Line Drawings from 3D Models
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Creating Manga-Style Artwork in Corel Painter X
Creating manga-style artwork in Corel® Painter™ X Jared Hodges Manga is the Japanese word for comic. Manga-style comic books, graphic novels, and artwork are gaining international popularity. Bronco Boar, created by Jared Hodges in Corel Painter X The inspiration for Bronco Boar comes from my interest in fantastical beasts, Mesoamerican design motifs, and my background in Japanese manga-style imagery. In the image, I wanted to evoke a feeling of an American Southwest desert with a fantasy twist. I came up with the idea of an action scene portraying a cowgirl breaking in an aggressive oversized boar. In this tutorial, you will learn about • character design • creating a rough sketch of the composition • finalizing line art • the coloring process • adding texture, details, and final colors 1 Character Design This picture focuses on two characters: the cowgirl and the boar. I like to design the characters before I work on the actual image, so I can concentrate on their appearance before I consider pose and composition. The cowgirl's costume was inspired by western clothing: cowboy hat, chaps, gloves, and boots. I added my own twist to create a nontraditional design. I enlisted the help of fellow artist and partner, Lindsay Cibos, to create a couple of conceptual character designs based on my criteria. Two concept sketches by Lindsay Cibos. These sketches helped me decide which design elements and colors to use for the character's outfit. Combining our ideas, I sketched the final design using a custom 2B Pencil variant from the Pencils category, switching between a size of 3 pixels for detail work and 5 pixels for broader strokes. -
A Non-Photorealistic Lighting Model for Automatic Technical Illustration
A Non-Photorealistic Lighting Model For Automatic Technical Illustration Amy Gooch Bruce Gooch Peter Shirley Elaine Cohen Department of Computer Science University of Utah = http:==www.cs.utah.edu Abstract 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 nar- row this gap. The model is based on practice in traditional tech- nical illustration, where the lighting model uses both luminance and changes in hue to indicate surface orientation, reserving ex- treme lights and darks for edge lines and highlights. The light- ing 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 com- puter graphics methods. CR Categories: I.3.0 [Computer Graphics]: General; I.3.6 [Com- Figure 1: The non-photorealistic cool (blue) to warm (tan) tran- puter Graphics]: Methodology and Techniques. sition on the skin of the garlic in this non-technical setting is an example of the technique automated in this paper for technical il- Keywords: illustration, non-photorealistic rendering, silhouettes, lustrations. Colored pencil drawing by Susan Ashurst. lighting models, tone, color, shading 1 Introduction dynamic range shading is needed for the interior. As artists have discovered, adding a somewhat artificial hue shift to shading helps The advent of photography and computers has not replaced artists, imply shape without requiring a large dynamic range. -
Texture Mapping for Cel Animation
Texture Mapping for Cel Animation 1 2 1 Wagner Toledo Corrˆea1 Robert J. Jensen Craig E. Thayer Adam Finkelstein 1 Princeton University 2 Walt Disney Feature Animation (a) Flat colors (b) Complex texture Figure 1: A frame of cel animation with the foreground character painted by (a) the conventional method, and (b) our system. Abstract 1 INTRODUCTION We present a method for applying complex textures to hand-drawn In traditional cel animation, moving characters are illustrated with characters in cel animation. The method correlates features in a flat, constant colors, whereas background scenery is painted in simple, textured, 3-D model with features on a hand-drawn figure, subtle and exquisite detail (Figure 1a). This disparity in render- and then distorts the model to conform to the hand-drawn artwork. ing quality may be desirable to distinguish the animated characters The process uses two new algorithms: a silhouette detection scheme from the background; however, there are many figures for which and a depth-preserving warp. The silhouette detection algorithm is complex textures would be advantageous. Unfortunately, there are simple and efficient, and it produces continuous, smooth, visible two factors that prohibit animators from painting moving charac- contours on a 3-D model. The warp distorts the model in only two ters with detailed textures. First, moving characters are drawn dif- dimensions to match the artwork from a given camera perspective, ferently from frame to frame, requiring any complex shading to yet preserves 3-D effects such as self-occlusion and foreshortening. be replicated for every frame, adapting to the movements of the The entire process allows animators to combine complex textures characters—an extremely daunting task. -
CT.ENG CAD Drafting/Engineering Graphics
