Abstract We present a novel temporally coherent stylized rendering technique working entirely at the compositing stage. We first generate a distribution of 3D anchor points using an implicit grid based on the local object positions stored in a G‐buffer, hence following object motion. We then draw splats in screen space anchored to these points so as to be motion coherent. To increase the perceived flatness of the style, we adjust the anchor points density using a fractalization mechanism. Sudden changes are prevented by controlling the anchor points opacity and introducing a new order‐independent blending function. We demonstrate the versatility of our method by showing a large variety of styles thanks to the freedom offered by the splats content and their attributes that can be controlled by any G‐buffer.

Abstract Motivated by recent findings in the field of visual perception, we present a novel approach for enhancing shape depiction and perception of surface details. We propose a shading‐based technique that relies on locally adjusting the direction of light to account for the different components of materials. Our approach ensures congruence between shape and shading flows, leading to an effective enhancement of the perception of shape and details while impairing neither the lighting nor the appearance of materials. It is formulated in a general way allowing its use for multiple scales enhancement in real‐time on the GPU, as well as in global illumination contexts. We also provide artists with fine control over the enhancement at each scale.

This article introduces a programmable method for designing stationary 2D arrangements for element textures, namely textures made of small geometric elements. These textures are ubiquitous in numerous applications of computer-aided illustration. Previous methods, whether they be example-based or layout-based, lack control and can produce a limited range of possible arrangements. Our approach targets technical artists who will design an arrangement by writing a script. These scripts are using three types of operators: partitioning operators for defining the broad-scale organization of the arrangement, mapping operators for controlling the local organization of elements, and merging operators for mixing different arrangements. These operators are designed so as to guarantee a stationary result, meaning that the produced arrangements will always be repetitive. We show that this simple set of operators is sufficient to reach a much broader variety of arrangements than previous methods. Editing the script leads to predictable changes in the synthesized arrangement, which allows an easy iterative design of complex structures. Finally, our operator set is extensible and can be adapted to application-dependent needs.

In the latest years, considerable progress has been achieved for accurately acquiring the geometry of human hair, thus largely improving the realism of virtual characters. In parallel, rich physics-based simulators have been successfully designed to capture the intricate dynamics of hair due to contact and friction. However, at the moment there exists no consistent pipeline for converting a given hair geometry into a realistic physics-based hair model. Current approaches simply initialize the hair simulator with the input geometry in the absence of external forces. This results in an undesired sagging effect when the dynamic simulation is started, which basically ruins all the efforts put into the accurate design and/or capture of the input hairstyle. In this paper we propose the first method which consistently and robustly accounts for surrounding forces---gravity and frictional contacts, including hair self-contacts---when converting a geometric hairstyle into a physics-based hair model. Taking an arbitrary hair geometry as input together with a corresponding body mesh, we interpret the hair shape as a static equilibrium configuration of a hair simulator, in the presence of gravity as well as hair-body and hair-hair frictional contacts. Assuming that hair parameters are homogeneous and lie in a plausible range of physical values, we show that this large underdetermined inverse problem can be formulated as a well-posed constrained optimization problem, which can be solved robustly and efficiently by leveraging the frictional contact solver of the direct hair simulator. Our method was successfully applied to the animation of various hair geometries, ranging from synthetic hairstyles manually designed by an artist to the most recent human hair data automatically reconstructed from capture.

Abstract Non‐photorealistic rendering (NPR) algorithms allow the creation of images in a variety of styles, ranging from line drawing and pen‐and‐ink to oil painting and watercolour. These algorithms provide greater flexibility, control and automation over traditional drawing and painting. Despite significant progress over the past 15 years, the application of NPR to the generation of stylized animations remains an active area of research. The main challenge of computer‐generated stylized animations is to reproduce the look of traditional drawings and paintings while minimizing distracting flickering and sliding artefacts present in hand‐drawn animations. These goals are inherently conflicting and any attempt to address the temporal coherence of stylized animations is a trade‐off. This state‐of‐the‐art report is motivated by the growing number of methods proposed in recent years and the need for a comprehensive analysis of the trade‐offs they propose. We formalize the problem of temporal coherence in terms of goals and compare existing methods accordingly. We propose an analysis for both line and region stylization methods and discuss initial steps towards their perceptual evaluation. The goal of our report is to help uninformed readers to choose the method that best suits their needs, as well as motivate further research to address the limitations of existing methods.

