ACM's
Searchable Bibliography Index
The following is also available as a bib file (containing most
citations up to and including 2001): npr.bib.
Some NPR-related Publications in BibTex format
@article{Raskar:2001:HSN,
author = {Ramesh Raskar },
title = {Hardware Support for Non-photorealistic Rendering },
journal = {2001 SIGGRAPH / Eurographics Workshop on Graphics Hardware},
year = {2001},
month = {August},
editor = { },
publisher = {ACM Press},
pages = { },
note = { },
annote = { },
}
@article{Freudenberg:2001:WIF,
author = {Bert Freudenberg and Maic Masuch and Thomas Strothotte},
title = {Walk-Through Illustrations: Frame-Coherent Pen-and-Ink Style in a Game Engine},
volume = {20},
number = {3},
journal = {Computer Graphics Forum},
year = {2001},
publisher = {Blackwell Publishers},
note = {ISSN 1067-7055},
annote = { In this paper we show how a game engine designed to generate
photorealistic images can be extended to produce non-photorealistic
and hybrid renditions. We introduce new hardware-based methods to
accomplish pen-and-ink illustrations. The combination of the highly
optimized processing of a game engine and the use of hardware for NPR
algorithms yields real-time animation of pen-and-ink illustrations.
The particular advance of this method is that it yields the first
real-time, frame-coherent pen-and-ink animations which maintain both
tone and texture. }, }
@article{Bourguignon:2001:DFI,
author = {David Bourguignon and Marie-Paule Cani and George Drettakis},
title = {Drawing for Illustration and Annotation in 3D},
volume = {20},
number = {3},
journal = {Computer Graphics Forum},
year = {2001},
publisher = {Blackwell Publishers},
note = {ISSN 1067-7055},
keywords = {drawing, stroke-based illustration, interface},
annote = { We present a system for sketching in 3D, which
strives to preserve the degree of expression, imagination, and
simplicity of use achieved by 2D drawing. Our system directly
uses user-drawn strokes to infer the sketches representing the
same scene from different viewpoints, rather than attempting to
reconstruct a 3D model. This is achieved by interpreting
strokes as indications of a local surface silhouette or
contour. Strokes thus deform and disappear progressively as we
move away from the original viewpoint. They may be occluded by
objects indicated by other strokes, or, in contrast, be drawn
above such objects. The user draws on a plane which can be
positioned explicitly or relative to other objects or strokes in
the sketch. Our system is interactive, since we use fast
algorithms and graphics hardware for rendering. We present
applications to education, design, architecture and fashion,
where 3D sketches can be used alone or as an annotation of an
existing 3D model. }, }
@article{Kang:2001:TIT,
author = {Hyung Woo Kang and Soon Hyoung Pyo and Ken-ichi Anjyo and Sung Yong Shin},
title = {Tour Into the Picture using a Vanishing Line and its Extension to Panoramic Images},
volume = {20},
number = {3},
journal = {Computer Graphics Forum},
year = {2001},
publisher = {Blackwell Publishers},
note = {ISSN 1067-7055},
keywords = {Image-based modeling/rendering, projective geometry, vanishing line, panoramic image},
annote = { Tour into the picture (TIP) proposed by Horry et
al.is a method for generating a sequence of walk-through images
from a single reference picture (or image). By navigating a 3D
scene model constructed from the picture, TIP produces
convincing 3D effects. Assuming that the picture has one
vanishing point, they proposed the scene modeling scheme called
spidery mesh. However, this scheme has to go through major
modification when the picture contains multiple vanishing points
or does not have any well-defined vanishing point. Moreover, the
spidery mesh is hard to generalize for other types of images
such as panoramic images. In this paper, we propose a new scheme
for TIP which is based on a single vanishing line instead of a
vanishing point. Based on projective geometry, our scheme is
simple and yet general enough to address the problems faced with
the previous method. We also show that our scheme can be
naturally extended to a panoramic image. }, }
@article{Way:2001:TSO,
author = {Der-Lor Way and Zen-Chung Shih},
title = {The Synthesis of Rock Textures in Chinese Landscape Painting},
volume = {20},
number = {3},
journal = {Computer Graphics Forum},
year = {2001},
publisher = {Blackwell Publishers},
note = {ISSN 1067-7055},
annote = {In Chinese landscape painting, rock textures portray the
orientation of mountains and contribute to the atmosphere. Many
landscape-painting skills are required according to the type of
rock. Landscape painting is the major theme of Chinese
painting. Over the centuries, masters of Chinese landscape
painting developed various texture strokes. Hemp-fiber and
axe-cut are two major types of texture strokes. A slightly
sinuous and seemingly broken line, the hemp-fiber stroke is used
for describing the gentle slopes of rock formations whereas the
axe-cut stroke best depicts hard, rocky surfaces. This paper
presents a novel method of synthesizing rock textures in Chinese
landscape painting, useful not only to artists who want to paint
interactively, but also in automated rendering of natural
scenes. The method proposed underwrites the complete painting
process after users have specified only the contour and
parameters. }, }
@article{Durand:2001:DSH,
author = {Fredo Durand and Victor Ostromoukhov and Mathieu Miller and Francois Duranleau and Julie Dorsey},
title = { Decoupling Strokes and High-Level Attributes for Interactive Traditional Drawing},
journal = {Eurographics Workshop on Rendering},
year = {2001},
publisher = {Springer-Verlag},
pages = {},
note = {},
annote = {},
}
@article{Gooch:2001:ACI,
author = {Bruce Gooch and Eric Reinhard and Chris Moulding and Peter Shirley },
title = { Artistic Composition for Image Creation },
journal = {Eurographics Workshop on Rendering},
year = {2001},
publisher = {Springer-Verlag},
pages = {},
note = {},
annote = {},
}
@article{Visvalingam:2001:TCE,
author = {M Visvalingam and K Dowson},
title = {Towards Cognitive Evaluation of Computer-drawn Sketches},
volume = {17},
number = {4},
journal = {The Visual Computer},
year = {2001},
month = {},
pages = {},
keywords = {},
annote = { },
}
@article{Cornish:2001:VPF,
author = {Derek Cornish and Andrea Rowan and David Luebke},
title = {View-Dependent Particles for Interactive Non-Photorealistic Rendering},
journal = {Graphics Interface 2001},
year = {2001},
month = {June},
editor = {Benjamin Watson and John W. Buchanan},
pages = {151--158},
note = {ISBN 0-96888-080-0},
annote = {We present a novel framework for non-photorealistic
rendering (NPR) based on view-dependent geometric simplification
techniques. Following a common thread in NPR research, we
represent the model as a system of particles, which will be
rendered as strokes in the final image and which may optionally
overlay a polygonal surface. Our primary contribution is the use
of a hierarchical view-dependent clustering algorithm to
regulate the number and placement of these particles. This
algorithm unifies several tasks common in artistic rendering,
such as placing strokes, regulating the screen-space density of
strokes, and ensuring inter-frame coherence in animated or
interactive rendering. View-dependent callback functions
determine which particles are rendered and how to render the
associated strokes. The resulting framework is interactive and
extremely flexible, letting users easily produce and experiment
with many different art-based rendering styles. }, }
@article{Sloan:2001:TLS,
author = {Peter-Pike Sloan and William Martin and Amy Gooch and Bruce Gooch},
title = {The Lit Sphere: A Model for Capturing NPR Shading from Art},
journal = {Graphics Interface 2001},
year = {2001},
month = {June},
editor = {Benjamin Watson and John W. Buchanan},
pages = {143--150},
note = {ISBN 0-96888-080-0},
annote = {While traditional graphics techniques provide for
the realistic display of three-dimensional objects, these
methods often lack the flexibility to emulate expressive effects
found in the works of artists such as Michelangelo and Cezanne.
We introduce a technique for capturing custom artistic shading
models from sampled art work. Our goal is to allow users to
easily generate shading models which give the impression of
light, depth, and material properties as accomplished by
artists. Our system provides real-time feedback to immediately
illustrate aesthetic choices in shading model design, and to
assist the user in the exploration of novel viewpoints. We
describe rendering algorithms which are easily incorporated into
existing shaders, making non-photorealistic rendering of
materials such as skin, metal, or even painted objects fast and
simple. The flexibility of these methods for generating shading
models enables users to portray a large range of materials as
well as to capture the look and feel of a work of art. (Color
images can be found at
http://www.cs.utah.edu/npr/papers/LitSphere_HTML.) }, }
@article{Agrawala:2001:RER,
author = {Maneesh Agrawala and Chris Stolte},
title = {Rendering Effective Route Maps: Improving Usability Through
Generalization},
journal = {Proceedings of SIGGRAPH 2001},
series = {Computer Graphics Proceedings, Annual Conference Series},
year = {2001},
month = {August},
editor = {Eugene Fiume},
publisher = {ACM Press / ACM SIGGRAPH},
pages = {241--250},
note = {ISBN 1-58113-292-1},
keywords = {Information Visualization, Non-Realistic Rendering, WWW Applications, Human Factors},
annote = {Route maps, which depict a path from one location
to another, have emerged as one of the most popular applications
on the Web. Current computer-generated route maps, however, are
often very difficult to use. In this paper we present a set of
cartographic generalization techniques specifically designed to
improve the usability of route maps. Our generalization
techniques are based both on cognitive psychology research
studying how route maps are used and on an analysis of the
generalizations commonly found in handdrawn route maps. We
describe algorithmic implementations of these generalization
techniques within LineDrive, a real-time system for
automatically designing and rendering route maps. Feedback from
over 2200 users indicates that almost all believe LineDrive maps
are preferable to using standard computer-generated route maps
alone. }, }
@article{Agrawala:1995:3PO,
author = {Maneesh Agrawala and Andrew C. Beers and Marc Levoy},
title = {3D Painting on Scanned Surfaces },
journal = {1995 Symposium on Interactive 3D Graphics},
year = {1995},
month = {April},
editor = {Pat Hanrahan and Jim Winget},
publisher = {ACM SIGGRAPH},
pages = {145--150},
note = {ISBN 0-89791-736-7},
}
#2:
@article{Agrawala:2000:AMR,
author = {Maneesh Agrawala and Denis Zorin and Tamara Munzner },
title = {Artistic Multiprojection Rendering},
journal = {Rendering Techniques 2000: 11th Eurographics Workshop on Rendering},
year = {2000},
month = {June},
editor = {Bernard P{\'{e}}roche and Holly Rushmeier},
publisher = {Eurographics},
pages = {125--136},
note = {ISBN 3-211-83535-0},
annote = {In composing hand-drawn images of 3D scenes,
artists often alter the projection for each object in the scene
independently, thereby generating multiprojection images. We
present an interactive tool for creating such multiprojection
images and animations, consisting of two parts: a
multiprojection rendering algorithm and an interactive interface
for attaching local cameras to the scene geometry. We describe a
new set of techniques for resolving visibility between geometry
rendered with different local cameras. We also develop several
camera constraints that are useful when initially setting local
camera parameters and when animating the scene. We demonstrate
applications of our methods for generating a variety of artistic
effects in still images and in animations. }, }
@article{Hertzmann:2001:IA,
author = {Aaron Hertzmann and Charles E. Jacobs and Nuria Oliver and Brian
Curless and David H. Salesin},
title = {Image Analogies},
journal = {Proceedings of SIGGRAPH 2001},
series = {Computer Graphics Proceedings, Annual Conference Series},
year = {2001},
month = {August},
editor = {Eugene Fiume},
publisher = {ACM Press / ACM SIGGRAPH},
pages = {327--340},
note = {ISBN 1-58113-292-1},
keywords = {example-based rendering, texture synthesis,
non-photorealistic rendering, Markov random fields,
autoregression, texture-by-numbers, texture transfer},
annote = {This paper describes a new framework for processing
