publication may also be distributed here under the terms of Article 25fa of the Dutch Copyright Act, indicated by the “Taverne” license.More information can be found on the University of Groningen website: https://www.rug.nl/library/open-access/self-archiving-pure/taverne-amendment.Take-down policyIf you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediatelyand investigate your claim.Downloaded from the University of Groningen/UMCG research database (Pure): http://www.rug.nl/research/portal. For technical reasons thenumber of authors shown on this cover page is limited to 10 maximum.Download date: 16-07-2023Computers & Graphics 35 (2011) iv–vContents lists available at ScienceDirectComputers & Graphics0097-84doi:10.1journal homepage: www.elsevier.com/locate/cagEditorialSpecial section on Non-Photorealistic Animation and Rendering (NPAR) 2010Non-Photorealistic Animation and Rendering (NPAR) is a firmlyestablished and vibrant research field within Computer Graphics,delivering new techniques for expressive rendering and visualcommunication of ideas and information. As a field, NPAR’s originsreach back over twenty years, to seminal works exploring theemulation of traditional artistic media and the stylized visualisa-tion and abstraction of geometry and images. Today, NPAR hasdiversified to cover a much broader range of topics, spanningcomputational photography, vector graphics, perceptual models,interactive methods to augment the creative process, motionstylization, and video enhancement. Accordingly, NPAR hasbecome a focal point for the convergence of several disciplines;drawing not only from computer graphics, but also from computervision, human computer interaction, psychology, and the Arts.NPAR is now a truly cross-disciplinary research field.Within this Special Section we are pleased to present extendedversions of nine research papers presented at the 6th ACM/Eurographics International Symposium on Non-Photorealistic Ani-mation and Rendering (NPAR 2010) in Annecy, France. Thisprestigious symposium was established a decade ago in responseto the growing interest in NPAR research, and remains a highlycompetitive publication forum for this specialism. The paperscollected herein have been extended from their NPAR 2010versions through addition of a further significant technical con-tribution and new results. All papers passed through at least oneadditional round of peer review, in addition to the double-blindreview process already conducted via NPAR 2010. Any extendedpaper for which one guest editor held a conflict was handledseparately and independently by the other editor. Where possible,the reviewers evaluating the paper accepted to NPAR 2010 werethe same as invited to review the extended paper for this SpecialSection. We are also indebted to the additional reviewers recruitedto ensure the high quality of this Special Section, and thank all theanonymous reviewers for their thoughtful feedback.The papers within the Special Section touch on many of thetopics outlined above, representing a good cross-section of currentactivity and trends in NPAR. One such trend is style transferthrough example-based rendering, which has gathered consider-able momentum through the fusion of NPAR with Computer Visionand Machine Learning techniques. ‘‘Directional Texture Transferwith Edge Enhancement’’ [1] describes how high-frequency tex-tures such as brush-work, may be learned and re-applied to stylizephotographs, principally in a painterly style. Visual structures arepreserved and enhanced by considering both the image texture andthe gradient direction in the style transfer process. ‘‘ProgressiveColor Transfer for Images of Arbitrary Dynamic Range’’ [2] alsoproposes an example-based process for photograph stylization,93/$ - see front matter & 2010 Elsevier Ltd. All rights reserved.016/j.cag.2010.11.016focussing on the transfer of high-dynamic range (HDR) color ratherthan texture.The best paper award at NPAR 2010 was received by the authorsof ‘‘Non-photorealistic Depth-based Image Editing’’ who, for theSpecial Section, have extended their work [3] to cover additionalstyles and have leveraged the GPU for real-time stylization. Indoing so the technique shows potential for video stylization; aperennial topic in NPAR, but especially timely in this case due to theincreasing presence of NPAR in movie special effects, and the recenttrend