Abstract We present a new solution for temporal coherence in non‐photorealistic rendering (NPR) of animations. Given the conflicting goals of preserving the 2D aspect of the style and the 3D scene motion, any such solution is a tradeoff. We observe that primitive‐based methods in NPR can be seen as texture‐based methods when using large numbers of primitives, leading to our key insight, namely that this process is similar to sparse convolution noise in procedural texturing. Consequently, we present a new primitive for NPR based on Gabor noise, that preserves the 2D aspect of noise, conveys the 3D motion of the scene, and is temporally continuous. We can thus use standard techniques from procedural texturing to create various styles, which we show for interactive NPR applications. We also present a user study to evaluate this and existing solutions, and to provide more insight in the trade‐off implied by temporal coherence. The results of the study indicate that maintaining coherent motion is important, but also that our new solution provides a good compromise between the 2D aspect of the style and 3D motion.

2d animation is a traditional but fascinating domain that has recently regained popularity both in animated movies and video games. This paper introduces a method for automatically converting a smooth sketched curve into a 2d dynamic curve at stable equilibrium under gravity. The curve can then be physically animated to produce secondary motions in 2d animations or simple video games. Our approach proceeds in two steps. We first present a new technique to fit a smooth piecewise circular arcs curve to a sketched curve. Then we show how to compute the physical parameters of a dynamic rod model (super-circle) so that its stable rest shape under gravity exactly matches the fitted circular arcs curve. We demonstrate the interactivity and controllability of our approach on various examples where a user can intuitively setup efficient and precise 2d animations by specifying the input geometry.

Stylized rendering methods, which aim at depicting 3D scenes with 2D marks such as pigments or strokes, are often faced with temporal coherence issues when applied to dynamic scenes. These issues arise from the difficulty of having to satisfy two contrary goals: ensuring that the style marks follow 3D motions while preserving their 2D appearance. In this paper we describe a new texture based method for real-time temporally coherent stylization called dynamic textures. A dynamic texture is a standard texture mapped on the object and enriched with an infinite zoom mechanism. This simple and fast mechanism maintains quasi-constant size and density of texture elements in screen space for any distance from the camera. We show that these dynamic textures can be used in many stylization techniques, enforcing the 2D appearance of the style marks while preserving the accurate 3D motion of the depicted objects.

Abstract We present a complete system for designing and manipulating regular or near‐regular textures in 2D images. We place emphasis on supporting creative workflows that produce artwork from scratch. As such, our system provides tools to create, arrange, and manipulate textures in images with intuitive controls, and without requiring 3D modeling. Additionally, we ensure continued, non‐destructive editability by expressing textures via a fully parametric descriptor. We demonstrate the suitability of our approach with numerous example images, created by an artist using our system, and we compare our proposed workflow with alternative 2D and 3D methods.

Abstract This paper presents a quick and simple method for converting complex images and video to perceptually accurate greyscale versions. We use a two‐step approach first to globally assign grey values and determine colour ordering, then second, to locally enhance the greyscale to reproduce the original contrast. Our global mapping is image independent and incorporates the Helmholtz‐Kohlrausch colour appearance effect for predicting differences between isoluminant colours. Our multiscale local contrast enhancement reintroduces lost discontinuities only in regions that insufficiently represent original chromatic contrast. All operations are restricted so that they preserve the overall image appearance, lightness range and differences, colour ordering, and spatial details, resulting in perceptually accurate achromatic reproductions of the colour original.

We describe a new vector-based primitive for creating smooth-shaded images, called the diffusion curve . A diffusion curve partitions the space through which it is drawn, defining different colors on either side. These colors may vary smoothly along the curve. In addition, the sharpness of the color transition from one side of the curve to the other can be controlled. Given a set of diffusion curves, the final image is constructed by solving a Poisson equation whose constraints are specified by the set of gradients across all diffusion curves. Like all vector-based primitives, diffusion curves conveniently support a variety of operations, including geometry-based editing, keyframe animation, and ready stylization. Moreover, their representation is compact and inherently resolution-independent. We describe a GPU-based implementation for rendering images defined by a set of diffusion curves in realtime. We then demonstrate an interactive drawing system for allowing artists to create artworks using diffusion curves, either by drawing the curves in a freehand style, or by tracing existing imagery. The system is simple and intuitive: we show results created by artists after just a few minutes of instruction. Furthermore, we describe a completely automatic conversion process for taking an image and turning it into a set of diffusion curves that closely approximate the original image content.