images by example, called "image analogies." The framework
involves two stages: a design phase, in which a pair of images,
with one image purported to be a "filtered" version of the
other, is presented as "training data"; and an application
phase, in which the learned filter is applied to some new target
image in order to create an "analogous" filtered result. Image
analogies are based on a simple multi-scale autoregression,
inspired primarily by recent results in texture synthesis. By
choosing different types of source image pairs as input, the
framework supports a wide variety of "image filter" effects,
including traditional image filters, such as blurring or
embossing; improved texture synthesis, in which some textures
are synthesized with higher quality than by previous approaches;
super-resolution, in which a higher-resolution image is inferred
from a low-resolution source; texture transfer, in which images
are "texturized" with some arbitrary source texture; artistic
filters, in which various drawing and painting styles are
synthesized based on scanned real-world examples; and
texture-by-numbers, in which realistic scenes, composed of a
variety of textures, are created using a simple painting
interface. }, }
@article{Baxter:2001:DIH,
author = {Bill Baxter and Vincent Scheib and Ming C. Lin and Dinesh Manocha},
title = {DAB: Interactive Haptic Painting With 3D Virtual Brushes},
journal = {Proceedings of SIGGRAPH 2001},
series = {Computer Graphics Proceedings, Annual Conference Series},
year = {2001},
month = {August},
editor = {Eugene Fiume},
publisher = {ACM Press / ACM SIGGRAPH},
pages = {461--468},
note = {ISBN 1-58113-292-1},
keywords = {Haptics, Human Computer Interaction, Painting Systems, Deformable Brush Model},
annote = {We present a novel painting system with an
intuitive haptic interface, which serves as an expressive
vehicle for inter-ctively creating painterly works. We introduce
a deformable, 3D brush model, which gives the user natural
control of complex brush strokes. The force feedback enhances
the sense of realism and provides tactile cues that enable the
user to better manipulate the paint brush. We have also
developed a bidirectional, two-layer paint model that, combined
with a palette interface, enables easy loading of complex blends
onto our 3D virtual brushes to generate interesting paint
effects on the canvas. The resulting system, DAB, provides the
user with an artistic setting, which is conceptually equivalent
to a real-world painting environment. Several users have tested
DAB and were able to start creating original art work within
minutes. }, }
@article{Hausner:2001:SDM,
author = {Alejo Hausner},
title = {Simulating Decorative Mosaics},
journal = {Proceedings of SIGGRAPH 2001},
year = {2001},
month = {August},
editor = {Eugene Fiume},
publisher = {ACM Press / ACM SIGGRAPH},
pages = {573--578},
note = {ISBN 1-58113-292-1},
annote = {This paper presents a method for simulating
decorative tile mosaics. Such mosaics are challenging because
the square tiles that comprise them must be packed tightly and
yet must follow orientations chosen by the artist. Based on an
existing image and user-selected edge features, the method can
both reproduce the image's colours and emphasize the selected
edges by placing tiles that follow the edges. The method uses
centroidal voronoi diagrams which normally arrange points in
regular hexagonal grids. By measuring distances with an
manhattan metric whose main axis is adjusted locally to follow
the chosen direction field, the centroidal diagram can be
adapted to place tiles in curving square grids
instead. Computing the centroidal voronoi diagram is made
possible by leveraging the z-buffer algorithm available in many
graphics cards. }, }
@article{Praun:2001:RH,
author = {Emil Praun and Hugues Hoppe and Matthew Webb and Adam Finkelstein },
title = {Real-Time Hatching},
journal = {Proceedings of SIGGRAPH 2001},
series = {Computer Graphics Proceedings, Annual Conference Series},
year = {2001},
month = {August},
editor = {Eugene Fiume},
publisher = {ACM Press / ACM SIGGRAPH},
pages = {579--584},
note = {ISBN 1-58113-292-1},
keywords = {non-photorealistic rendering, line art, multitexturing,
chicken-and-egg problem },
annote = {Drawing surfaces using hatching strokes
simultaneously conveys material, tone, and form. We present a
real-time system for non-photorealistic rendering of hatching
strokes over arbitrary surfaces. During an automatic preprocess,
we construct a sequence of mip-mapped hatch images corresponding
to different tones, collectively called a tonal art map. Strokes
within the hatch images are scaled to attain appropriate stroke
size and density at all resolutions, and are organized to
maintain coherence across scales and tones. At runtime, hardware
multitexturing blends the hatch images over the rendered faces
to locally vary tone while maintaining both spatial and temporal
coherence. To render strokes over arbitrary surfaces, we build a
lapped texture parametrization where the overlapping patches
align to a curvature-based direction field. We demonstrate
hatching strokes over complex surfaces in a variety of
styles. }, }
@article{Sourin:2001:FBV,
author = {Alexei Sourin},
title = {Functionally Based Virtual Computer Art},
journal = {2001 ACM Symposium on Interactive 3D Graphics},
year = {2001},
month = {March},
editor = {John F. Hughes and Carlo H. S{\'{e}}quin},
pages = {77--84},
note = {ISBN 1-58113-292-1},
keywords = {Computer art, embossing, carving, virtual reality, functionally based
shape modeling},
annote = {This article describes how virtual embossing and
wood cutting can be done using the function representation of a
shape and tools. The software is implemented as an interactive
shape modeler where a functional model of the shape is
subsequently modified with offset and set-theoretic
operations. For visualization, interactive ray tracing is
used. Bounding boxes together with the spatial organization of
the functional model provide the required fast function
evaluation that is usually a bottleneck for functionally based
shape modeling systems. The software runs on a personal
computer. }, }
@article{Keefe:2001:CAF,
author = {Daniel F. Keefe and Daniel Acevedo Feliz and Tomer Moscovich and David
H. Laidlaw and Joseph J. LaViola Jr.},
title = {CavePainting: A Fully Immersive 3D Artistic Medium and Interactive Experience},
journal = {2001 ACM Symposium on Interactive 3D Graphics},
year = {2001},
month = {March},
editor = {John F. Hughes and Carlo H. S{\'{e}}quin},
pages = {85--94},
note = {ISBN 1-58113-292-1},
keywords = {3D painting, 3D modeling, gestures, tangible user interface, Cave},
annote = {CavePainting is an artistic medium that uses a 3D
analog of 2D brush strokes to create 3D works of art in a fully
immersive Cave environment. Physical props and gestures are used
to provide an intuitive interface for artists who may not be
familiar with virtual reality. The system is designed to take
advantage of the 8 ft. × 8 ft. × 8 ft. space in which the artist
works. CavePainting enables the artist to create a new type of
art and provides a novel approach to viewing this art after it
has been created. In this paper, we describe Cave-Painting s 3D
brush strokes, color pickers, artwork viewing mode, and
interface. We also present several works of art created using
the system along with feedback from artists. Artists are excited
about this form of art and the gestural, full-body experience of
creating it. }, }
@article{Yen:2001:ESC,
author = {Jane Yen and Carlo S{\'{e}}quin},
title = {Escher Sphere Construction Kit},
journal = {2001 ACM Symposium on Interactive 3D Graphics},
year = {2001},
month = {March},
editor = {John F. Hughes and Carlo H. S{\'{e}}quin},
pages = {95--98},
note = {ISBN 1-58113-292-1},
keywords = {M. C. Escher, solid modeling, tessellation, spherical symmetry, spherical tiling, tile editor},
annote = {M. C. Escher created a myriad of amazing planar
tessellations, yet only a few three-dimensional ones such as his
wooden fish ball and dodecahedral flower. We have developed an
interactive program to design and manufacture "Escher Spheres" -
sets of tiles that can be assembled into spherical balls. The
user chooses from a set of predefined symmetry groups and then
deforms the boundaries of the basic domain tile; all
corresponding points based on the chosen symmetry class move
concurrently, instantly showing the overall result. The interior
of the tile can be embellished with a bas-relief. Finally the
tile is radially extruded and output as a solid model suitable
for free-form fabrication. }, }
@article{Kowalski:2001:UCE,
author = {Michael A. Kowalski and John F. Hughes and Cynthia Beth Rubin and Jun
Ohya},
title = {User-Guided Composition Effects For Art-Based Rendering },
journal = {2001 ACM Symposium on Interactive 3D Graphics},
year = {2001},
month = {March},
editor = {John F. Hughes and Carlo H. S{\'{e}}quin},
pages = {99--102},
note = {ISBN 1-58113-292-1},
}
@article{Mohr:2001:NIS,
author = {Alex Mohr and Michael Gleicher},
title = {Non-Invasive, Interactive, Stylized Rendering},
journal = {2001 ACM Symposium on Interactive 3D Graphics},
year = {2001},
month = {March},
editor = {John F. Hughes and Carlo H. S{\'{e}}quin},
pages = {175--178},
note = {ISBN 1-58113-292-1},
keywords = {Non-photorealistic rendering, Real-time, Stylized, Interactive, 3D},
annote = {In this paper, we show how many interactive 3D
applications visual styles can be changed to new, different, and
interesting visual styles non-invasively. Our method lets a
single stylized renderer be used with many applications. We
implement this by intercepting the OpenGL graphics library and
changing the drawing calls. Even though OpenGL only receives
low-level information from an application, computation on this
data and assumptions about the application can give us enough
information to develop stylized renderers. }, }
@article{Igarashi:2001:AUF,
author = {Takeo Igarashi and Dennis Cosgrove},
title = {Adaptive Unwrapping for Interactive Texture Painting},
journal = {2001 ACM Symposium on Interactive 3D Graphics},
year = {2001},
month = {March},
editor = {John F. Hughes and Carlo H. S{\'{e}}quin},
pages = {209--216},
note = {ISBN 1-58113-292-1},
keywords = {texture mapping, texture painting, interactive 3D graphics,
multiresolution paint, zooming, 3D content creation},
annote = {We present a method for dynamically generating an
efficient texture bitmap and its associated UV-mapping in an
interactive texture painting system for 3D models. Typical 3D
texture painting programs require the user to explicitly define
the underlying UV-mapping from 3D geometry to 2D bitmap prior to
painting. This mapping is unchanged by the painting
process. However, a predefined UV-mapping can cause distortion
at arbitrary locations and waste bitmap memory in unpainted
areas. To solve these problems, we propose an adaptive
unwrapping mechanism where the system dynamically creates a
tailored UV-mapping for newly painted polygons during the
interactive painting process. This eliminates the distortion of
brush strokes, and the resulting texture bitmap is more compact
because the system allocates texture space only for the painted
polygons. In addition, this dynamic texture allocation allows
the user to paint smoothly at any zoom level. This technique can
be efficiently implemented using standard 3D rendering engines,
and the painted models can be stored as standard textured
polygonal models. We implemented a prototype system, called
Chameleon, and our users experiences suggest that our technique
is very useful for simple painting by casual users. }, }
@article{Tolba:2001:APD,
author = {Osama Tolba and Julie Dorsey and Leonard McMillan},
title = {A Projective Drawing System},
journal = {2001 ACM Symposium on Interactive 3D Graphics},
year = {2001},
month = {March},
editor = {John F. Hughes and Carlo H. S{\'{e}}quin},
pages = {25--34},
note = {ISBN 1-58113-292-1},
keywords = {Image-based Modeling and Rendering, Misc. 2D graphics, Non-Euclidean Spaces, Non-Photorealistic Rendering},
annote = {We present a novel drawing system for composing and
rendering perspective scenes. Our approach uses a projective 2D
representation for primitives rather than a conventional 3D
description. This allows drawings to be composed with the same
ease as traditional illustrations, while providing many of the
advantages of a 3D model. We describe a range of user-interface
tools and interaction techniques that give our system its
3D-like capabilities. We provide vanishing point guides and
