Non-Photorealliistiic Renderiing

Pen--and--IInk IIllllusttrrattiions Paiintterrlly Renderriing Carrttoon Shadiing Techniicall IIllllusttrrattiions

Goalls of Computer Graphiics

• Traditional: Photorealism • Sometimes, we want more – – Artistic expression in paint, pen-and-ink – Technical – Scientific visualization

1 Non-Photorealliistiic Renderiing

“A means of creating imagery that does not aspire to realism” - Stuart Green

Cassidy Curtis 1998 David Gainey

Some NPR Categoriies

· Pen-and-Ink ± Techniques: cross-, outlines, line ,etc. · Painterly rendering ± Styles: impressionist, expressionist, pointilist, etc. · Cartoons ± Effects: , distortion, etc. · Technical illustrations ± Characteristics: Matte shading, edge lines, etc. · Scientific visualization ± Methods: splatting, line etc.

2 Outlliine

· Pen-and-Ink Illustrations · Painterly Rendering · Cartoon Shading · Technical Illustrations

Pen-and-Ink Illllustratiions

· Strokes ± Curved lines of varying thickness and density · Texture ± Character conveyed by collection of strokes · Tone ± Perceived gray level across image or segment · Outline ± Boundary lines that disambiguate structure

3 Pen-and-Ink Examplle

Winkenbach and Salesin 1994

Renderiing Pollygonall Surfaces

3D Model Lighting Camera

Visible Polygons How much 3D We will collect a information do we Procedural reference image here preserve? Stroke Texture to indicate desired tone (lightness or darkness) at each pixel Stroke Clipping

Outline Drawing

4 Drawiing Strokes

· Stroke generated by moving along straight path · Stroke perturbed by ± Waviness function (straightness) ± Pressure function (thickness)

Tone vs. Texture?

Winkenbach and Salesin 1994

5 Answer: Priioriitiized Stroke Textures

· Technique for limiting human intervention · Collection of strokes with associated priority · When rendering ± First draw highest priority only ± If too light, draw next highest priority, etc. ± Stop if proper tone is achieved · Procedural stroke textures · Support scaling

Stroke Texture Operatiions Scaling

Changing Viewing Direction (Anisotropic)

6 Indiicatiion

· Selective addition of detail · Difficult to automate · User places detail segments interactively

Indiicatiion Examplle Bold strokes indicate detail segments

With indication Without indication

7 Outlliines

· Boundary or interior outlines · Accented outlines for shadowing and relief · Dependence on viewing direction · Suggest shadow direction

Renderiing Parametriic Surfaces

· Stroke orientation and density ± Place strokes along isoparameter lines ± Choose density for desired tone ± tone = width / spacing

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8 Stroke Wiidth

· Adjust stroke width retain uniform tone

Winkenbach and Salesin 1996

Parametriic Surface Examplle

Constant-density Longer smoother Update reflection hatching strokes for glass coefficient Smooth shading Environment with single light mapping

Standard rendering techniques are still important!

9 Parametriic Surface Examplle

Winkenbach and Salesin 1996

Oriientablle Textures

• What if we don’t have a 3D model of the scene? • Inputs ± Grayscale image to specify desired tone ± Direction field ± Stroke character · Output ± Stroke shaded image

Note that strokes are now b-splines Salisbury et al. 1997

10 Oriientablle Stroke Texture Examplle

Salisbury et al. 1997

Renderiing Sttrokes iin Reall-ttiime

· Back to 3D models, with a focus on real-time results

Markosian et al. 1997 (video)

WYSIWYG NPR .. Kalnins et al. 2002 (dvd)

11 Way beyond pen and iink .... Sttrrokes can be 3D geomettrry

[[Kowallskii ett all..,, SIIGGRAPH 99]]

Arrtt--Based Renderriing off Furr,, Grrass and Trrees [[Kowallskii ett all..,, SIIGGRAPH 99]]

12 Outlliine

· Pen-and-Ink Illustrations · Painterly Rendering · Cartoon Shading · Technical Illustrations

Paiinterlly Renderiing

· From strokes to brush strokes ...