CT.ENG CAD Drafting/Engineering Graphics Essential Discipline Goals -Develop and apply the technical competency and related academic skills that allow for economic independence and career satisfaction. -Acquire the essential learnings and values that foster continued education throughout life. -Demonstrate the ability to communicate, solve problems, work individually and in teams, and apply information effectively. -Develop technological literacy and the ability to adapt to future change. Standards Indicators CT.ENG.05 Communicate graphically through sketches of multi-view and pictorial drawings that meet industry standards. CT.ENG.05.01 Read and apply the rules for sketching in relation to proportion, placement of the views, and drawing medium needed CT.ENG.05.02 Select necessary views for the problem CT.ENG.05.03 Use blocking technique for size, shape, and details CT.ENG.05.04 Apply surface shading techniques where needed CT.ENG.05.05 Identify the uses of sketches in industry CT.ENG.05.06 Identify and describe the terms used in sketching CT.ENG.10 Produce multi-view orthographic projections to industry standards. CT.ENG.10.01 Define and apply the terms related to multi-view drawings CT.ENG.10.02 Apply the rules for orthographic projection CT.ENG.10.03 Review and analyze the working drawing problem and specifications CT.ENG.10.04 Visualize and select the necessary views CT.ENG.10.05 Identify the types of lines, lettering, and drawing medium needed CT.ENG.10.06 Solve fractional, decimal, and metric equations as needed CT.ENG.10.06 Use concepts related to units of measurement CT.ENG.10.07 Analyze and identify the need for sectional and/or auxiliary views CT.ENG.10.08 Define and apply the rules for sections and auxiliary views CT.ENG.10.09 Visualize and draw geometric figures in two dimens CT.ENG.10.10 Describe, compare and classify geometric figures CT.ENG.10.11 Apply properties and relationships of circles to solve circle problems CT.ENG.15 Produce development layouts of various shaped objects to industry standards. -
Guide to Digital Art Specifications
Guide to Digital Art Specifications Version 12.05.11 Image File Types Digital image formats for both Mac and PC platforms are accepted. Preferred file types: These file types work best and typically encounter few problems. tif (TIFF) jpg (JPEG) psd (Adobe Photoshop document) eps (Encapsulated PostScript) ai (Adobe Illustrator) pdf (Portable Document Format) Accepted file types: These file types are acceptable, although application versions and operating systems can introduce problems. A hardcopy, for cross-referencing, will ensure a more accurate outcome. doc, docx (Word) xls, xlsx (Excel) ppt, pptx (PowerPoint) fh (Freehand) cdr (Corel Draw) cvs (Canvas) Image sizing specifications should be discussed with the Editorial Office prior to digital file submission. Digital images should be submitted in the final size desired. White space around the image should be removed. Image Resolution The minimum acceptable resolution is 200 dpi at the desired final size in the paged article. To ensure the highest-quality published image, follow these optimum resolutions: • Line = 1200 dpi. Contains only black and white; no shades of gray. These images are typically ink drawings or charts. Other common terms used are monochrome or 1-bit. • Grayscale or Color = 300 dpi. Contains no text. A photograph or a painting is an example of this type of image. • Combination = 600 dpi. Grayscale or color image combined with a line image. An example is a photograph with letter labels, arrows, or text added outside the image area. Anytime a picture is combined with type outside the image area, the resolution must be high enough to maintain smooth, readable text. -
Pen-And-Ink Illustrations Painterly Rendering Cartoon Shading Technical Illustrations
CSCI 420 Computer Graphics Lecture 24 Non-Photorealistic Rendering Pen-and-ink Illustrations Painterly Rendering Cartoon Shading Technical Illustrations Jernej Barbic University of Southern California 1 Goals of Computer Graphics • Traditional: Photorealism • Sometimes, we want more – Cartoons – Artistic expression in paint, pen-and-ink – Technical illustrations – Scientific visualization [Lecture next week] cartoon shading 2 Non-Photorealistic Rendering “A means of creating imagery that does not aspire to realism” - Stuart Green Cassidy Curtis 1998 David Gainey 3 Non-photorealistic Rendering Also called: • Expressive graphics • Artistic rendering • Non-realistic graphics Source: ATI • Art-based rendering • Psychographics 4 Some NPR Categories • Pen-and-Ink illustration – Techniques: cross-hatching, outlines, line art, etc. • Painterly rendering – Styles: impressionist, expressionist, pointilist, etc. • Cartoons – Effects: cartoon shading, distortion, etc. • Technical illustrations – Characteristics: Matte shading, edge lines, etc. • Scientific visualization – Methods: splatting, hedgehogs, etc. 5 Outline • Pen-and-Ink Illustrations • Painterly Rendering • Cartoon Shading • Technical Illustrations 6 Hue • Perception of “distinct” colors by humans • Red • Green • Blue • Yellow Source: Wikipedia Hue Scale 7 Tone • Perception of “brightness” of a color by humans # •! Also called lightness# darker lighter •! Important in NPR# Source: Wikipedia 8 Pen-and-Ink Illustrations Winkenbach and Salesin 1994 9 Pen-and-Ink Illustrations •! Strokes –! -
Architectural and Engineering Design Department (AEDD) South Portland, Maine 04106 Title:Technical Illustration Catalog Number