perspective grids to aid in drawing free-hand strokes and
composing perspective scenes. Our system also has tools for
intuitive navigation of a virtual camera, as well as methods for
manipulating drawn primitives so that they appear to undergo 3D
translations and rotations. We also support automatic shading of
primitives using either realistic or non-photorealistic
styles. Our system supports drawing and shading of extrusion
surfaces with automatic hidden surface removal and highlighted
silhouettes. Casting shadows from an infinite light source is
also possible with minimal user intervention. }, }
@inproceedings{Buchanan:2000:NPAR,
author = {John W. Buchanan and Mario C. Sousa},
title = {The edge buffer: A data structure for easy silhouette rendering},
booktitle ={Non-Photorealistic Animation and Rendering 2000 (NPAR '00)},
editor = {},
year = {June 5-7,2000},
publisher = {},
address = {Annecy, France},
pages = {},
abstract="",
}
@inproceedings{Buck:2000:NPAR,
author = {Ian Buck and Adam Finkelstein and Charles Jacobs and
Allison Klein and David H. Salesin and Jashua Seims and
Richard Szeliski and Kentaro Toyama},
title = { Performance-Driven Hand-Drawn Animation},
booktitle ={Non-Photorealistic Animation and Rendering 2000 (NPAR '00)},
editor = {},
year = {June 5-7,2000},
publisher = {},
address = {Annecy, France},
pages = {},
abstract="",
}
@inproceedings{Cohen:2000:NPAR,
author = {Jonathan M. Cohen and John F. Hughes and Robert C. Zeleznik},
title = { Harold: A World Made of Drawings},
booktitle ={Non-Photorealistic Animation and Rendering 2000 (NPAR '00)},
editor = {},
year = {June 5-7,2000},
publisher = {},
address = {Annecy, France},
pages = {},
abstract="",
}
@article{Deussen:2000,
author = {Oliver Deussen and Thomas Strothotte},
title = {Computer-Generated Pen-and-Ink Illustration of Trees},
journal = {Proceedings of SIGGRAPH 2000},
series = {Computer Graphics Proceedings, Annual Conference Series},
year = {2000},
month = {July},
editor = {Kurt Akeley},
publisher = {ACM Press / ACM SIGGRAPH / Addison Wesley Longman},
pages = {13--18},
note = {ISBN 1-58113-208-5},
keywords = {Biological Systems, Frame Buffer Tricks, Non-Realistic Rendering},
annote = {We present a method for automatically rendering
pen-and-ink illustrations of trees. A given 3-d tree model
is illustrated by the tree skeleton and a visual
representation of the foliage using abstract drawing
primitives. Depth discontinuities are used to determine
what parts of the primitives are to be drawn; a hybrid
pixel-based and analytical algorithm allows us to deal
efficiently with the complex geometric data. Using the
proposed method we are able to generate illustrations with
different drawing styles and levels of abstraction. The
illustrations generated are spatial coherent, enabling us
to create animations of sketched
environments. Applications of our results are found in
architecture, animation and landscaping. },
}
@inproceedings{Girshick:2000:NPAR,
author = {Ahna Girshick and Victoria Interrante and Steven Haker and
Todd Lemoine},
title = {Line Direction Matters: An Argument for the Use of Principal
Directions in 3D Line Drawings },
booktitle ={Non-Photorealistic Animation and Rendering 2000 (NPAR '00)},
editor = {},
year = {June 5-7,2000},
publisher = {},
address = {Annecy, France},
pages = {},
abstract="",
}
@inproceedings{Hertzmann:2000:NPAR,
author = {Aaron Hertzmann and Ken Perlin},
title = { Painterly Rendering for Video and Interaction},
booktitle ={Non-Photorealistic Animation and Rendering 2000 (NPAR '00)},
editor = {},
year = {June 5-7,2000},
publisher = {},
address = {Annecy, France},
pages = {},
abstract="",
}
@article{Kaplan:2000:E,
author = {Craig S. Kaplan and David H. Salesin},
title = {Escherization},
journal = {Proceedings of SIGGRAPH 2000},
series = {Computer Graphics Proceedings, Annual Conference Series},
year = {2000},
month = {July},
editor = {Kurt Akeley},
publisher = {ACM Press / ACM SIGGRAPH / Addison Wesley Longman},
pages = {499--510},
note = {ISBN 1-58113-208-5},
keywords = {Tilings, tesselations, morphing, optimization, simulated
annealing, Escher},
annote = {This paper introduces and presents a solution to the '
Escherization' problem: given a closed figure in the
plane, find a new closed figure that is similar to the
original and tiles the plane. Our solution works by using
a simulated annealer to optimize over a parameterization
of the "isohedral" tilings, a class of tilings that is
flexible enough to encompass nearly all of Escher's own
tilings, and yet simple enough to be encoded and explored
by a computer. We also describe a representation for
isohedral tilings that allows for highly interactive
viewing and rendering. We demonstrate the use of these
tools - along with several additional techniques for
adding decorations to tilings - with a variety of original
ornamental designs. },
}
@inproceedings{Kaplan:2000:NPAR,
author = {Matthew Kaplan and Bruce Gooch and Elaine Cohen },
title = {Interactive Artistic Rendering },
booktitle ={Non-Photorealistic Animation and Rendering 2000 (NPAR '00)},
editor = {},
year = {June 5-7,2000},
publisher = {},
address = {Annecy, France},
pages = {},
abstract="",
}
@inproceedings{Lake:2000:NPAR,
author = {Adam Lake and Carl Marshall and Mark Harris and Marc Blackstein},
title = { Stylized Rendering Techniques for Scalable Real-Time 3D Animation},
booktitle ={Non-Photorealistic Animation and Rendering 2000 (NPAR '00)},
editor = {},
year = {June 5-7,2000},
publisher = {},
address = {Annecy, France},
pages = {},
abstract="",
}
@inproceedings{Markosian:2000:NPAR,
author = {Lee Markosian and Barbara J. Meier and Michael A. Kowalski and Loring S. Holden and J.D. Northrup and John F. Hughes},
title = { Art-based Rendering with Continuous Levels of Detail},
booktitle ={Non-Photorealistic Animation and Rendering 2000 (NPAR '00)},
editor = {},
year = {June 5-7,2000},
publisher = {},
address = {Annecy, France},
pages = {},
abstract="",
}
@inproceedings{Martin:2000:NPAR,
author = {D. Martin and S. Garcia and J. C. Torres},
title = { Observer dependent deformations in illustration},
booktitle ={Non-Photorealistic Animation and Rendering 2000 (NPAR '00)},
editor = {},
year = {June 5-7,2000},
publisher = {},
address = {Annecy, France},
pages = {},
abstract="",
}
@article{Mestetskii:2000:FCA,
author = {L.M. Mestetskii},
title = {Fat curves and representation of planar figures},
volume = {24},
number = {1},
journal = {Computers \& Graphics},
year = {February 2000},
publisher = {Pergamon Press / Elsevier Science},
pages = {9--21},
note = {ISSN 0097-8493},
keywords = {Fat curve; B{\'{e}}zier curve; Implicit representation; Engraving},
annote = {A fat curve is a "curve having a width;" it is the trace
left by a moving circle of variable radius. A union of a
finite number of fat curves is called engraving. This
paper describes mathematical representation of fat
curves, their rendering on standard (raster) display
devices, proposes a B{\'{e}}zier representation for fat
curves and discusses 2D modelling through engraving. A
method for the approximation of arbitrary bitmap binary
images by engraving is also presented. },
}
@inproceedings{Northrup:2000:NPAR,
author = {J.D. Northrup and Lee Markosian},
title = { Artistic Silhouettes: A Hybrid Approach},
booktitle ={Non-Photorealistic Animation and Rendering 2000 (NPAR '00)},
editor = {},
year = {June 5-7,2000},
publisher = {},
address = {Annecy, France},
pages = {},
abstract="",
}
@inproceedings{Noot:2000:NPAR,
author = {Han Noot and Zsofia Ruttkay},
title = { Animated CharToon Faces},
booktitle ={Non-Photorealistic Animation and Rendering 2000 (NPAR '00)},
editor = {},
year = {June 5-7,2000},
publisher = {},
address = {Annecy, France},
pages = {},
abstract="",
}
@inproceedings{Snibbe:2000:NPAR,
author = {Scott Sona Snibbe and Golan Levin},
title = { Interactive Dynamic Abstraction},
booktitle ={Non-Photorealistic Animation and Rendering 2000 (NPAR '00)},
editor = {},
year = {June 5-7,2000},
publisher = {},
address = {Annecy, France},
pages = {},
abstract="",
}
@article{Sousa:2000:OMO,
author = {Mario Costa Sousa and John W. Buchanan},
title = {Observational Models of Graphite Pencil Materials},
volume = {19},
number = {1},
journal = {Computer Graphics Forum},
year = {2000},
month = {March},
publisher = {Blackwell Publishers},
pages = {27--49},
note = {ISSN 1067-7055},
annote = {This paper presents models for graphite pencil,
drawing paper, blenders, and kneaded eraser that
produce realistic looking pencil marks,
textures, and tones. Our models are based on an
observation of how lead pencils interact with
drawing paper, and on the absorptive and
dispersive properties of blenders and erasers
interacting with lead material deposited over
drawing paper. The models consider parameters
such as the particle composition of the lead,
the texture of the paper, the position and shape
of the pencil materials, and the pressure
applied to them. We demonstrate the capabilities
of our approach with a variety of images and
compare them to digitized pencil drawings. We
also present image-based rendering results
implementing traditional graphite pencil tone
rendering methods. },
}
@article{Deussen:2000:SIG,
author = {Oliver Deussen and Thomas Strothotte},
title = {Pen-and-Ink Illustration of Trees},
journal = {Proceedings of SIGGRAPH 2000},
series = {Computer Graphics Proceedings, Annual Conference Series},
year = {July 2000},
editor = {},
publisher = {ACM SIGGRAPH},
pages = {},
note = {Held in New Orleans, Louisianna.},
keywords = {},
annote = { },
}
@article{Klein:2000:SIG,
author = {Allison W. Klein and Wilmot Li and Misha Kazhdan and
Wagner Toledo Corrêa and Adam Finkelstein and Thomas Funkhouser },
title = {Non-Photorealistic Virtual Environments },
journal = {Proceedings of SIGGRAPH 2000},
series = {Computer Graphics Proceedings, Annual Conference Series},
year = {July 2000},
editor = {},
publisher = {ACM SIGGRAPH},
pages = {},
note = {Held in New Orleans, Louisianna.},
keywords = {},
annote = { },
}
@article{Petrovic:2000:SIG,
author = {Lena Petrovic and Brian Fujito and Adam Finkelstein and Lance Williams },
title = {Shadows for Cel Animation},
journal = {Proceedings of SIGGRAPH 2000},
series = {Computer Graphics Proceedings, Annual Conference Series},
year = {July 2000},
editor = {},
publisher = {ACM SIGGRAPH},
pages = {},
note = {Held in New Orleans, Louisianna.},
keywords = {},
annote = { },
}
@article{Sander:2000:SIG,
author = {Pedro V. Sander and Xianfeng Gu and
Steven J. Gortler and Hugues Hoppe and John Snyder },
title = {Silhouette Clipping},
journal = {Proceedings of SIGGRAPH 2000},
series = {Computer Graphics Proceedings, Annual Conference Series},
year = {July 2000},
editor = {},
publisher = {ACM SIGGRAPH},
pages = {},
note = {Held in New Orleans, Louisianna.},
keywords = {},
annote = { },
}
@article{Zorin:2000:SIG,
author = {Aaron Hertzmann and Denis Zorin },
title = {Illustrating Smooth Surfaces},
journal = {Proceedings of SIGGRAPH 2000},
series = {Computer Graphics Proceedings, Annual Conference Series},
year = {July 2000},
editor = {},
publisher = {ACM SIGGRAPH},
pages = {},
note = {Held in New Orleans, Louisianna.},
keywords = {},
annote = { },
}
@inproceedings{Shiraishi:NPAR00,
author = {Michio Shiraishi and Yasushi Yamaguchi },
title = { An Algorithm for Automatic Painterly Rendering based
on Local Source Image Approximation},
booktitle ={Non-Photorealistic Animation and Rendering 2000 (NPAR '00)},
editor = {},
year = {June 5-7,2000},
publisher = {},
address = {Annecy, France},
pages = {},
abstract="This paper presents a new method for the automatic
painterly rendering. This method synthesizes an
impressive image with a hand crafted look from a source
image such as a photograph. This method generates
rectangular brush strokes approximating the local regions
of the source image with suitable locations, orientations,
and sizes. These properties are calculated with the image
moments of the color difference images, obtained by taking
the difference between the local source images, and the
stroke colors. The method explicitly deals with not only
intensity but also chromaticity of the source image. The
resulting image is composited with smaller strokes at the
details while its flat regions are painted with larger
ones. The method is also able to control the density of
strokes as well as their painting order based on their
sizes. The density is controlled by a dithering method
with space-filling curves. Painting process starts from
the larger strokes and finishes with the finer ones.
