Stylized Depiction: Non-Photorealistic, Painterly and 'ToonRendering .sourcecode { font-family: monospace; } .new { font-size: smaller; font-weight: bold; color: red } body { color: black; background-color: rgb(192, 192, 192); } Stylized Depiction in ComputerGraphicsNon-Photorealistic, Painterly and 'Toon Renderingan annotated survey of online resourcesby Craig Reynolds News The 3rdInternational Symposium onNon-Photorealistic Animation and Rendering NPAR 2004June 7-9, 2004 in Annecy, FrancePaper submission deadline: October 23, 2003 Sectionswithin this page Investigations of specifictechniques Relating to the field as awhole Painterly Rendering Sketching, Pen-and-Ink, Engraving Stylized Depiction to Enhance Legibility Other Rendering Styles Stylized Halftoning Real Time Techniques Interactive Techniques 3D Modeling Based on 2D Sketch Input Toon Shaders/Plug-Ins Painterly Image Processing Techniques Simulation of Traditional Artistic Media Silhouettes Non-traditional perspective Stylized Motion and its Depiction Scientific Visualization 3D Effects for Traditional2D Cel Animation Books Surveys and Overview Articles Conferences and Conference Sessions Research Groups and Project Pages Films Interactive Entertainment Other While I have not done research in this area myself, I am fascinatedby thecomputer graphic technique known as non-photorealistic rendering.(Admittedly it is a little odd to name a field of study by what it isnot.Stanislaw Ulam apparently once remarked: "The study of non-linearphysics is like the study of non-elephant biology.") Mylist oflinks on this topic began to outgrow its place on my bookmarks list, soIcreated this page to give them a home, and perhaps to help other peopleinterested in the field.To better describe the kinds of techniques listed here, and todefine theinformal taxonomy used on this page, it is helpful to note thattechniquesfor stylized depiction can be classified along the axis frominteractive tofully automatic, and that there are three distinct types of input forthesestylized depiction processes: 3D scenes (described in terms of geometry, color,lighting, etc.)for rendering images for processing brushstrokes from a user (like the input to a paintsystem) In computer graphics, photorealistic rendering attempts tomakeartificial images of simulated 3d environments that look "just like therealworld." So non-photorealistic rendering (NPR) is any technique thatproducesimages of simulated 3d world in a style other than realism.Oftenthese styles are reminiscent of paintings (painterly rendering),or ofvarious other styles of artistic illustration (sketch, pen and ink,etching,lithograph, ...) Of particular commercial interest are techniques thatcanrender 3d scenes in styles which match the "look" of traditionallyanimatedfilms. Often called 'toon shading, these techniques allow forseamless combination of 3d elements with traditional cel animation.Another important application of non-photorealistic rendering is tohelpthe user understand that a depiction is only approximate.Psychologically,photorealistic rendering seems to imply an exactness and perfectionwhich mayoverstate the fidelity of the simulated scene to a real object. The Piranesi system(mentioned below) has proved more useful than photorealistic renderingin anapplication that pre-visualizes kitchen remodeling.The Teddy modeler (see below) uses a sketchy rendering style to suggesttheapproximate 3D shapes it has inferred from the user's 2d drawing.Also listed here are some image processing techniques whichcantransform an image into a style that suggests a painting or otherartisticstyles. The images can be photographic or from any other source. Someofthe techniques have the ability to process a series of images, as fromavideo or film camera, and to produce a stylized image that remainsstablefrom frame to frame, allowing the creation of something like an"animatedpainting."This page also includes: (1) some computational techniques thatcarefullysimulate traditional artistic media such as watercolor and inkpainting, (2)some references to work on non-traditional perspective commontotraditional illustration but rare in computer graphics, (3) techniquesforfinding and using silhouettes of 3D objects, (4) non-realistictechniquesdesigned for real time or interactive rates, and (5) non-traditionalhalftonesand screenings.Finally it should be noted that any claim that an automatic processcanproduce "art" or a "painting" should be regarded as suspect. Makingart is a creative and thoughtful process. It may even beuniquely human. The possibility of artificial creativity, letaloneartificial intelligence, are open research questions. None ofthetechniques described here are candidates for true artificialcreativity. Ihave tried to use neutral language ("...suggests apainterlystyle...") on this page to skirt the distinction between artand procedural techniques for stylized depiction. (Note: items marked [new] have beenadded in the three months prior to the time of the "last update"indicated at the bottom of this page.)  © 1996 Barbara J.MeierPainterly Rendering PainterlyRendering for Animation (1996, PDF 0.26MB, abstract)by Barbara J. Meier. [ResearchIndex] (See also this student project based on Meier'swork: ThePainterly Approach by WasineeRungsarityotin and Victor Zordanat Georgia Tech.) PainterlyRendering from 3D by RemcoChang, Markus Meisterand Caroline Dahllof Computer-GeneratedWatercolor (1997) by Cassidy Curtis, Sean Anderson, Josh Seims, Kurt Fleischerand David Salesin.See these images. Exploringthe Parameter Space of a Ray-Traced Painterly Renderer (1997) by Jon Levene and David Weitzberg. ImplicitPainting (1998) by ErgunAkleman,procedurally drives "brushes" around implicitly defined surfaces,leavingeither a trace of color or a tooth-paste-like extrusion of material. DeepCanvas: Integrating 3-D Painting and Painterly Rendering (2000) byGeorge Katanics and Tasso Lappas (at the Disney Tech site) describes the technique first used in Disney'sfeaturefilm Tarzan.See also: a one page SIGGRAPH 1999 sketch Deep canvas in Disney's Tarzan (1999) by Eric Daniels, this Interviewwith Eric Daniels, CG Artistic Supervisor, "Tarzan" (1999) byAudrey Doylein VFXPro, and a brief illustrationof the technique at the official Tarzanweb site.See also DeepBackground (1999) by Barbara Robertson in CGW. ImageMoment-Based Stroke Placement (1999, PDF 4.7MB )by MichioShiraishi. Describes an enhancement to Haeberli's 1990 work PaintByNumbers, an automatic technique for determining stroke parameterswhich hadbeen selected by hand in the original work. PainterlyRendering for Realtime Applications (2003) by Daniel Sperl is a realtimeimplementation in the Cglanguage of painterly rendering inspiried by Meier. The siteincludes a thesis(in German, PDF 1.1MB), a paper(in English, PDF 1MB), images, movies, source code andan application. [new]  © 1998 CassidyCurtis  © 1998 Jörg Hamel  © 1999 VictorOstromoukhov Sketching, Pen-and-Ink, Engraving(and related high-contrast rendering styles) ComputerSketching (1990) by Paul Bourke,transforms line drawings from a CAD system to look something like ahand-sketched pencil drawing. HowtoRender Frames and Influence People (1994) by ThomasStrothotte, Bernhard Preim, AndreasRaab, Jutta Schumann and David Forsey.Early, influential paper on sketch rendering and the perceptual effectsofvarious rendering styles on the user. Computer-GeneratedPen-and-Ink Illustration (1994) by Georges Winkenbach and David Salesin. ComputerGenerated Copper Plates (1994) by Wolfgang Leister, seethese images. Renderingparametric surfaces in pen and ink (1996) by Georges Winkenbach and David Salesin Assessingthe Effect of Non-Photorealistic Rendered Images in CAD (1996)by Jutta Schumann, ThomasStrothotte, Andreas Raab, and Stefan Laser. Scale-dependentReproduction of Pen-and-ink Illustrations (1996) byMike Salisbury, CorinAnderson, DaniLischinskiand David Salesin.See also this related 1998 classproject by AudreyWong. daLi!- Drawing Animated Lines! (1997) by MaicMasuch, StefanSchlechtweg and Bert Freudenber. See also AnimatingFrame-to-Frame Coherent Line Drawings for Illustrative Purposes(1998) by MaicMasuch, Lars Schumannand StefanSchlechtweg.And see the daLi!gallery of sketch rendering. Anonphotorealisticrenderer by AntonioHaro,see also this gallery. Linesand How to Draw Them (1997) by Stefan Schlechtwegsurveys three expressive styles of line drawing. Inklination commercial Macsoftwareto convert from 3d models to artistic portrayals. See their galleries. Looseand Sketchy Animation by Cassidy Curtis.See also this related studentproject by JohnHalstead. OrientableTextures