toward depth-aware post-production techniques. Progresstoward temporal coherence in video stylization is presented in‘‘Stylized Ambient Displays of Digital Media Collections’’ [4]. Theauthors adopt a segmentation-based approach to stylization,presenting a new video segmentation algorithm. A novel NPARapplication is also presented in the form of a Digital AmbientDisplay, situated in domestic living spaces, that stylizes andtransitions through home media collections. Image stylization isalso addressed in both ‘‘Contour-drive Sumi-e rendering of realphotos’’ [5] and ‘‘Scale-dependent and Example-based Stippling’’[6]. The latter draws upon observational studies of artistic practiceto guide the placement of stipple patterns, and contributes a newuser study as well as a GPU implementation in this extended paper.The integration of artistic practice into NPAR research, and theevaluation of results using well-grounded studies, continues to be aprincipal challenge within the field; a point noted by Doug DeCarloand Matthew Stone [7], Aaron Hertzmann [8], and Amy Gooch et al.[9] in their NPAR 2010 meta-papers outlining grand challenges inthe field. It is encouraging to see a trend toward such studies in therecent NPAR papers, and many of those within this Special Section.A common practical motivation for NPAR is to improve thecommunication and comprehension of visual content. ‘‘Multi-per-spective Compact Explosion Diagrams’’ [10] addresses this goalthrough automated generation of exploded diagrams from meshgeometry. An alternative presentation style is explored in ‘‘Shape &Tone Depiction for Implicit Surfaces’’ [11], where algorithms forstroke placement on HRBF implicits are considered to render thegeometry in a Pen-and-Ink style. A rather unique approach toproducing fluid effects using vector graphics is described in ‘‘VectorGraphics Depicting Marbled Flow’’ [12], with a focus on GPUimplementation.The Special Section would not have been realised without thevalued contributions of the authors, and the hard work of a numberof individuals. In particular, the efforts of Joaquim Jorge both insecuring this Special Section for NPAR 2010, and in his assistance inthe production process. In the latter regard, our thanks are extendedto Emily Rae and all those at Elsevier for an efficient productionschedule. We also thank those involved in the organisation of NPAREditorial / Computers & Graphics 35 (2011) iv–v v2010; co-chair Morgan McGuire, the local organisers at INRIAGrenoble and Polytech Savoie, and the many individuals on theNPAR Steering Committee who facilitated this Special Section.References[1] Lee H, Seo S, Yoon K. Directional texture transfer with edge enhancement.Computers and Graphics 2009;35(1). in this issue, doi:10.1016/j.cag.2010.11.008.[2] Pouli T, Reinhard E. Progressive color transfer for images of arbitrary dynamicrange. Computers and Graphics 2009;35(1). in this issue, doi:10.1016/j.cag.2010.11.003.[3] Lopez-Moreno J, Jimenez J, Hadap S, Anjyo K, Reinhard E, Gutierrez D. Non-photorealistic, depth-based image editing. Computers and Graphics2009;35(1). in this issue, doi:10.1016/j.cag.2010.11.007.[4] Wang T, Collomosse J, Hu R, Slatter D, Greig D, Cheatle P. Stylized ambient displays ofdigital media collections. Computers and Graphics 2009;35(1). in this issue, doi:10.1016/j.cag.2010.11.004.[5] Ning X, Laga H, Saito S, Nakajima M. Contour-driven sumie rendering of realphotos. Computers and Graphics 2009;35(1). in this issue, doi:10.1016/j.cag.2010.11.017.[6] Martın D, Arroyo G, Luz on MV, Isenberg T. Scale-dependent and example-basedstippling. Computers and Graphics 2009;35(1). In this issue, doi:10.1016/j.cag.2010.11.006.[7] DeCarlo D, Stone M. Visual explanations. In: Proceedings of the NPAR. NewYork: ACM Press; 2010. p. 173–8. doi:10.1145/1809939.1809960.[8] Hertzmann A. Non-photorealistic rendering and the science of art. In:Proceedings of the NPAR. New York: ACM Press; 2010. p. 147–57, doi:10.1145/1809939.1809957.[9] Gooch AA, Long J, Ji L, Estey A, Gooch BS. Viewing progress in non-photorealisticrendering through Heinlein’s lens. In: Proceedings of the NPAR. New York: ACMPress; 2010. p. 165–71, doi:10.1145/1809939.1809959.[10] Tatzgern M, Kalkofen D, Schmalstieg D. Multi-perspective compact explosiondiagrams. Computers and Graphics 2009;35(1). in this issue, doi:10.1016/j.cag.2010.11.005.