Because of the density control and the painting order the
final image preserves the details of the source image.",
}
@article{Winter2000,
author = {RobertWinter},
title = {Art by the Numbers},
journal = {UCLA Magazine},
year = {Spring 2000},
editor = {},
pages = {26--31},
note = {}
}
@article{Barequet:1999,
author = {G. Barequet and C. A. Duncan and M. T. Goodrich and S. Kumar and M. Pop},
title = {Efficient perspective-accurate silhouette computation},
journal = {Proceedings of the fifteenth annual symposium on Computational Geometry},
year = {1999},
editor = {},
pages = {417--418},
note = {}
}
@article{Deussen:1999:AIT,
author = {Oliver Deussen and Joerg Harnel and Andreas Raab
and Stefan Schlechtweg and Thomas Strothotte},
title = {An Illustration Technique Using Hardware-Based Intersections},
journal = {Graphics Interface '99},
year = {June 1999},
editor = {I. Scott MacKenzie and James Stewart},
pages = {175--182},
note = {ISBN 1-55860-632-7},
keywords = {Non-Photorealistic Rendering, Illustration Techniques,
Arts, Graphics Hardware},
annote = {We present a method for generating line drawings of
complex geometries in the style of crosshatched
illustrations. Hatching lines are generated by
intersecting the geometry with a set of
planes. Half-toning on the basis of the generated curves
is used to represent a given intensity
distribution. Computing a geometric skeleton allows us to
determine automatically the orientation of the
intersection planes for a wide variety of models. By
using predefined line styles different types of
illustrations can be generated. Applications of the
method are discussed, examples are given. },
}
@Article{NPRCourse99,
Author = "Stuart Green and David Salesin and Simon Schofield and
Aaron Hertzmann and Peter Litwinowicz and Amy Gooch and
Cassidy Curtis and Bruce Gooch.",
Title = "{Non-Photorealistic Rendering}",
Journal= {SIGGRAPH '99 Non-Photorealistic Rendering Course Notes},
Year = 1999,
}
@Article{OpenGLCourse99,
Author = "David Blythe and Brad Grantham and Tom McReynolds and Scott R. Nelson",
Title = "{Advanced Graphics Programming Techniques Using OpenGL}",
Journal= {SIGGRAPH '99 Course},
Year = 1999,
}
@Article{gooc99,
Author = "Bruce Gooch and Peter-Pike Sloan and Amy Gooch
and Peter Shirley and Richard Riesenfeld",
Title = "{Interactive Technical Illustration}",
Journal= {Interactive 3D Conference Proceedings},
Year = 1999,
Volume = {},
Number = {},
Month = apr,
annote = {A rendering is an abstraction that favors, preserves, or
even emphasizes some qualities while sacrificing,
suppressing, or omitting other characteristics that are
not the focus of attention. Most computer graphics
rendering activities have been concerned with
photorealism, i.e., trying to emulate an image that looks
like a high-quality photograph. This laudable goal is
useful and appropriate in many applications, but not in
technical illustration where elucidation of structure and
technical information is the preeminent motivation. This
calls for a different kind of abstraction in which
technical communication is central, but art and
appearance are still essential instruments toward this
end. Work that has been done on computer generated
technical illustrations has focused on static images, and
has not included all of the techniques used to hand draw
technical illustrations. A paradigm for the display of
technical illustrations in a dynamic environment is
presented. This display environment includes all of the
benefits of computer generated technical illustrations,
such as a clearer picture of shape, structure, and
material composition than traditional computer graphics
methods. It also includes the three-dimensional
interactive strength of modern display systems. This is
accomplished by using new algorithms for real time
drawing of silhouette curves, algorithms which solve a
number of the problems inherent in previous methods. We
incorporate current non-photorealistic lighting methods,
and augment them with new shadowing algorithms based on
accepted techniques used by artists and studies carried
out in human perception. },
}
@article{Hamel:1999:CAR,
author = {J. Hamel and T. Strothotte},
title = {Capturing and Re-Using Rendition Styles for
Non-Photorealistic Rendering},
volume = {18},
number = {3},
journal = {Computer Graphics Forum},
year = {September 1999},
publisher = {Blackwell Publishers},
pages = {173--182},
note = {ISSN 1067-7055},
annote = {Rendering high-quality non-photorealistic images of a
given geometric model is often associated with a
considerable amount of effort on the part of a user to
fine-tune the rendition. In this paper we introduce a
method and tools for re-using the user's effort invested
in one model for the rendering of other models.\\Our
method uses templates to describe rendition styles. The
paper gives a number of examples of the successful
transfer of styles from one model to another. },
}
@article{Igarashi:1999:TAS,
author = {Takeo Igarashi and Satoshi Matsuoka and Hidehiko Tanaka},
title = {Teddy: A Sketching Interface for 3D Freeform Design},
journal = {Proceedings of SIGGRAPH 99},
series = {Computer Graphics Proceedings, Annual Conference Series},
year = {August 1999},
editor = {Alyn Rockwood},
publisher = {Addison Wesley Longman},
pages = {409--416},
note = {ISBN 0-20148-560-5. Held in Los Angeles, California.},
keywords = {3D modeling, sketching, pen-based systems, gestures,
design, chordal axes, inflation},
annote = {We present a sketching interface for quickly and easily
designing freeform models such as stuffed animals and
other rotund objects. The user draws several 2D freeform
strokes interactively on the screen and the system
automatically constructs plausible 3D polygonal
surfaces. Our system supports several modeling
operations, including the operation to construct a 3D
polygonal surface from a 2D silhouette drawn by the user:
it inflates the region surrounded by the silhouette
making wide areas fat, and narrow areas thin. Teddy, our
prototype system, is implemented as a Java program, and
the mesh construction is done in real-time on a standard
PC. Our informal user study showed that a first-time user
typically masters the operations within 10 minutes, and
can construct interesting 3D models within minutes. },
}
@article{Kowalski:1999:ARO,
author = {Michael A. Kowalski and Lee Markosian and J. D. Northrup
and Lubomir Bourdev and Ronen Barzel and Loring S. Holden
and John Hughes},
title = {Art-Based Rendering of Fur, Grass, and Trees},
journal = {Proceedings of SIGGRAPH 99},
series = {Computer Graphics Proceedings, Annual Conference Series},
year = {August 1999},
editor = {Alyn Rockwood},
publisher = {Addison Wesley Longman},
pages = {433--438},
note = {ISBN 0-20148-560-5. Held in Los Angeles, California.},
keywords = {Non-photorealistic rendering, graftals, procedural textures},
annote = {Artists and illustrators can evoke the complexity of fur
or vegetation with relatively few well-placed strokes. We
present an algorithm that uses strokes to render 3D
computer graphics scenes in a stylized manner suggesting
the complexity of the scene without representing it
explicitly. The basic algorithm is customizable to
produce a range of effects including fur, grass and
trees, as we demonstrate in this paper and accompanying
video. The algorithm is implemented within a broader
framework that supports procedural stroke-based textures
on polyhedral models. It renders mod-erately complex
scenes at multiple frames per second on current graphics
workstations, and provides some interframe coherence. },
}
@article{Markosian:1999:SAC,
author = {Lee Markosian and Jonathan M. Cohen and Thomas Crulli and
John F. Hughes},
title = {Skin: A Constructive Approach to Modeling Free-form Shapes},
journal = {Proceedings of SIGGRAPH 99},
series = {Computer Graphics Proceedings, Annual Conference Series},
year = {August 1999},
editor = {Alyn Rockwood},
publisher = {Addison Wesley Longman},
pages = {393--400},
note = {ISBN 0-20148-560-5. Held in Los Angeles, California.},
keywords = {Free-form modeling, meshes, subdivision, multiresolution},
annote = {We present a new particle-based surface representation
with which a user can interactively sculpt free-form
surfaces. The particles maintain mesh connectivity and
operate under rules that lead them to form triangulations
with properties that make them suitable for use in
subdivision. A user interactively guides the particles,
which we call skin, to grow over a given collection of
polyhedral elements (or skeletons), yielding a smooth
surface (through subdivision) that approximates the
underlying skeletal shapes. Skin resembles blobby
modeling in the constructive approach to modeling it
supports, but allows a richer vocabulary of skeleton
shapes, supports sharp creases where desired, and
provides a convenient mechanism for adding
multiresolution surface detail. },
}
@article{Ostromoukhov:1999:DFE,
author = {Victor Ostromoukhov},
title = {Digital Facial Engraving},
journal = {Proceedings of SIGGRAPH 99},
series = {Computer Graphics Proceedings, Annual Conference Series},
year = {August 1999},
editor = {Alyn Rockwood},
publisher = {Addison Wesley Longman},
pages = {417--424},
note = {ISBN 0-20148-560-5. Held in Los Angeles, California.},
keywords = {photorealistic rendering, nonphotorealistic rendering,
halftoning, dithering, digital engraving},
annote = {This contribution introduces the basic techniques for
digital facial engraving, which imitates traditional
copperplate engraving. Inspired by traditional
techniques, we first establish a set of basic rules
thanks to which separate engraving layers are built on
the top of the original photo. Separate layers are merged
according to simple merging rules and according to range
shift/scale masks specially introduced for this
purpose. We illustrate the introduced technique by a set
of black/white and color engravings, showing different
features such as engraving-specific image enhancements,
mixing different regular engraving lines with mezzotint,
irregular perturbations of engraving lines etc. We
introduce the notion of engraving style which comprises a
set of separate engraving layers together with a set of
associated range shift/scale masks. The engraving style
helps to port the look and feel of one engraving to
another. Once different libraries of pre-defined mappable
engraving styles and an appropriate user interface are
added to the basic system, producing a decent gravure
starting from a simple digital photo will be a matter of
seconds. The engraving technique described in this
contribution opens new perspectives for digital art,
adding unprecedented power and precision to the
engraver's work. },
}
@article{Ostromoukhov:1999:MAA,
author = {Victor Ostromoukhov and Roger D. Hersch},
title = {Multi-Color and Artistic Dithering},
journal = {Proceedings of SIGGRAPH 99},
series = {Computer Graphics Proceedings, Annual Conference Series},
year = {1999},
month = {August},
editor = {Alyn Rockwood},
publisher = {Addison Wesley Longman},
pages = {425--432},
note = {ISBN 0-20148-560-5. Held in Los Angeles, California.},
keywords = {color halftoning, artistic dithering, dither matrix
equilibration, non-standard inks, side by side printing},
annote = {A multi-color dithering algorithm is proposed, which
converts a barycentric combination of color intensities
into a multi-color non-overlapping surface
coverage. Multi-color dithering is a generalization of
standard bi-level dithering. Combined with tetrahedral
color separation, multi-color dithering makes it possible
to print images made of a set of non-standard inks. In
contrast to most previous color halftoning methods,
multi-color dithering ensures by construction that the
different selected basic colors are printed side by
side. Multi-color dithering is applied to generate color
images whose screen dots are made of artistic shapes
(letters, symbols, ornaments, etc.). Two dither matrix
postprocessing techniques are developed, one for
enhancing the visibility of screen motives and one for
the local equilibration of large dither matrices. The
dither matrix equilibration process corrects disturbing
local intensity variations by taking dot gain and the
human visual system transfer function into
account. Thanks to the combination of the presented
techniques, high quality images can be produced, which
incorporate at the micro level the desired artistic
screens and at the macro level the full color
image. Applications include designs for advertisements
and posters as well as security printing. Multi-color
dithering also offers new perspectives for printing with
special inks, such as fluorescent and metallic inks. },
}
@article{Rademacher:1999:VDG,
author = {Paul Rademacher},
title = {View-Dependent Geometry},
journal = {Proceedings of SIGGRAPH 99},
series = {Computer Graphics Proceedings, Annual Conference Series},
year = {August 1999},
editor = {Alyn Rockwood},
publisher = {Addison Wesley Longman},
pages = {439--446},
note = {ISBN 0-20148-560-5. Held in Los Angeles, California.},
keywords = {Cartoon animation, 3D animation, rendering, animation systems,
non-photorealistic rendering, 3D blending},
annote = {When constructing 3D geometry for use in cel animation,
the reference drawings of the object or character often
contain various view-specific distortions, which cannot
be captured with conventional 3D models. In this work we
present a technique called View-Dependent Geometry,
wherein a 3D model changes shape based on the direction
it is viewed from. A view-dependent model consists of a
base model, a set of key deformations (deformed versions
of the base model), and a set of corresponding key
viewpoints (which relate each 2D reference drawing to the
3D base model). Given an arbitrary viewpoint, our method
interpolates the key deformations to generate a 3D model
that is specific to the new viewpoint, thereby capturing
the view-dependent distortions of the reference
drawings. },
}
@InProceedings{raskar-temp,
author= "Ramesh Raskar and Michael Cohen",
title = "Image {P}recision {S}ilhouette {E}dges",
booktitle = "Proc. 1999 ACM Symposium on Interactive 3D Graphics",
year = "1999",
month = apr,
annote = {Finding and displaying silhouette edges is important in
applications ranging from computer vision to
nonphotorealistic rendering. To render visible silhouette
edges of a polygonal object in a scene from a given
viewpoint, we must first find all silhouette edges,
i.e. boundaries between adjacent front facing and
back-facing surfaces. This is followed by solving the
partial visibility problem so that only those parts of
silhouette edges, which are not occluded by interior of
any front facing surface, are rendered. The scene may
optionally be rendered with a lighting model. This paper
describes a simple general-purpose method to combine all
three operations for any scene composed of objects that
can be scan-converted. Using a depth buffer, the
rendering process computes the intersection of adjacent
front facing and back-facing surfaces in image space at
interactive rates. All operations are performed in
image-precision and hence special care is taken for the
limited numerical precision of the depth buffer. A
solution is suggested using view-dependent modification
of polygonal objects. The method does not require any
preprocessing or adjacency information and hence is
applicable for dynamic scenes.},
}
@TechReport{Shira:1999,
author = "Michio Shiraishi and Yasushi Yamaguchi",
title = "Image Moment-Based Stroke Placement",
year = "1999",
month = May,
pages = "1--3",
keywords = "image, moment, paint, art, artistic ",
number = "skapps3794",
institution = "University of Tokyo",
address ="Tokyo Japan",
abstract = "Painterly rendering algorithms synthesize the images
with a hand-crafted touch from a source image of a real
scene. The current major scheme is based on Haeberli's
method, which paints brush strokes on a canvas successively.