In this paper, we present a method for creating watercolor-like animation, starting from video as input. The method involves two main steps: applying textures that simulate a watercolor appearance; and creating a simplified, abstracted version of the video to which the texturing operations are applied. Both of these steps are subject to highly visible temporal artifacts, so the primary technical contributions of the paper are extensions of previous methods for texturing and abstraction to provide temporal coherence when applied to video sequences. To maintain coherence for textures, we employ texture advection along lines of optical flow. We furthermore extend previous approaches by incorporating advection in both forward and reverse directions through the video, which allows for minimal texture distortion, particularly in areas of disocclusion that are otherwise highly problematic. To maintain coherence for abstraction, we employ mathematical morphology extended to the temporal domain, using filters whose temporal extents are locally controlled by the degree of distortions in the optical flow. Together, these techniques provide the first practical and robust approach for producing watercolor animations from video, which we demonstrate with a number of examples.

We describe a new way to render 3D scenes in a variety of non-photorealistic styles, based on patterns whose structure and motion are defined in 2D. In doing so, we sacrifice the ability of patterns that wrap onto 3D surfaces to convey shape through their structure and motion. In return, we gain several advantages, chiefly that 2D patterns are more visually abstract - a quality often sought by artists, which explains their widespread use in hand-drawn images. Extending such styles to 3D graphics presents a challenge: how should a 2D pattern move? Our solution is to transform it each frame by a 2D similarity transform that closely follows the underlying 3D shape. The resulting motion is often surprisingly effective, and has a striking cartoon quality that matches the visual style.

Abstract We present a synthesis technique that can automatically generate stroke patterns based on a user‐specified reference pattern. Our method is an extension of texture synthesis techniques to vector‐based patterns. Such an extension requires (a) an analysis of the pattern properties to extract meaningful pattern elements (defined as clusters of strokes) and (b) a synthesis algorithm based on similarities in the detected stroke clusters. Our method is based on results from human vision research concerning perceptual organization. The resulting synthesized patterns effectively reproduce the properties of the input patterns, and can be used to fill both 1D paths and 2D regions. Categories and Subject Descriptors (according to ACM CCS): I.3.7 [Computer Graphics]: Color, shading, shadowing, and texture I.3.4 [Computer Graphics]: Paint systems

We present a new approach to the simplification of line drawings, in which a smaller set of lines is created to represent the geometry of the original lines. An important feature of our method is that it maintains the morphological structure of the original drawing while allowing user-defined decisions about the appearance of lines. The technique works by analyzing the structure of the drawing at a certain scale and identifying clusters of lines that can be merged given a specific error threshold. These clusters are then processed to create new lines, in a separate stage where different behaviors can be favored based on the application. Successful results are presented for a variety of drawings including scanned and vectorized artwork, original vector drawings, drawings created from 3d models, and hatching marks. The clustering technique is shown to be effective in all these situations.

Visualization of very complex scenes can be significantly accelerated using occlusion culling. In this paper we present a visibility preprocessing method which efficiently computes potentially visible geometry for volumetric viewing cells. We introduce novel extended projection operators, which permits efficient and conservative occlusion culling with respect to all viewpoints within a cell, and takes into account the combined occlusion effect of multiple occluders. We use extended projection of occluders onto a set of projection planes to create extended occlusion maps; we show how to efficiently test occludees against these occlusion maps to determine occlusion with respect to the entire cell. We also present an improved projection operator for certain specific but important configurations. An important advantage of our approach is that we can re-project extended projections onto a series of projection planes (via an occlusion sweep), and accumulate occlusion information from multiple blockers. This new approach allows the creation of effective occlusion maps for previously hard-to-treat scenes such as leaves of trees in a forest. Graphics hardware is used to accelerate both the extended projection and reprojection operations. We present a complete implementation demonstrating significant speedup with respect to view-frustum culling only, without the computational overhead of on-line occlusion culling.