[11] Brazil EV, Macêdo I, Costa Sousa M, Velho L, de Figueiredo LH. Shape and tonedepiction for implicit surfaces. Computers and Graphics 2009;35(1). in this issue,doi:10.1016/j.cag.2010.09.017.[12] Ando R, Tsuruno R. Vector graphics depicting marbling flow. Computers andGraphics 2009;35(1). in this issue, doi:10.1016/j.cag.2010.11.002.John Collomosse is a lecturer within the Centre for VisionSpeech and Signal Processing (CVSSP) at the University ofSurrey. His research explores the relationships betweenartistic depiction and real-world imagery. Applicationsfocus on non-photorealistic rendering of images and video,and the use of sketches to drive visual search of multi-media collections. He holds a Ph.D. in Computer Sciencefrom the University of Bath (2004) and is a CharteredEngineer.Tobias Isenberg is an assistant professor for computergraphics and interactive systems at the University ofGroningen, the Netherlands. Since September 2010, healso holds a Digiteo Chair in collaboration with CNRSand INRIA in Orsay, France. He works on topics in non-photorealistic and illustrative rendering and exploresapplications, for example, in scientific visualization.He also investigates interaction approaches for non-photorealistic and illustrative visualization, in particu-lar, using large, touch-sensitive displays.Co-Guest EditorsJohn CollomosseCentre for Vision, Speech and Signal Processing,University of Surrey, UKE-mail address: j.collomosse@surrey.ac.ukTobias IsenbergJohann Bernoulli Institute for Mathematics and Computer Science,University of Groningen, The NetherlandsDIGITEO & CNRS/INRIA, FranceE-mail address: isenberg@cs.rug.nl

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University of Groningen

   University of GroningenSpecial section on Non-Photorealistic Animation and Rendering (NPAR) 2010Collomosse, John; Isenberg, TobiasPublished in:Computers & GraphicsDOI:10.1016/j.cag.2010.11.016IMPORTANT NOTE: You are advised to consult the publisher's version (publisher's PDF) if you wish to cite fromit. Please check the document version below.Document VersionPublisher's PDF, also known as Version of recordPublication date:2011Link to publication in University of Groningen/UMCG research databaseCitation for published version (APA):Collomosse, J., & Isenberg, T. (2011). Special section on Non-Photorealistic Animation and Rendering(NPAR) 2010. Computers & Graphics, 35(1), IV-V. https://doi.org/10.1016/j.cag.2010.11.016CopyrightOther than for strictly personal use, it is not permitted to download or to forward/distribute the text or part of it without the consent of theauthor(s) and/or copyright holder(s), unless the work is under an open content license (like Creative Commons).The publication may also be distributed here under the terms of Article 25fa of the Dutch Copyright Act, indicated by the “Taverne” license.More information can be found on the University of Groningen website: https://www.rug.nl/library/open-access/self-archiving-pure/taverne-amendment.Take-down policyIf you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediatelyand investigate your claim.Downloaded from the University of Groningen/UMCG research database (Pure): http://www.rug.nl/research/portal. For technical reasons thenumber of authors shown on this cover page is limited to 10 maximum.Download date: 25-04-2023Computers & Graphics 35 (2011) iv–vContents lists available at ScienceDirectComputers & Graphics0097-84doi:10.1journal homepage: www.elsevier.com/locate/cagEditorialSpecial section on Non-Photorealistic Animation and Rendering (NPAR) 2010Non-Photorealistic Animation and Rendering (NPAR) is a firmlyestablished and vibrant research field within Computer Graphics,delivering new techniques for expressive rendering and visualcommunication of ideas and information. As a field, NPAR’s originsreach back over twenty years, to seminal works exploring theemulation of traditional artistic media and the stylized visualisa-tion and abstraction of geometry and images. Today, NPAR hasdiversified to cover a much broader range of topics, spanningcomputational photography, vector graphics, perceptual models,interactive methods to augment the creative process, motionstylization, and video enhancement. Accordingly, NPAR hasbecome a focal point for the convergence of several disciplines;drawing not only from computer graphics, but also from computervision, human computer