In our approach, each rectangular stroke is controlled by
several attributes, namely, color, location, orientation,
width, and length. We propose an alternative method to
determine these attributes so that the stroke nicely
approximates a local region of the source image.",
annote = " This paper presents a method of using image moments to
capture the color, size, orientation, and a rough idea of
the texture needed for strokes in an automatic painting
system. Much of the math and a good breakdown of the
algorithm are presented.", }
@article{Sousa:1999:CGP,
author = {Mario Costa Sousa and John W. Buchanan},
title = {Computer-Generated Graphite Pencil Rendering of 3D Polygonal Models},
volume = {18},
number = {3},
journal = {Computer Graphics Forum},
year = {September 1999},
pages = {195--208},
annote = {Researchers in non-photorealistic rendering have
investigated the display of three-dimensional worlds using
various display models. In particular, recent work has
focused on the modeling of traditional artistic media and
styles such as pen-and-ink illustration and watercolor
painting. By providing 3D rendering systems that use these
alternative display models users can generate traditional
illustration renderings of their three-dimensional
worlds. In this paper we present our graphite pencil 3D
renderer. We have broken the problem of simulating pencil
drawing down into four fundamental parts: (1) simulating
the drawing materials (graphite pencil and drawing paper,
blenders and kneaded eraser), (2) modeling the drawing
primitives (individual pencil strokes and mark-making to
create tones and textures), (3) simulating the basic
rendering techniques used by artists and illustrators
familiar with pencil rendering, and (4) modeling the
control of the drawing composition. Each part builds upon
the others and is essential to developing the framework
for higher-level rendering methods and tools. In this
paper we present parts 2, 3, and 4 of our research. We
present non-photorealistic graphite pencil rendering
methods for outlining and shading. We also present the
control of drawing steps from preparatory sketches to
finished rendering results. We demonstrate the
capabilities of our approach with a variety of images
generated from 3D models. },
}
@article{Sousa:1999:NRO,
author = {Mario Costa Sousa and John W. Buchanan},
title = {Observational Model of Blenders and Erasers in
Computer-Generated Pencil Rendering},
journal = {Graphics Interface '99},
year = {1999},
month = {June},
editor = {I. Scott MacKenzie and James Stewart},
pages = {157--166},
note = {ISBN 1-55860-632-7},
annote = {In this paper we present a blender and eraser model that
extends our graphite pencil and paper model. This blender
and eraser model enhances the rendering results producing
realistic looking graphite pencil tones and textures. Our
model is based on observations on the absorptive and
dispersive properties of blenders and erasers interacting
with lead material deposited over drawing paper. The
parameters of our model are the particle composition of
the lead over the paper, the texture of the paper, the
position and shape of the blender and eraser, and the
pressure applied to them. We demonstrate the capabilities
of our approach with a variety of pencil swatches and
compare them to digitized pencil drawings. We also present
automatic and interactive image-based rendering results
implementing traditional graphite pencil tone rendering
methods. },
}
@article{Takagi:1999:VMO,
author = {Saeko Takagi and Masayuki Nakajima and Issei Fujishiro},
title = {Volumetric Modeling of Colored Pencil Drawing},
journal = {Pacific Graphics '99},
year = {1999},
month = {October},
note = {Held in Seoul, Korea.},
}
@article{Tumblin:1999:TMF,
author = {Jack Tumblin and Greg Turk},
title = {LCIS: A Boundary Hierarchy for Detail-Preserving Contrast Reduction},
journal = {Proceedings of SIGGRAPH 99},
series = {Computer Graphics Proceedings, Annual Conference Series},
year = {August 1999},
editor = {Alyn Rockwood},
publisher = {Addison Wesley Longman},
pages = {83--90},
note = {ISBN 0-20148-560-5. Held in Los Angeles, California.},
keywords = {Signal Processing, Displays, Non-Realistic Rendering,
Level Of Detail Algorithms, Radiosity, Weird Math},
annote = {High contrast scenes are difficult to depict on low
contrast displays without loss of important fine details and
textures. Skilled artists preserve these details by drawing
scene contents in coarse-to-fine order using a hierarchy of
scene boundaries and shadings. We build a similar hierarchy
using multiple instances of a new low curvature image simplifier
(LCIS), a partial differential equation inspired by anisotropic
diffusion. Each LCIS reduces the scene to many smooth regions
that are bounded by sharp gradient discontinuities, and a single
parameter K chosen for each LCIS controls region size and
boundary complexity. With a few chosen K values (K1 > K2 >
K3...) LCIS makes a set of progressively simpler images, and
image differences form a hierarchy of increasingly important
details, boundaries and large features.\\ We construct a high
detail, low contrast display image from this hierarchy by
compressing only the large features, then adding back all small
details. Unlike linear filter hierarchies such as wavelets,
filter banks, or image pyramids, LCIS hierarchies do not smooth
across scene boundaries, avoiding "halo" artifacts common to
previous contrast reducing methods and some tone reproduction
operators.\\ We demonstrate LCIS effectiveness on several
example images. },
}
@article{Veryovka:1999:HWI,
author = {Oleg Veryovka and John W. Buchanan},
title = {Halftoning With Image-Based Dither Screens},
journal = {Graphics Interface '99},
year = {June 1999},
editor = {I. Scott MacKenzie and James Stewart},
pages = {167--174},
note = {ISBN 1-55860-632-7},
keywords = {Halftoning, texture processing, artistic screening,
non-photorealistic rendering},
annote = {Continuous tone imaces must be halftoned to be displayed
on binary output devices such as printers. The ordered
dither algorithm is a popular approach to halftoning.
This algorithm uses a threshold matrix to approximate
gray scale values. The arrangement of thresholds in the
matrix determines texture artifacts introduced into the
halftoned image. Thus, the challenge of research in
ordered dithering is to find a matrix that results in the
least visible texture artifacts.\\ In this work we
control the halftoning texture by generating a threshold
matrix from an arbitrary image. We demonstrate that
processing images using adaptive histogram equalization
results in pixel distributions similar to traditional
dither screens. Ordered dithering with the resulting
threshold matrix enables us to define texture in the
halftoned image. We control the appearance of this
texture by a combination of the ordered dither algorithm
with an error diffusion process.\\ We present
applications of the image-based dither screens to both
photorealistic and artistic rendering. In the case of
photoreatistic tone reproduction this technique preserves
textures and edges of the original imaae. The ability to
define an arbitrary texture enables us to introduce a
variety of artistic effects. A halftoned image can be
embossed with another image, texture, or text. Also,
halftoning with textures clipped from the existing art
works approximates the look of traditional illustration
media. },
}
@mastersThesis{Wong:1999,
author = "Eric Wong",
title = "Artistic Rendering of Portrait Photographs",
year = "1999",
keywords = "image, portrait, photographs, rendering, paint, artistic ",
school = "Cornell University",
abstract = "In this thesis, we present a semi-automatic process to
artistically render portrait photographs in a charcoal
style. The software system requires the user to coach
the process by identifying regions and edges in the
portrait. With their information and a set of selected
parameters, the user can quickly generate an artistic
charcoal sketch. In general, our system produces a
charcoal image by rendering the following five features
of a portrait photograph: 1) the background area, 2) the
hair, 3) the edges and lines, 4) the facial features,
and 5) the facial tone. Although we compute the vertex
points that compose the line segments in the final
image, our system relies on an external software
application to render these lines in a charcoal style.
In order to render the hair region in the second process
step above, we developed a novel image processing
operation based on the Hough transform to find the
orientation of each point tin the hair region. ",
annote = " This thesis presents an interactive method for generating
charcoal style drawn portraits. One thing to note is that
quite a bit of user interaction is needed at each step in the
process. Also, the idea of interactive portraits or animated
portraits has not been addressed. One good note is the idea
of having the level of abstraction match the stage of the
design process was finally expressed. The software engineering
on this thesis was well done, and the process is broken down
into reasonable pieces that could be automated. In particular,
the automation of later parts of the process may only depend
on earlier parts being automated.",
}
@article{Zhang:1999:SCA,
author = {Qing Zhang and Youetsu Sato and Jun-ya Takahashi and
Kazunobu Muraoka and Norishige Chiba},
title = {Simple cellular automaton-based simulation of ink
behaviour and its application to Suibokuga-like 3D
rendering of trees},
volume = {10},
number = {1},
journal = {The Journal of Visualization and Computer Animation},
year = {January - March 1999},
publisher = {John Wiley & Sons},
pages = {27--37},
note = {ISSN 1049-8907},
keywords = {non-photorealistic rendering; Suibokuga-like rendering;
simulation of ink diffusion; cellular automaton},
annote = {Suibokuga is a style of monochrome painting characterized
by the use of Chinese black ink (sumi), a complex
interaction between brush, ink and paper, and such visual
features as Noutan (shade), Kasure (scratchiness), and
Nijimi (blur). In this paper we present a simple
behavioural model of water and ink particles based on a
2D cellular automaton computational model, and its
application to a Suibokuga-like rendering of 3D trees. },
}
@article{bremmer1998,
author = { David J. Bremer and John F. Hughes },
title = {Rapid Approximate Silhouette Rendering of Implicit Surfaces},
journal = {Proceedings of Implicit Surfaces '98},
series = {},
year = {June 1998},
editor = {},
publisher = {},
pages = {155--164},
note = {},
keywords = {},
annote = {},
}
@article{Correa:1998:TMF,
author = {Wagner Toledo Corr{\^{e}}a and Robert J. Jensen and Craig
E. Thayer and Adam Finkelstein},
title = {Texture Mapping for Cel Animation},
journal = {Proceedings of SIGGRAPH 98},
series = {Computer Graphics Proceedings, Annual Conference Series},
year = {July 1998},
editor = {Michael Cohen},
publisher = {Addison Wesley},
pages = {435--446},
note = {ISBN 0-89791-999-8. Held in Orlando, Florida.},
keywords = {Cel animation, texture mapping, silhouette detection,
warp, metamorphosis, morph, non-photorealistic
rendering},
annote = {We present a method for applying complex textures to
hand-drawn characters in cel animation. The method
correlates features in a simple, textured, 3-D model with
features on a hand-drawn figure, and then distorts the
model to conform to the hand-drawn artwork. The process
uses two new algorithms: a silhouette detection scheme
and a depth-preserving warp. The silhouette detection
algorithm is simple and efficient, and it produces
continuous, smooth, visible contours on a 3-D model. The
warp distorts the model in only two dimensions to match
the artwork from a given camera perspective, yet
preserves 3-D effects such as self-occlusion and
foreshortening. The entire process allows animators to
combine complex textures with hand-drawn artwork,
leveraging the strengths of 3-D computer graphics while
retaining the expressiveness of traditional hand-drawn
cel animation. },
}
@mastersThesis{Coutts:1998,
author = "Richard M. Coutts",
title = "Conceptual modeling and rendering techniques for architectural design.",
year = "1998",
keywords = "image, portrait, photographs, rendering, paint, artistic ",
school = "Cornell University",
annote = {Todays design professions are not integrating the
computer into their workplace as successfully as more
technical professionals. It is tempting to attribute
this to the fact that artists and architects are not as
technically savvy as engineers and scientists. Closer
inspection reveals, however, that current software
applications simply do not fit their needs.
Three problematic areas are identified in this thesis in
current design software. (1) Human-computer interfaces
are to cumbersome for design. (2) the current
human-computer interfaces do not facilitate transitioning
between conceptuall drawings and computer models. (3)
Current omputer rendering styles are not abstract enough
for visualizing incomplete designs. These shortcomings
are alleviated here by introducing a new human acomputer
interface and sketch rendering tecniques.
A solid modeler was written for this thesis to address
the human-computer interface issues. Currently,
architects and designers use traditional media - e.g.,
clay, chipboard, and sketches - in preliminary design.
