article Free Access Share on Fast shadows and lighting effects using texture mapping Authors: Mark Segal Silicon Graphics Computer Systems, 2011 N. Shoreline Blvd., Mountain View, CA Silicon Graphics Computer Systems, 2011 N. Shoreline Blvd., Mountain View, CAView Profile , Carl Korobkin Silicon Graphics Computer Systems, 2011 N. Shoreline Blvd., Mountain View, CA Silicon Graphics Computer Systems, 2011 N. Shoreline Blvd., Mountain View, CAView Profile , Rolf van Widenfelt Silicon Graphics Computer Systems, 2011 N. Shoreline Blvd., Mountain View, CA Silicon Graphics Computer Systems, 2011 N. Shoreline Blvd., Mountain View, CAView Profile , Jim Foran Silicon Graphics Computer Systems, 2011 N. Shoreline Blvd., Mountain View, CA Silicon Graphics Computer Systems, 2011 N. Shoreline Blvd., Mountain View, CAView Profile , Paul Haeberli Silicon Graphics Computer Systems, 2011 N. Shoreline Blvd., Mountain View, CA Silicon Graphics Computer Systems, 2011 N. Shoreline Blvd., Mountain View, CAView Profile Authors Info & Claims ACM SIGGRAPH Computer GraphicsVolume 26Issue 2July 1992 pp 249–252https://doi.org/10.1145/142920.134071Online:01 July 1992Publication History 266citation2,979DownloadsMetricsTotal Citations266Total Downloads2,979Last 12 Months78Last 6 weeks13 Get Citation AlertsNew Citation Alert added!This alert has been successfully added and will be sent to:You will be notified whenever a record that you have chosen has been cited.To manage your alert preferences, click on the button below.Manage my AlertsNew Citation Alert!Please log in to your account Save to BinderSave to BinderCreate a New BinderNameCancelCreateExport CitationPublisher SiteeReaderPDF

Computer graphics research has concentrated on creating photo-realistic images of synthetic objects. These images communicate surface shading and curvature, as well as the depth relationships of objects in a scene. These renderings are traditionally represented by a rectangular array of pixels that tile the image plane.As an alternative to photo-realism, it is possible to create abstract images using an ordered collection of brush strokes. These abstract images filter and refine visual information before it is presented to the viewer. By controlling the color, shape, size, and orientation of individual brush strokes, impressionistic paintings of computer generated or photographic images can easily be created.

This paper describes a system architecture that supports realtime generation of complex images, efficient generation of extremely high-quality images, and a smooth trade-off between the two.Based on the paradigm of integration, the architecture extends a state-of-the-art rendering system with an additional high-precision image buffer. This additional buffer, called the Accumulation Buffer, is used to integrate images that are rendered into the framebuffer. While originally conceived as a solution to the problem of aliasing, the Accumulation Buffer provides a general solution to the problems of motion blur and depth-of-field as well.Because the architecture is a direct extension of current workstation rendering technology, we begin by discussing the performance and quality characteristics of that technology. The problem of spatial aliasing is then discussed, and the Accumulation Buffer is shown to be a desirable solution. Finally the generality of the Accumulation Buffer is explored, concentrating on its application to the problems of motion blur, depth-of-field, and soft shadows.

This paper describes a 3D object-space paint program. This program allows the user to directly manipulate the parameters used to shade the surface of the 3D shape by applying pigment to its surface. The pigment has all the properties normally associated with material shading models. This includes, but is not limited to, the diffuse color, the specular color, and the surface roughness. The pigment also can have thickness, which is modeled by simultaneously creating a bump map attached to the shape. The output of the paint program is a 3D model with associated texture maps. This information can be used with any rendering program with texture mapping capabilities. Almost all traditional techniques of 2D computer image painting have analogues in 3D object painting, but there are also many new techniques unique to 3D. One example is the use of solid textures to pattern the surface.

Traditionally, interactive applications have been difficult to build, modify and extend. These integrated applications provide bounded bounded functionality, have a single thread of control and a fixed user interface that must anticipate everything the user will need.Current workstations allow several processes to share the screen. With proper communication between processes, it is possible to escape previous models for application development and evolution.ConMan is a high-level visual language we use on an IRIS workstation that lets users dynamically build and modify graphics applications. To do this, a system designer disintegrates complex applications into modular components. By interactively connecting simple components, the user constructs a complete graphics application that matches the needs of a task. A connection manager controls the flow of data between individual components. As a result, we replace the usual user-machine dialog with a dynamic live performance that is orchestrated by the user.