interaction, psychology, and the Arts.NPAR is now a truly cross-disciplinary research field.Within this Special Section we are pleased to present extendedversions of nine research papers presented at the 6th ACM/Eurographics International Symposium on Non-Photorealistic Ani-mation and Rendering (NPAR 2010) in Annecy, France. Thisprestigious symposium was established a decade ago in responseto the growing interest in NPAR research, and remains a highlycompetitive publication forum for this specialism. The paperscollected herein have been extended from their NPAR 2010versions through addition of a further significant technical con-tribution and new results. All papers passed through at least oneadditional round of peer review, in addition to the double-blindreview process already conducted via NPAR 2010. Any extendedpaper for which one guest editor held a conflict was handledseparately and independently by the other editor. Where possible,the reviewers evaluating the paper accepted to NPAR 2010 werethe same as invited to review the extended paper for this SpecialSection. We are also indebted to the additional reviewers recruitedto ensure the high quality of this Special Section, and thank all theanonymous reviewers for their thoughtful feedback.The papers within the Special Section touch on many of thetopics outlined above, representing a good cross-section of currentactivity and trends in NPAR. One such trend is style transferthrough example-based rendering, which has gathered consider-able momentum through the fusion of NPAR with Computer Visionand Machine Learning techniques. ‘‘Directional Texture Transferwith Edge Enhancement’’ [1] describes how high-frequency tex-tures such as brush-work, may be learned and re-applied to stylizephotographs, principally in a painterly style. Visual structures arepreserved and enhanced by considering both the image texture andthe gradient direction in the style transfer process. ‘‘ProgressiveColor Transfer for Images of Arbitrary Dynamic Range’’ [2] alsoproposes an example-based process for photograph stylization,93/$ - see front matter & 2010 Elsevier Ltd. All rights reserved.016/j.cag.2010.11.016focussing on the transfer of high-dynamic range (HDR) color ratherthan texture.The best paper award at NPAR 2010 was received by the authorsof ‘‘Non-photorealistic Depth-based Image Editing’’ who, for theSpecial Section, have extended their work [3] to cover additionalstyles and have leveraged the GPU for real-time stylization. Indoing so the technique shows potential for video stylization; aperennial topic in NPAR, but especially timely in this case due to theincreasing presence of NPAR in movie special effects, and the recenttrend toward depth-aware post-production techniques. Progresstoward temporal coherence in video stylization is presented in‘‘Stylized Ambient Displays of Digital Media Collections’’ [4]. Theauthors adopt a segmentation-based approach to stylization,presenting a new video segmentation algorithm. A novel NPARapplication is also presented in the form of a Digital AmbientDisplay, situated in domestic living spaces, that stylizes andtransitions through home media collections. Image stylization isalso addressed in both ‘‘Contour-drive Sumi-e rendering of realphotos’’ [5] and ‘‘Scale-dependent and Example-based Stippling’’[6]. The latter draws upon observational studies of artistic practiceto guide the placement of stipple patterns, and contributes a newuser study as well as a GPU implementation in this extended paper.The integration of artistic practice into NPAR research, and theevaluation of results using well-grounded studies, continues to be aprincipal challenge within the field; a point noted by Doug DeCarloand Matthew Stone [7], Aaron Hertzmann [8], and Amy Gooch et al.