For a solid modeler to ccompete with these materials, it
must be as simple to use. Our modeler;s interface
approaches this goal by incorporating a surface cursor
that feels its way along the models surface, giving the
designer much needed visuall cues as to the cursor's
location in three diminsions.
The need for more abstract rendering styles is addressed
by presenting a new technique for generating sketch
renderings. These renderings approximate the look and
feel of conventional hand drawings. The algorithims
presented here simulate an artist's hatch markings and
vectored streamlines. The streamlines are calculated in
a two dimentional vector field generated by projecting
three dimensional surface flow onto the image plane. A
global illumination image is used as a tone map to
control the hatching density. Because the algorithims
operate on strictly two-dimensional data extracted from the
three-dimensional model, they are robust and simple to
implement. Several new support algorithims, including a
new one-pass streamline algorithim that approximates both
denisity and direction, are described.},
}
@InProceedings{Curtis98,
author = "Cassidy Curtis",
title = "Loose and {S}ketchy {A}nimation",
booktitle = "SIGGRAPH 98: Conference Abstracts and Applications",
year = "1998",
pages = "317",
annote = {In naritive charactor animaiton, engaging the viewer and
conveying emotion and personality are of the highest
importance. Early in the development of the medium,
animators learned that an effective way to achieve these
goals was to "present a unified single idea with nothing
complicated extraneous, or contradictory in its makeup."
But this principle is seldom applied successfully in
computer animation because of the demands of
photorealistic rendering.
Photrealism , liike pornography, leaves nothing to the
imagination. It presents the viewer with a world of
objects omplete with volume and texture, which is far
more information that the viewer needs to get the point.
FFurthermore, unless great effort is devoted to every
detail of modeling, shading, and lighting, much fo that
information will actually contradict the central idea,
distracting the viewer. The need to cancel out these
spurious impressions places an unreasonable demand on the
animator.},
}
@Article{Elber:1998:LAI,
author = "Gershon Elber",
title = "Line {A}rt {I}llustrations of {P}arametric and {I}mplicit {F}orms",
journal = "IEEE Transactions on Visualization and Computer Graphics",
year = "1998",
volume = "4",
number = "1",
month = jan # " -- " # mar,
note = "ISSN 1077-2626",
keywords = "Sketches, illustrations, line drawings, freeform
surfaces, NURBs, implicit forms, surface coverage,
printing",
annote = "A technique is presented for line art rendering of
scenes composed of freeform surfaces. The line art that
is created for parametric surfaces is practically
intrinsic and is globally invariant to changes in the
surface parameterization. This method is equally
applicable for line art rendering of implicit forms,
creating a unified line art rendering method for both
parametric and implicit forms. This added flexibility
exposes a new horizon of special, parameterization
independent, line art effects. Moreover, the production
of the line art illustrations can be combined with
traditional rendering techniques such as transparency
and texture mapping. Examples that demonstrate the
capabilities of the proposed approach are presented for
both the parametric and implicit forms.",
}
@article{Gooch:1998:ANL,
author = {Amy Gooch and Bruce Gooch and Peter Shirley and Elaine Cohen},
title = {A Non-Photorealistic Lighting Model for Automatic
Technical Illustration},
journal = {Proceedings of SIGGRAPH 98},
series = {Computer Graphics Proceedings, Annual Conference Series},
year = {July 1998},
editor = {Michael Cohen},
publisher = {ACM SIGGRAPH},
pages = {447--452},
note = {ISBN 0-89791-999-8. Held in Orlando, Florida.},
keywords = {illustration, non-photorealistic rendering,
silhouettes, lighting models, tone, color, shading},
annote = {Phong-shaded 3D imagery does not provide geometric
information of the same richness as human-drawn technical
illustrations. A non-photorealistic lighting model is
presented that attempts to narrow this gap. The model is
based on practice in traditional technical illustration,
where the lighting model uses both luminance and changes
in hue to indicate surface orientation, reserving extreme
lights and darks for edge lines and highlights. The
lighting model allows shading to occur only in mid-tones
so that edge lines and highlights remain visually
prominent. In addition, we show how this lighting model
is modified when portraying models of metal
objects. These illustration methods give a clearer
picture of shape, structure, and material composition
than traditional computer graphics methods. },
}
@MastersThesis{Gooch:1998:thesis,
Author="Gooch, Amy A.",
School="University of Utah",
Title="Interactive Non-photorealistic Technical Illustration",
Year="1998",
Month="December",
Attributions = "",
Abstract = "Current interactive modeling systems allow users to
view models in wireframe or Phong-shaded images.
However, the wireframe is based on the model's
parameterization, and a model's features may get lost
in a nest of lines. Alone, a fully rendered image may
not provide enough useful information about the
structure or model features. Human technical
illustrators follow certain visual conventions that are
unlike Phong-shaded or wireframe renderings, and the
drawings they produce are subjectively superior to
conventional computer renderings. This thesis explores
lighting, shading, and line illustration conventions
used by technical illustrators. These conventions are
implemented in a modeling system to create a new method
of displaying and viewing complex NURBS models. In
particular, silhouettes and edge lines are drawn in a
manner similar to pen-and-ink drawings, and a shading
algorithm is used that is similar to ink-wash or
air-brush renderings for areas inside the silhouettes.
This shading has a low intensity variation so that the
black silhouettes remain visually distinct, and it has
a cool-to-warm hue transition to help accent surface
orientation. Applying these illustration methods
produces images that are closer to human-drawn
illustrations than is provided by traditional computer
graphics approaches.",
}
@article{Hertzmann:1998:PRW,
author = {Aaron Hertzmann},
title = {Painterly Rendering with Curved Brush Strokes of Multiple Sizes},
journal = {Proceedings of SIGGRAPH 98},
year = {July 1998},
editor = {Michael Cohen},
pages = {453--460},
keywords = {non-photorealistic rendering},
annote = {We present a new method for creating an image with a
hand-painted appearance from a photograph, and a new
approach to designing styles of illustration. We "paint"
an image with a series of spline brush strokes. \\ Brush
strokes are chosen to match colors in a source image. A
painting is built up in a series of layers, starting with
a rough sketch drawn with a large brush. The sketch is
painted over with progressively smaller brushes, but only
in areas where the sketch differs from the blurred source
image. Thus, visual emphasis in the painting corresponds
roughly to the spatial energy present in the source
image. We demonstrate a technique for painting with long,
curved brush strokes, aligned to normals of image
gradients. Thus we begin to explore the expressive
quality of complex brush strokes. Rather than process
images with a single manner of painting, we present a
framework for describing a wide range of visual styles. A
style is described as an intuitive set of parameters to
the painting algorithm that a designer can adjust to vary
the style of painting. We show examples of images rendered
with different styles, and discuss long-term goals for
expressive rendering styles as a general-purpose design
tool for artists and animators. },
}
@InProceedings{Masuch:1998:AFF,
author = {Maic Masuch and Lars Schumann and Stefan Schlechtweg},
title = {{A}nimating {F}rame-to-{F}rame {C}onsistent {L}ine {D}rawings
for {I}llustrative {P}urposes},
booktitle = {Simulation und Animation '98},
editor = {Peter Lorenz and Bernhard Preim},
year = {1998},
publisher = {SCS Europe},
address = {Erlangen, Ghent},
pages = {101--112},
annote = {We present a system for rendering 3D animations in the
style of line drawings. We use a highly parameterized line
model in order to determine the appearance of a line. This
model allows us to render characteristic line deviations
that remain--in contrast to existing non-photorealistic
rendering systems--frame coherent. Other inconsistencies
which result from intersection and visibility changes
during an animation are prevented by a path reconstruction
method. Furthermore, we implemented a keyframing for
linestyle parameters which enables us to extend
illustration techniques like simplification of a scene or
the placement of emphasis on certain objects to the field
of 3D computer animation. },
}
@article{Snyder1998,
author = {A. W. Snyder and H. B. Barlow},
title = {Revealing the artist's touch},
volume = {331},
number = {14},
journal = {Nature},
year = {1998},
editor = {},
publisher = {},
pages = {117--118},
annote = {Is there a unifying conceptual framework for
understanding human visual-information processing, one
that explains the occurence of illusions such as those of
Ramachandran on page 163 of this issue? Or is it better
to regard our visual system as a mosaic of unrelated
strategies, one ffor every special taks? An animal needs
to make rapid decisions about what objects are where in
its surroundings, but it has only a few neurons at its
disposal: this strongly suggests that eh brain should
first simplify processing for detection and recognition
fo objects, and then report its findings with the utmost
economy. WE propose that these two principles provide a
unifying interpretation of existing perceptual data and
will enable us to place new results in a proper
perspective.},
}
@article{Streit:1998:IDH,
author = {L. M. Streit and J. W. Buchanan},
title = {Importance Driven Halftoning},
volume = {17},
number = {3},
journal = {Computer Graphics Forum},
year = {1998},
editor = {N. Ferreira and M. G{\"{o}}bel},
publisher = {Blackwell Publishers},
pages = {207--218},
note = {ISSN 1067-7055},
keywords = {halftoning, bandpass pyramid, importance function,
limited resource rendering, non-photorealistic
rendering, traditional halftoning, drawing primitive,
multiresolution representations},
annote = {Most halftoning techniques have been primarily concerned
with achieving an accurate reproduction of local
grayscale intensities while avoiding the introduction of
artifacts. A second concern in halftoning has been the
preservation of edges in the halftoned image. In this
paper we will introduce a new halftoning technique that
utilizes a bandpass pyramid to achieve an accurate
reproduction of important attributes in the image. Ink
is distributed through the bandpass pyramidprimarily
according to a user defined importance function. This
technique has three main characteristics. First, our
technique can produce results similar to many other
halftoning techniques by allowing a generic importance
function to be specified. If the chosen importance
function is average intensity we obtain results similar
to traditional halftoning. We also show how the
importance function can be changed to highlight areas
with high variance. Second, in addition to changing the
importancefunction, the drawing primitives can also be
changed. By using line segments instead of single pixels
as drawing primitives we illustrate how edge enhancement
can be achieved. Third, this technique allows the user to
easily limit the number drawing primitives used This is
useful in limited resource rendering. \\ In addition to
providing a tailorable halftoning technique our method
can easily be adapted to produce two tone
non-photorealistic (NPR) images. We illustrate this by
showing how sketched effects can be achieved bv aligning
the drawing primitives according to different image
attributes. }
}
@InProceedings{Teece98,
author = "Daniel Teece",
title = "{3D} {P}ainting for {N}on-{P}hotorealistic {R}endering",
booktitle = "SIGGRAPH 98: Conference Abstracts and Applications",
year = "1998",
pages = "248",
annote = {The 3D Expressive Painter is an interactive, expressive
3D painting and rendering system intended for us in
production of hand-drawn natural-media-style animations.
By using some imported scene geometry, created in a
general-purpose modeler, the system allows interactive
placement of paint strokes in 3D. The user is able to
rotate the scene, select a suitable viewing angle, and
paint from the desired direction, eith the depth values
for stroke positions calculated from the imported scene.
High level effects can be applied to objects within the
scene (for example, tracing determined "key edges" with
pencil strokes of filling surfaces with a solid color). },
}
@phdthesis{Raab1998,
author = "A. Rabb",
title = "{Techniques for Interacting with and Visualization of Geometric Models}",
school = "Otto-von-Guericke University of Magdeburg",
year = "1998",
address = "",
month = {},
note = {}
}
@phdthesis{Teece98b,
author = "Daniel Teece",
title = "{Three Dimensional Interactive Non-Photorealistic Rendering}",
school = "University of Sheffield",
year = "1998",
address = "England",
month = {},
note = {}
}
@article{Visvalingam:1998:AFS,
author = {Mahes Visvalingam and Kurt Dowson},
title = {Algorithms for sketching surfaces},
volume = {22 },
number = {2-3},
journal = {Computers \& Graphics},
year = {1998},
month = {March},
publisher = {Pergamon Press / Elsevier Science},
pages = {269--280},
note = {ISSN 0097-8493},
}
@InProceedings{Wong:1998:CGF,
author = "Michael T. Wong and Douglas E. Zongker and David H. Salesin",
title = "Computer-{G}enerated {F}loral {O}rnament",
booktitle = "SIGGRAPH 98 Conference Proceedings",
editor = "Michael Cohen",
series = "Annual Conference Series",
year = "1998",
organization = "ACM SIGGRAPH",
publisher = "Addison Wesley",
month = jul,
pages = "423--434",
note = "ISBN 0-89791-999-8",
keywords = "adaptive clip art, conventionalization, pattern
generation, plant development, ornamentation, texture
generation",
annote = "This paper describes some of the principles of
traditional floral ornamental design, and explores ways
in which these designs can be created algorithmically.