Architectural and Engineering Design Department (AEDD) South Portland, Maine 04106 Title:Technical Illustration Catalog Number: AEDD-205 Credit Hours: 3 Total Contact Hours: 60 Lecture: 30 Lab: 30 Instructor: Meridith Comeau Phone: 7415779 email :[email protected] Course Syllabus Course Description This comprehensive course covers technical and perspective forms of three-dimensional drawing, one and two point perspective, shade and shadow, color, and rendering. Extensive sketching, a thorough understanding of technical drawing/graphic concepts, and hands-on experience promote the development of artistic talent as it relates to architectural engineering design. Prerequisite(s): AEDD-100 or AEDD-105 Course Objectives 1. Generate accurate axonometric and isometric drawings. 2. Generate exploded views of assemblies from working drawings. 3. Generate one and two point perspective drawings from working drawings. 4. Integrate the effects of light, shade, and shadow. 5. Generate full-color renderings from working drawings and photographs. Topical Outline of Instruction 1. Overview of course, explanation of examples, and the introduction of sketching techniques. 2. Line technique and values, depiction of surface textures. 3. Introduction of drawing mediums. 4. Generation of axonometric drawings. 5. Generation of isometric drawings. 6. Introduction of one point perspective drawing. 7. Introduction of two point perspective drawing. 8. Introduction of light and shadow. 9. Introduction of shading techniques. 10. Introduction of rendering techniques. Course Requirements 1. Active attendance and participation. 2. Generation of all assigned drawings. 3. Development of a portfolio. Student Evaluation and Grading Work will be evaluated on content, quality, and timeliness. Homework/Sketching/In-class = 30% Critique = 20% Portfolio = 40% Attendance = 10% I use the course portal to post and grade all assignments. -
Learning to Shadow Hand-Drawn Sketches
Learning to Shadow Hand-drawn Sketches Qingyuan Zheng∗1, Zhuoru Li∗2, and Adam Bargteil1 1University of Maryland, Baltimore County 2Project HAT fqing3, [email protected], [email protected] Abstract We present a fully automatic method to generate detailed and accurate artistic shadows from pairs of line drawing sketches and lighting directions. We also contribute a new dataset of one thousand examples of pairs of line draw- ings and shadows that are tagged with lighting directions. Remarkably, the generated shadows quickly communicate the underlying 3D structure of the sketched scene. Con- sequently, the shadows generated by our approach can be used directly or as an excellent starting point for artists. We demonstrate that the deep learning network we propose takes a hand-drawn sketch, builds a 3D model in latent space, and renders the resulting shadows. The generated shadows respect the hand-drawn lines and underlying 3D space and contain sophisticated and accurate details, such Figure 1: Top: our shadowing system takes in a line drawing and as self-shadowing effects. Moreover, the generated shadows a lighting direction label, and outputs the shadow. Bottom: our contain artistic effects, such as rim lighting or halos ap- training set includes triplets of hand-drawn sketches, shadows, and pearing from back lighting, that would be achievable with lighting directions. Pairs of sketches and shadow images are taken traditional 3D rendering methods. from artists’ websites and manually tagged with lighting directions with the help of professional artists. The cube shows how we de- note the 26 lighting directions (see Section 3.1). c Toshi, Clement 1. -
Sleek Illustration That Fades from Line Art to Color
Sleek Illustration that Fades from Line Art to Color In this tutorial, you will work with a few images you chose and you will create a nice looking illustration. The idea behind this illustration was to create a war between reality and line art. Video Tutorial Our video editor Gavin Steele has created this series of video tutorials to compliment this line art + image tutorial. Step 1 First create a new document that is 1100 pixels wide by 1500 pixels high at a resolution of 300 pixels per inch. For this project I will use a texture that I like very much. I would like to thank the author of this texture Princess-of-Shadows for putting this together. Now, move the texture into your document. Step 2 Next you need to select the images you will use for this design. I bought three nice images that you might be familiar with 1, 2, 3. Let’s start with image 1, and using the Pen Tool (P) you need to create a path around the dancer. Step 3 Now that you finished creating the path you need to set your brush size to 1px and Hardness at 100%. Next create a new layer and name it "contour1." Next, using the Pen Tool (P) right-click then select Stroke Path, select the brush and make sure the Simulate Pressure is not selected. Also, you need to make the stroke black. Step 4 Now that you have created the stroke do not delete the path. Next you need to press Command + Enter to transform the path into a selection and then you need to press the Add Layer Mask button. -
Inking and Painting for Animation Old and New Methods of Coloring Animation by Prof