[9] in their NPAR 2010 meta-papers outlining grand challenges inthe field. It is encouraging to see a trend toward such studies in therecent NPAR papers, and many of those within this Special Section.A common practical motivation for NPAR is to improve thecommunication and comprehension of visual content. ‘‘Multi-per-spective Compact Explosion Diagrams’’ [10] addresses this goalthrough automated generation of exploded diagrams from meshgeometry. An alternative presentation style is explored in ‘‘Shape &Tone Depiction for Implicit Surfaces’’ [11], where algorithms forstroke placement on HRBF implicits are considered to render thegeometry in a Pen-and-Ink style. A rather unique approach toproducing fluid effects using vector graphics is described in ‘‘VectorGraphics Depicting Marbled Flow’’ [12], with a focus on GPUimplementation.The Special Section would not have been realised without thevalued contributions of the authors, and the hard work of a numberof individuals. In particular, the efforts of Joaquim Jorge both insecuring this Special Section for NPAR 2010, and in his assistance inthe production process. In the latter regard, our thanks are extendedto Emily Rae and all those at Elsevier for an efficient productionschedule. We also thank those involved in the organisation of NPAREditorial / Computers & Graphics 35 (2011) iv–v v2010; co-chair Morgan McGuire, the local organisers at INRIAGrenoble and Polytech Savoie, and the many individuals on theNPAR Steering Committee who facilitated this Special Section.References[1] Lee H, Seo S, Yoon K. Directional texture transfer with edge enhancement.Computers and Graphics 2009;35(1). in this issue, doi:10.1016/j.cag.2010.11.008.[2] Pouli T, Reinhard E. Progressive color transfer for images of arbitrary dynamicrange. Computers and Graphics 2009;35(1). in this issue, doi:10.1016/j.cag.2010.11.003.[3] Lopez-Moreno J, Jimenez J, Hadap S, Anjyo K, Reinhard E, Gutierrez D. Non-photorealistic, depth-based image editing. Computers and Graphics2009;35(1). in this issue, doi:10.1016/j.cag.2010.11.007.[4] Wang T, Collomosse J, Hu R, Slatter D, Greig D, Cheatle P. Stylized ambient displays ofdigital media collections. Computers and Graphics 2009;35(1). in this issue, doi:10.1016/j.cag.2010.11.004.[5] Ning X, Laga H, Saito S, Nakajima M. Contour-driven sumie rendering of realphotos. Computers and Graphics 2009;35(1). in this issue, doi:10.1016/j.cag.2010.11.017.[6] Martın D, Arroyo G, Luz on MV, Isenberg T. Scale-dependent and example-basedstippling. Computers and Graphics 2009;35(1). In this issue, doi:10.1016/j.cag.2010.11.006.[7] DeCarlo D, Stone M. Visual explanations. In: Proceedings of the NPAR. NewYork: ACM Press; 2010. p. 173–8. doi:10.1145/1809939.1809960.[8] Hertzmann A. Non-photorealistic rendering and the science of art. In:Proceedings of the NPAR. New York: ACM Press; 2010. p. 147–57, doi:10.1145/1809939.1809957.[9] Gooch AA, Long J, Ji L, Estey A, Gooch BS. Viewing progress in non-photorealisticrendering through Heinlein’s lens. In: Proceedings of the NPAR. New York: ACMPress; 2010. p. 165–71, doi:10.1145/1809939.1809959.[10] Tatzgern M, Kalkofen D, Schmalstieg D. Multi-perspective compact explosiondiagrams. Computers and Graphics 2009;35(1). in this issue, doi:10.1016/j.cag.2010.11.005.[11] Brazil EV, Macêdo I, Costa Sousa M, Velho L, de Figueiredo LH. Shape and tonedepiction for implicit surfaces. Computers and Graphics 2009;35(1). in this issue,doi:10.1016/j.cag.2010.09.017.[12] Ando R, Tsuruno R. Vector graphics depicting marbling flow. Computers andGraphics 2009;35(1). in this issue, doi:10.1016/j.cag.2010.11.002.John Collomosse is a lecturer within the Centre for VisionSpeech and Signal Processing (CVSSP) at the University ofSurrey. His research explores the relationships betweenartistic depiction and real-world imagery. Applicationsfocus on non-photorealistic rendering of images and video,and the use of sketches to drive visual search of multi-media collections. He holds a Ph.D. in Computer Sciencefrom the University of Bath (2004) and is a CharteredEngineer.Tobias Isenberg is an assistant professor for computergraphics and interactive systems at the University ofGroningen, the Netherlands. Since September 2010, healso holds a Digiteo Chair in collaboration with CNRSand INRIA in Orsay, France. He works on topics in non-photorealistic and illustrative rendering and exploresapplications, for example, in scientific visualization.He also investigates interaction approaches for non-photorealistic and illustrative visualization, in particu-lar, using large, touch-sensitive displays.Co-Guest EditorsJohn CollomosseCentre for Vision, Speech and Signal Processing,University of Surrey, UKE-mail address: j.collomosse@surrey.ac.ukTobias IsenbergJohann Bernoulli Institute for Mathematics and Computer Science,University of Groningen, The NetherlandsDIGITEO & CNRS/INRIA, FranceE-mail address: isenberg@cs.rug.nl

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