It introduces the idea of 'adaptive clip art,' which
encapsulates the rules for creating a specific ornamental
pattern. Adaptive clip art can be used to generate
patterns that are tailored to fit a particularly shaped
region of the plane. If the region is resized or
reshaped, the ornament can be automatically re-generated
to fill this new area in an appropriate way. Our
ornamental patterns are created in two steps: first, the
geometry of the pattern is generated as a set of
two-dimensional curves and filled boundaries; second,
this geometry is rendered in any number of styles. We
demonstrate our approach with a variety of floral
ornamental designs.",
}
@article{Balder:OM:1997,
author = {Norman I. Balder and Andrew S. Glassner},
title = {3D object modeling},
volume = {18},
number = {3},
journal = {SIGGRAPH 97 Introduction to COmputer Graphics Course Notes},
year = {1997},
month = {August},
editor = {},
pages = {},
note = {},
keywords = {},
annote = {},
}
@Article{Claes97,
Author = "Johan Claes and Patrick Monsieurs and
Frank Van Reeth and Eddy Flerackers",
Title = "{Rendering Pen-drawings of 3D scenes on networked processors}",
Journal= {WSCG '97 proceedings},
Year = 1997,
Volume = {1},
Number = {},
Month = feb,
pages = {}
}
@article{Coutts:1997,
author = "Richard Coutts and Donald P. Greenberg",
title = "Rendering with streamlines",
journal = {Unpublished},
Year = 1997,
annote = {We introduce a new technique for creating
non-photorealistic images from computer models. The
technique uses two dimensional, vectored streamlines to
approximate the hatch markings of a traditional artist.
The streamlines are calculated in a two-dimensional vector
field that is generated by projectiing three-dimensional
surface flow onto the image plane. Aray-traced image is
used as a tone map to control the density fo the hatching.
Anew one-pass streamline algorithim is introduced that
approximates both density and direction. The technique is
implemented in a fully automatic system that renders
free-form three-dimensional objects with varying levels of
sketchiness.},
}
@article{Curtis:1997,
author = "Cassidy J. Curtis and Sean E. Anderson and Joshua E. Seims and Kurt
W. Fleischer and David H. Salesin",
title = "Computer-Generated Watercolor",
journal = {Proceedings of SIGGRAPH 97},
month = "August",
pages = "pages 421--430",
year = "1997",
keywords = "Fluid simulation, glazing, illustration, Kubelka-Munk,
non-photorealistic rendering, optical compositing, painting,
pigments, watercolor",
abstract = "This paper describes the various artistic effects of watercolor
and shows how they can be simulated automaticly. Our watercolor
model is based on an ordered set of translucent glazes, which are
created independently using a shallow-water fluid simulation.
We use a Kubelka-Munk compositing model for simulating the
optical effect of the superimposed glazes. We demonstrate how
computer generated watercolor can be used in three different
application: as part of an interactive watercolor paint system,
as a method for automatic image watercolorization, and as a
mechanism for non-photorealistic rendering of three-dimensional
scenes. ",
annote = " This paper presents a method for simulating water color painting.
The method uses a complex method of modeling fluid flow, and
pigment transportation. By doing this they get away with using
simple models for the paper and brushes. This paper also presents
a method for automatic painting, based on an image by using image
differences. ",
}
@article{Interrante:1997:ISS,
author = {Victoria L. Interrante},
title = {Illustrating Surface Shape in Volume Data via
Principal Direction-Driven 3D Line Integral Convolution},
journal = {Proceedings of SIGGRAPH 97},
series = {Computer Graphics Proceedings, Annual Conference
Series},
year = {1997},
month = {August},
editor = {Turner Whitted},
publisher = {Addison Wesley},
pages = {109--116},
note = {ISBN 0-89791-896-7. Held in Los Angeles, California.},
keywords = {visualization, transparent surfaces, shape
representation, principal directions, stroke textures, line
integral convolution, solid texture, isosurfaces, volume
rendering},
annote = {This paper describes how the set of principal
directions and principal curvatures can be understood to define a
natural "flow" over the surface of an object and, as such, can be
used to guide the placement of the lines of a stroke texture that
seeks to represent 3D shape in a perceptually intuitive way. The
driving application for this work is the visualization of layered
isovalue surfaces in volume data, where the particular identity of
an individual surface is not generally known a priori and
observers will typically wish to view a variety of different level
surfaces from the same distribution, superimposed over underlying
opaque structures. This paper describes how, by advecting an
evenly distributed set of tiny opaque particles, and the empty
space between them, via 3D line integral convolution through the
vector field defined by the principal directions and principal
curvatures of the level surfaces passing through each gridpoint of
a 3D volume, it is possible to generate a single scan-converted
solid stroke texture that can be used to illustrate the essential
shape information of any level surface in the data. By redefining
the length of the filter kernel according to the magnitude of the
maximum principal curvature of the level surface at each point
around which the convolution is applied, one can generate longer
strokes over more the highly curved areas, where the directional
information is both most stable and most relevant, and at the same
time downplay the visual impact of the directional information
indicated by the stroke texture in the flatter regions. In a
voxel-based approach such as this one, stroke narrowness will be
constrained by the resolution of the volume within which the
texture is represented. However, by adaptively indexing into
multiple pre-computed texture volumes, obtained by advecting
particles of increasing sizes, one may selectively widen the
strokes at any point by a variable amount, determined at the time
of rendering, to reflect shading information or any other function
defined over the volume data. },
}
@article{Jobard:1997,
author = {Bruno Jobard and Wilfrid Lefer},
title = {Creating evenly-spaced streamlines of arbitrary density},
journal = {Proc. of 8th Eurographics Workshop on Visualization in Scientific Computing},
series = {},
year = {1997},
month = {},
editor = {},
publisher = {},
pages = {45--55},
note = {},
keywords = {},
}
@article{Litwinowicz:1997:PIA,
author = {Peter Litwinowicz},
title = {Processing Images and Video for an Impressionist Effect},
journal = {Proceedings of SIGGRAPH 97},
year = {August 1997},
pages = {407--414},
annote = {This paper describes a technique that transforms ordinary
video segments into animations that have a hand-painted
look. Our method is the first to exploit temporal
coherence in video clips to design an automatic filter
with a hand-drawn animation quality, in this case, one
that produces an Impressionist effect. Off-the-shelf
image processing and rendering techniques are employed,
modified and combined in a novel way. This paper proceeds
through the process step by step, providing helpful hints
for tuning the off-the-shelf parts as well as describing
the new techniques and bookkeeping used to glue the parts
together. },
}
@article{Luebke:1997:VSO,
author = {David Luebke and Carl Erikson},
title = {View-Dependent Simplification of Arbitrary Polygonal Environments},
journal = {Proceedings of SIGGRAPH 97},
series = {Computer Graphics Proceedings, Annual Conference Series},
year = {1997},
month = {August},
editor = {Turner Whitted},
publisher = {Addison Wesley},
pages = {199--208},
note = {ISBN 0-89791-896-7. Held in Los Angeles, California.},
keywords = {polygonal simplification, level of detail, view dependent
rendering},
annote = {Hierarchical dynamic simplification (HDS) is a new
approach to the problem of simplifying arbitrary polygonal
environments. HDS operates dynamically, retessellating the scene
continuously as the user's viewing position shifts, and
adaptively, processing the entire database without first
decomposing the environment into individual objects. The
resulting system allows real-time display of very complex
polygonal CAD models consisting of thousands of parts and
hundreds of thousands of polygons. HDS supports various
preprocessing algorithms and various run-time criteria, providing
a general framework for dynamic view-dependent
simplification. Briefly, HDS works by clustering vertices
together in a hiera rchical fashion. The simplification process
continuously queries this hierarchy to generate a scene
containing only those polygons that are important from the
current viewpoint. When the volume of space associated with a
vertex cluster occupies less than a user-specified amount of the
screen, all vertices within that cluster are collapsed together
and degenerate polygons filtered out. HDS maintains an active
list of visible polygons for rendering. Since frame-to-frame
movements typically involve small changes in viewpoint, and
therefore modify the active list by only a few polygons, the
method takes advantage of temporal coherence for greater speed.
},
}
@article{Markosian:1997:RNR,
author = {Lee Markosian and Michael A. Kowalski and Samuel
J. Trychin and Lubomir D. Bourdev and Daniel Goldstein
and John F. Hughes},
title = {Real-Time Nonphotorealistic Rendering},
journal = {Proceedings of SIGGRAPH 97},
series = {Computer Graphics Proceedings, Annual Conference Series},
year = {August 1997},
editor = {Turner Whitted},
publisher = {Addison Wesley},
pages = {415--420},
note = {ISBN 0-89791-896-7. Held in Los Angeles, California.},
keywords = {non-photorealistic rendering},
annote = {Nonphotorealistic rendering (NPR) can help make
comprehensible but simple pictures of complicated objects
by employing an economy of line. But current
nonphotorealistic rendering is primarily a batch
process. This paper presents a real-time
nonphotorealistic renderer that deliberately trades
accuracy and detail for speed. Our renderer uses a method
for determining visible lines and surfaces which is a
modification of Appel's hidden-line algorithm, with
improvements which are based on the topology of singular
maps of a surface into the plane. The method we describe
for determining visibility has the potential to be used
in any NPR system that requires a description of visible
lines or surfaces in the scene. The major contribution of
this paper is thus to describe a tool which can
significantly improve the performance of these
systems. We demonstrate the system with several
nonphotorealistic rendering styles, all of which operate
on complex models at interactive frame rates. },
}
@InProceedings{Masuch:1997:DDA,
author = {Maic Masuch and Stefan Schlechtweg and Bert Sch{\"o}nw{\"a}lder},
title = {daLi! -- {D}rawing {A}nimated {L}ines!},
booktitle = {Simulation und Animation '97},
editor = {O. Deussen and P. Lorenz},
year = {1997},
publisher = {SCS Europe},
address = {Erlangen, Ghent},
pages = {87--96},
annote = {We present an animation system for the creation of
non-photorealistic 3D animations. Our system daLi! is able
to render images using a common 3D model as input. This
model may be enriched with additional information
concerning for instance hierarchy, structure and
presentation style. The rendering is done analytically,
which means the output is resolution independent. It
results in a series of images that depict the animation
using line-drawings. The implementation of daLi! was
completely done in Smalltalk. },
}
@article{Salisbury:1997:OTF,
author = {Michael P. Salisbury and Michael T. Wong and John F. Hughes
and David H. Salesin},
title = {Orientable Textures for Image-Based Pen-and-Ink Illustration},
journal = {Proceedings of SIGGRAPH 97},
series = {Computer Graphics Proceedings, Annual Conference Series},
year = {August 1997},
editor = {Turner Whitted},
publisher = {Addison Wesley},
pages = {401--406},
note = {ISBN 0-89791-896-7. Held in Los Angeles, California.},
keywords = {Controlled-density hatching, direction field,
image-based rendering, non-photorealistic rendering,
scale-dependent rendering, stroke textures},
annote = {We present an interactive system for creating
pen-and-ink-style line drawings from greyscale images in
which the strokes of the rendered illustration follow the
features of the original image. The user, via new
interaction techniques for editing a direction field,
specifies an orientation for each region of the image;
the computer draws oriented strokes, based on a
user-specified set of example strokes, that achieve the
same tone as the image via a new algorithm that compares
an adaptively-blurred version of the current illustration
to the target tone image. By aligning the direction field
with surface orientations of the objects in the image,
the user can create textures that appear attached to
those objects instead of merely conveying their
darkness. The result is a more compelling pen-and-ink
illustration than was previously possible from 2D
reference imagery. },
}
@article{Schlechtweg:1997,
author = {Stefan Schlechtweg},
title = {Lines and How to Draw Them},
volume = {},
number = {},
journal = {Norsk samarbeid inner grafisk databehandling},
year = {February 1997},
pages = {4--6},
annote = {The drawing of lines on the computer has been an area of
interest for several years. In the beginning, there were
more practical reasons behind the development of line
drawing algorithms (as for instance the rasterization of
lines by BRESENHAM), later more esthetic reasons came
into play. This article gives an overview of techniques
for drawing lines with certain effects. A line in this
context is not necessarily a straight line but can be
every kind of curve. The presented methods are only three
examples of this interesting area: a simulation of real
brush-strokes, a vector-oriented technique for
2D-drawings and a method which can be applied to the
output of an analytical renderer to create illustrative
effects in line drawings. },
}
@Unpublished{Smith97,
author = "Alvy Ray Smith",
title = "Digital {P}aint {S}ystems {H}istorical {O}verview",
note = "Microsoft Corporation",
month = may,
year = "1997",
annote = {This documentation is prepared in responce to the
solicitation of information on Digital Paint Systems by
the Subcommittee on May 2, 1997.