· Automatic ± User provides input image or 3D model ± User specifies painting parameters ± Computer generates all strokes · Physical simulation ± Computer simulates media · Subject to controversy

13 Automatiic Paiintiing Examplle

Hertzmann 1998

Automatiic Paiintiing from Images

· Start from color image: no 3D information · Paint in resolution-based layers ± Blur to current resolution ± Select brush based on current resolution ± Find area of largest error compared to real image ± Place stroke ± Increase resolution and repeat · Layers are painted coarse-to-fine · Styles controled by parameters

14 Layered Paiintiing

Adding detail Blurring with smaller strokes

Brush Strokes

· Start at point of maximal error ± Calculate difference between original image and image painted so far · Direction perpendicular to gradient ± Stroke tends to follow equally shaded area ± Create stroke as a b-spline with a given color and thickness · Stopping criteria ± Difference between brush color and original image color exceeds threshold ± Maximal stroke length reached

15 Longer, Curved Brush Strokes

Paiintiing Stylles

· Style determined by parameters – Approximation threshold (resemblance to source) – Brush sizes – Curvature filter (limit or exaggerate curvature) – Blur factor (more blur for “impressionistic” image) – Minimum and maximum stroke lengths (very short strokes for “pointillist”) – Opacity (low opacity for a wash like effect) – Grid size – Color jitter · Encapsulate parameter settings as style

16 Some Stylles

· ªImpressionistº ± No random color, 4 · stroke length · 16 ± Brush sizes 8, 4, 2; approximation threshold 100 · ªExpressionistº ± Random factor 0.5, 10 · stroke length · 16 ± Brush sizes 8, 4, 2; approximation threshold 50 · ªPointilistº ± Random factor ~0.75, 0 · stroke length · 0 ± Brush sizes 4, 2; approximation threshold 100 · Not convincing to artists

Stylle Examplles

17 Physiicall Siimullatiion Examplle

Curtis et al. 1997, Computer Generated Watercolor

Computer-Generated Watercollor

· Complex physical phenomena for artistic effect · Build simple approximations · Paper generation as random height field

· Simulated effects

18 Flluiid Siimullatiion

· Use water velocity, viscosity, drag, pressure, pigment concentration, paper gradient · Paper saturation and capacity

Interactiive Paiintiing

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Simulation in progress

Finished painting

19 Outlliine

· Pen-and-Ink Illustrations · Painterly Rendering · Cartoon Shading · Technical Illustrations

Cartoon Shadiing

· Shading model in 2D cartoon ± Use material color and shadow color ± Present lighting cues, shape, and context · Stylistic · Used in many animated movies · Developing real-time techniques for games

20 Cartoon Shadiing as Texture Map

· Apply shading as 1D texture map

Carl Marshall 2000

u=N·L

Shadiing Variiatiions

Flat shading Shadow Shadow + highlight

21 Outlliine

· Pen-and-Ink Illustrations · Painterly Rendering · Cartoon Shading · Technical Illustrations

Techniicall Illllustratiions

· Level of abstraction ± Accent important 3D properties ± Dimish or eliminate extraneous details Ruppel 1995 · Do not represent reality

Photo

22 Conventiions iin Techniicall Illllustratiions

· Black edge lines · Cool to warm shading colors · Single light source; shadows rarely used

Techniicall Illllustratiion Examplle

Metal shading Tone shading Phong shading (anisotropic) Edge lines (cool to warm shift)

As in toon shading, paramter (n . l) determines choice of color Gooch et al. 1998

23 Sciientiifiic Viisualliizatiion

± Effective visualization of large, multidimensional datasets

Turk & Banks, ªImage-Guided Streamline Placement,º SIGGRAPH 96

7KHIXWXUH · How to evaluate/define? · Smart ± from user’s ± with data? ± HCI, AI, Perceptual studies · Artistic graphics ± beyond imitating ± a way to create art work ± how to assess?

24 8VLQJH\HWUDFNLQJWRGLVFRYHULPSRUWDQFH

Doug DeCarlo, Anthony Santella. Stylization and Abstraction of Photographs In SIGGRAPH 2002.

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26 Aniimatiing Tradiitiionall Penciill Drawiings

From SIGGRAPH 2003 course notes on NPR; Daniel Teece, Walt Disney Feature

27 Aniimatiing Tradiitiionall Penciill Drawiings

From SIGGRAPH 2003 course notes on NPR; Daniel Teece, Walt Disney Feature Animation

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