D’source 1 Digital Learning Environment for Design - www.dsource.in Design Course Inking and Painting for Animation Old and new methods of Coloring Animation by Prof. Phani Tetali and Geetanjali Barthwal IDC, IIT Bombay Source: http://www.dsource.in/course/inking-and-painting-an- imation 1. About 2. Traditional Ink and Paint 3. Digital Ink and Paint 4. Exercise 5. Traditional and Digital Process 6. Links and References 7. Video 8. Contact Details D’source 2 Digital Learning Environment for Design - www.dsource.in Design Course About Inking and Painting for Animation created on paper is referred as 2d animation. It is the flipping of paper frames that creates an illusion Animation of movement in the still drawings. Old and new methods of Coloring Animation by If we talk about the past, one of the very first animations of this method is Blackton’s animation called as “Hu- Prof. Phani Tetali and Geetanjali Barthwal morous Phases of Funny Faces” and Winsor McCay’s “Gertie -the Dinosaur” . It was in early twenties when tra- IDC, IIT Bombay ditional animation techniques were developed and more sophisticated cartoons were produced. Walt Disney is called as a pioneer of hand drawn animation method. Links: • www.youtube.com/watch?v=bJuD4AlLINU Source: http://www.dsource.in/course/inking-and-painting-an- The simplest examples of animated drawings are the flipbooks, which gives illusion of movement. imation/about Here, the animator is creating 2d animation by referring the movement and repeatedly flipping the frames. He is taking help of the light box to make the paper base semi-transparent for animating the drawings. -
Rendering 3D Graphics As an Aid to Stylized Line Drawings in Perspective
Original scientific paper http://doi.org/10.24867/JGED-2016-2-005 rendering 3d graphics as an aid to stylized line drawings in perspective ABSTRACT The aim of the research was to study the issue of drawing 2D objects Mark Arandjus, and environments in perspective and attempted to ease the process of Helena Gabrijelčič Tomc drawing them with the aid of three-dimensional computer graphics. The goal of the research was to develop the method, which would exclude the need to trace three-dimensional models, which many digital artists use University of Ljubljana, as a guide when making drawings. The need to trace has been eliminat- Faculty of Natural Sciences and ed by finding a procedure to render three-dimensional models to appear Engineering, Ljubljana, Slovenia drawn – to appear drawn by an artist who has a stylized line style. After researching various techniques of rendering, Sketchup was used to make Corresponding author: and apply a Sketchup style which emulated a line style. After that, various Helena Gabrijelčič Tomc tests were performed using computer measurements and questionnaires e-mail: to determine if the observers could distinguish between three-dimen- [email protected] sional renders and two-dimensional drawings. The results have shown that very few participants notice three-dimensional graphics rendered with Sketchup. Even among the few observers who did notice the pres- First recieved: 24.12.2015. ence of three-dimensional models, none detected even half. The results Accepted: 26.10.2016. confirmed the adequateness of the methodology, which enables a more correct creation of element in perspective and convinces the observ- ers that the entire image is stylistically uniform hand drawn image. -
The Aesthetic and Communicative Values of Illustrations Used in Infographic
INTERNATIONAL JOURNAL OF MULTIDISCIPLINARY STUDIES IN ART AND TECHNOLOGY ISSN: 2735-4342 VOLUME 2, ISSUE 2, 2019, 14 – 23. www.egyptfuture.org/ojs/ THE AESTHETIC AND COMMUNICATIVE VALUES OF ILLUSTRATIONS USED IN INFOGRAPHIC Amal Farag SOLIMAN * Department of Printed Design, Faculty of Fine Arts, Alexandria University, Egypt Abstract Illustrations are one of the communication tools that have been able to create for themselves the aesthetic and communicative characteristics and features that are unique to them from other communication tools. This field has been able to create for itself an artistic field that has changed and developed throughout history according to changing political and social conditions and technological progress, as well as with the development of various artistic styles. The relationship between drawings and texts was a close relationship that combines imagination, creativity and skill to express specific information or tell stories visually and create new worlds and bodies, so the drawings accompanying the texts acquired many visual and functional characteristics and characteristics in addition to providing us with a visual heritage that objectively reflects our culture. The illustrations have proven their ability to adapt to information design in communicating information and details and how they affect the perception and understanding of the recipient, as they give the viewer a detailed picture of topics that are difficult to see with the naked eye. The illustrations used in the design of the information have visual and aesthetic properties that distinguish them from other typographical elements that can appear in any design. Keywords The Aesthetic, Communicative, Values, Illustrations, Infographic. Introduction Today's Illustrations are one of the most important means of communication that occupy special importance because of their ability to clarify ideas and meanings, especially those that are difficult to express in words only.