The period I will cover is from the late 1960's to the
early 1980s, from the beginings of the technology of
digital painting up to the first consumer products that
implemented it. I include a little information about
major developments in the later 1980s. Two surveys that
cover this later period fairly well-when the emergence fo
the perrsonal computer completly changed the software
universe--were both published in the magizine Computer
Graphics World [Smith82a, Robertson88]. My emphasis, of
course, is on those systems I knew firsthand.
I begin with a simple timeline of programs and systems.
I will attempt a weghting and a "genealogy" of these in a
later section, where I will also narrow the field to
those painting systems that have directly affected the
movie industry.},
}
@InProceedings{walt97,
author = "Bruce Walter and Gun Alppay and Eric P. F.
Lafortune and Sebastian Fernandez and Donald P.
Greenberg",
title = "Fitting {V}irtual {L}ights For {N}on-{D}iffuse {W}alkthroughs"
,
booktitle = "SIGGRAPH 97 Conference Proceedings",
year = "1997",
month = aug,
pages = {45-48}
}
@article{zhu_algo,
Author ={Ciyou Zhu and Richard H. Byrd and
Peihuang Lu and Jorge Nocedal },
Title ={Algorithm 778: L-BFGS-B: Fortran subroutines for
large-scale bound-constained optimization},
journal = {ACM Trans. Math. Software},
volume = {23},
number = {4},
Address ={},
pages = {550--560},
Year ={1997}
}
@article{Tanaka:1997:PIE,
author = {T. Tanaka and N. Ohnishi},
title = {Painting-like Image Emphasis based on Human Vision Svstems},
volume = {16},
number = {3},
journal = {Computer Graphics Forum},
year = {August 1997},
pages = {253--260},
keywords = {image emphasis, display technique, visual processing,
painting simulation, dynamic range compression},
abstract = {Regional image emphasis is often evident in paintings
and illustrations. This technique increases local
contrast while reducing global contrast by amplifying
image intensity on shadowed surfaces, reducing
intensity on illuminated surfaces, and then expanding
contrast at intensity edges. The effects are assumed to
result from the visual processing needed to interpolate
the real world onto canvas. Therefore, we propose an
intensity emphasis method based on human vision. This
method simulates the adaptation of photoreceptor cells
and the lateral inhibition of receptive fields. These
attributes of a vision system are realized by
computation of relative intensity and differential
intensity in small areas. The proposed method can
successfully generate painting-like artifacts, which
greatly improves the perception of visual elements
displayed in an image. Since the method efficiently
reduces the dynamic range of images, it can be used for
displaying highlighted images on standard graphic
monitors. Experiments on a computer-generated image and
a photograph confirm the advantages of our
method. Proceedings of Eurographics '97. }
}
@InProceedings{Treavett,
author = "S. M. F. Treavett and M. Chen",
title = "Statistical {T}echniques for the {A}utomated {S}ynthesis of
{N}on-{P}hotorealistic {I}mages",
booktitle = "Proc. 15th Eurographics UK Conference",
month = mar,
year = "1997",
annote = {In the field of computer graphics there is an increasing
demand for non-photorealistic effects. Techniques have
been developed to this end but most involve substantial
runtime interaction form the user. This paper presents a
new approach that uses statistical techniques to
automaticly and reproducibly generate non-photorealistic
images. This automatic system could have far ranging
uses, including frame by frame conversion of video to
produce special effects. Information from the source
image is obtained using statistical analysis techniques.
Statistical simulations are used to control the placement
of effects in the final image. The paper includes a
number of example images produced by the system.},
}
@book{tuft97,
author = "Edward Tufte",
title = "Visual explanations",
publisher = "Graphics Press",
city = "Cheshire, CT",
year = {1997}
}
@article{Wood:1997:MPF,
author = {Daniel N. Wood and Adam Finkelstein and John F. Hughes
and Craig E. Thayer and David H. Salesin},
title = {Multiperspective Panoramas for Cel Animation},
journal = {Proceedings of SIGGRAPH 97},
series = {Computer Graphics Proceedings, Annual Conference Series},
year = {August 1997},
editor = {Turner Whitted},
publisher = {Addison Wesley},
pages = {243--250},
note = {ISBN 0-89791-896-7. Held in Los Angeles, California.},
keywords = {CGI production, compositing, illustration, image-based
rendering, mosaics, multiplaning, non-photorealistic
rendering},
annote = {We describe a new approach for simulating apparent camera
motion through a 3D environment. The approach is
motivated by a traditional technique used in 2D cel
animation, in which a single background image, which we
call a multiperspective panorama,is used to incorporate
multiple views of a 3D environment as seen from along a
given camera path. When viewed through a small moving
window, the panorama produces the illusion of 3D
motion. In this paper, we explore how such panoramas can
be designed by computer, and we examine their application
to cel animation in particular. Multiperspective
panoramas should also be useful for any application in
which predefined camera moves are applied to 3D scenes,
including virtual reality fly-throughs, computer games,
and architectural walk-throughs. },
}
@InProceedings{zhang97,
author = {H. Zhang and K. Hoff III},
month = {April},
year = 1997,
title = {Fast Backface Culling Using Normal Masks},
booktitle = {Proc. 1997 Symposium on Interactive 3D Graphics},
pages = {103--106}
}
@article{Buchanan:1996:SEW,
author = {John W. Buchanan},
title = {Special Effects with Half-toning},
volume = {15},
number = {3},
journal = {Computer Graphics Forum},
year = {August 1996},
editor = {Jarek Rossignac and Fran{\c{c}}ois X. Sillion},
publisher = {Blackwell Publishers},
pages = {97--108},
note = {ISSN 1067-7055},
keywords = {Half-toning, non-photorealistic rendering, graphic design},
annote = {Half-toning is the process by which gray-scale images are
approximated with sets of black and white pixels. The
process works because our eyes perceive a local average,
thus half-toning seeks to approximate the local
average. Ideally this approximation should be
accomplished without introducing "undesirable"
artifacts. In many situations the stylized display of
images is desired. Often this stylized display is
accomplished by the addition of semi-structured
artifacts. In current applications the designer processes
the image using tools provided by some image processing
package. The resulting image is then half-toned and
printed. Half-toning these processed images can reduce
the visual impact of the special effects that have been
introduced in the image. In this paper we show that the
processes of controlled artifact introduction and
half-toning can successfully be combined. By combining
these two processes we ensure that the printed image is
what the designer intended. We present a brief overview
of the current error-diffusion half-toning techniques. We
then propose several ways in which artifacts can be
introduced to the image. This discussion is accompanied
by a set of illustrative images. In particular, we
discuss the introduction of false edges and the
alteration of the scan pattern. We illustrate these
techniques with a variety of images. We conclude the
paper with a discussion on these new half-ioning methods
for the generation of binary gray-scale textures. In
addition to showing how to generate these binary
gray-scale textures we also show how these gray-scale
textures can be used to half-tone images. Proceedings of
Eurographics '96. },
}
@InProceedings{chi96*35,
author = "Jutta Schumann and Thomas Strothotte and Andreas Raab
and Stetan Laser",
title = "Assessing the Effect of {NonPhoto-realistic} Rendered
Images in {CAD}",
pages = "35--41",
ISBN = "0-201-94687-4",
editor = "Michael J. Tauber and Victoria Bellotti and Robin
Jeffries and Jock D. Mackinlay and Jakob Nielsen",
booktitle = "Proceedings of the Conference on Human Factors in
Computing Systems : Commun Ground",
month = apr # "~13--18",
publisher = "ACM Press",
address = "New York",
year = "1996",
annote = {Recent work in computer graphics has resulted in new
techniques for rendering so-called non-photorealistic
images. While such features are now already appearing in
commercially available software, little is known about the
effect of non-photorealistic images on users and their
usefulness in specific contexts.
In this paper we report on an empirical study with 54
architects who compared the output of a sketch-renderer
for producing pencil-like drawings with standard output of
CAD systems for architectural designs. The results show
that the different kinds of renditions actually have a
very different effect on viewers and that
non-photorealistic images actually do deserve their place
in the repertoire of CAD systems. },
}
@phdthesis{ Decaudin:1996:thesis,
author = "Phillippe Decaudin",
title = "{Modeling using Fusion of 3D Shapes for Computer Graphics
-- Cartoon-Looking Rendering of 3D Scenes}",
school = "Universite de Technologie de Compiegne",
year = "1996",
address = "France",
month = {dec},
note = {}
}
@TechReport{ Decaudin:1996:CLR,
author = "Phillippe Decaudin",
title = "Cartoon-Looking Rendering of 3D-Scenes",
year = "1996",
month = jun,
number = "INRIA 2919",
institution = "Universite de Technologie de Compiegne",
address ="France",
abstract = "Cartoon-looking rendering of 3D scenes. This rendering
technique produces images having the appearance of a
traditional cartoon from a 3D description of the scene
(a static or an animated scene).
The 3D scene is rendered with techniques allowing to:
- outline the profiles and edges of objects in back,
- color uniformly the patches,
- render shadows (self-shadows and projected-shadows)
due to light sources. ",
}
@phdthesis{elen96,
author = "Elena Driskill",
title = {Towards the Design, Analysis, and Illustration of Assemblies},
school = "University of Utah",
year = "1996",
address = "Department of Computer Science, Salt Lake City, Utah",
month = sep,
abstract = {This document presents an integrate approach for
helping designers to specify, revise, analyze, and
illustrate assemblies of mechanical parts within the
context of a common data structure and set of assembly
features. An implementation to test the validity of
these ideas has been integrated into an existing
spline-based geometric modeling system.
There were several distinct facets to this research
effort. Methodology for assembly planning was explored
to allow a user to lay out the assembly in a
diagrammatic form, before creating any geometry. A
rough design, laid out initially, can gradually be
refined, and the individual components can be designed
and edited later using spline-based geometric modeling
operations. Research into assembly specification
examined how best to allow the user to describe the way
parts are actually connected together to form
subassemblies, and eventually the final product. Also
considered were questions of part interference and part
removablility in order to help the user evaluate the
utility and manufacturability of the design. Finally,
exploded view illustration was explored, with a view
toward enabling the user to create clear and
informative exploded views of the assembly with minimal
intervention. Throughout, information obtained in
earlier stages of design was useful in helping to
automate later design steps.
During the course of this project the author developed
a representation of assembly convenient for handling
multiple assembly-related tasks, addressed the special
problems of interactive assembly design by introduction
new constructs for specifying assembly information,
explored the usefulness of interactive interference
detection techniques, and considered artistic issues,
such as good ways to arrange exploded parts in an
illustration, as part of creating a practical
application.}
}
@article{Hoppe:1996:PM,
author = {Hugues Hoppe},
title = {Progressive Meshes},
journal = {Proceedings of SIGGRAPH 96},
series = {Computer Graphics Proceedings,
Annual Conference Series},
year = {1996},
month = {August},
editor = {Holly Rushmeier},
publisher = {Addison Wesley},
pages = {99--108},
note = {ISBN 0-201-94800-1. Held in New
Orleans, Louisiana.},
annote = {Highly detailed geometric models are
rapidly becoming commonplace in computer
graphics. These models, often represented as
complex triangle meshes, challenge rendering
performance, transmission bandwidth, and storage
capacities. This paper introduces the progressive
mesh (PM) representation, a new scheme for
storing and transmitting arbitrary triangle
meshes. This efficient, lossless,
continuous-resolution representation addresses
several practical problems in graphics: smooth
geomorphing of level-of-detail approximations,
progressive transmission, mesh compression, and
selective refinement. In addition, we present a
new mesh simplification procedure for
constructing a PM representation from an
arbitrary mesh. The goal of this optimization
procedure is to preserve not just the geometry of
the original mesh, but more importantly its
overall appearance as defined by its discrete and
scalar appearance attributes such as material
identifiers, color values, normals, and texture
coordinates. We demonstrate construction of the
PM representation and its applications using
several practical models. },
}
@article{Interrante:1996:ITS,
author = {Victoria Interrante and Henry Fuchs and Stephen
Pizer},
title = {Illustrating Transparent Surfaces with
Curvature-Directed Strokes },
journal = {IEEE Visualization '96},
year = {1996},
month = {October},
editor = {Roni Yagel and Gregory M. Nielson},
publisher = {IEEE},
pages = {211--218},