for Image-Based Pen-and-Ink Illustration (1997)Mike Salisbury, Michael Wong, John F. Hughesand David Salesin. AnApproach to Visualizing Transparency in Computer-Generated Line Drawings(1998, Postscript 2MB) by Jörg Hamel, StefanSchlechtweg and Thomas Strothotte. See these pictures Virtualsculpting and virtual woodcut printing (1998, abstract) by ShinjiMizuno, Minoru Okada, and Jun-ichiro Toriwaki. Constructs models reminiscent of carved woodensculpture, which can be used to generate a woodcut print. The fullpaper (PDF, 886KB) is available butrequires apaid subscription to The Visual Computer. Capturingand Re-Using Rendition Styles for Non-Photorealistic Rendering(1999, PDF 9MB) by JörgHamel and Thomas Strothotte. See these pictures. The IRITsystem by GershonElberincludes a line drawing illustration tool ("illustrt"). Seethese images. AnIllustrationTechnique Using Hardware-Based Intersections and Skeletons (1999)by Oliver Deussen, JörgHamel, Andreas Raab, Stefan Schlechtweg, and ThomasStrothotte. DigitalFacial Engraving (1999) by Victor Ostromoukhov,full paper is available (PDF 12MB). Process to transform imagesinto gravure style graphics. LineDirection Matters: An Argument For The Use Of Principal Directions In3D LineDrawings (2000, PDF 6.2MB) Ahna Girshick, VictoriaInterrante, Steven Hakerand Todd Lemoine.Using lines along the first and second principal directions ofcurvature tocommunicate surface shape. Abstract and compressed PDF files here. FloatingPoints: A Method for Computing Stipple Drawings (2000, PDF 0.7 MB) by OliverDeussen, StefanHiller, Cornelius vanOverveldand ThomasStrothotte. Pen-and-ink illustrations with simulated stippling,uses arelaxation method based on Voronoi diagrams. ResearchIndex IllustratingSmooth Surfaces (2000) by Aaron Hertzmann and DenisZorin. Line-art rendering of smooth surfaces: new techniques forfindingsilhouettes and their visibility (a novel approach using homogeneouscoordinates and dual surfaces), automatic method for creating hatchmarks toconvey surface shape. Full paper is available (PDF 7 MB). Computer-GeneratedPen-and-Ink Illustration of Trees(2000, PDF 0.6 MB) by Oliver Deussenand ThomasStrothotte describes automatic creation of pen-and-inkillustrations oftrees with different drawing styles and levels of abstraction. Thetechniqueis suitable for animation. Line-ArtRendering of 3D-Models (2000) by Christian Rössland Leif Kobbeltpresents an interactive system for generating line art drawings toillustrate3D models that are given as triangulated surfaces. Strokes are definedbytracing streamlines of principal curvature. Algorithms for Sketching Terrain (2000) by MahesVisvalingamin a presentation to the Royal Institute called Artin Scientific Visualization of Terrain Data. See also Sketch-based Evaluation of Line Filtering Algorithms (2000, abstract) regarding cognitive evaluation of sketches © 1998Gooch,Gooch,Shirley &CohenStylized Depiction to Enhance Legibility ComprehensibleRendering of 3-D Shapes (1990) TakafumiSaito andTokiichiro Takahashi, Proceedings of SIGGRAPH 90, Computer Graphics,Annual Conference Series, 1990, pages 197-206. InteractiveIntent-Based Illustration: A Visual Language for 3D Worlds(1993) Ph.D dissertation by Dorée DuncanSeligmanndescribes the IBIS system for intent-based illustration. Its goal is togenerate a 3d rendering of a scene to convey a intent expressedin ahigh-level specification language. ANon-Photorealistic Lighting Model For Automatic Technical Illustration(1998) by Amy Gooch, Bruce Gooch, Peter Shirley and Elaine Cohen. Seethis page of ImagesandReferences. GeneratingScientific Illustrations in Digital Books(2000, PDF 0.73MB) by StefanSchlechtwegand Thomas Strothotte describes the creation of illustrations for adigitalbook based on 3d geometrical models and various styles ofvisualization.(From Smart Graphics ) RenderingEffective Route Maps: Improving Usability Through Generalization(2001) by ManeeshAgrawalaand Chris Stoltedescribes atechnique for producing non-realistic route maps (directionsfor drivingfrom one place to another) which are more legible than geographicallyaccuratemaps. They exaggerate the lengths of short roads to maintain visibilityandstraighten the shape of roads to produce a simple, clean map. You canusethese LineDrivedirections yourself at MapBlast.[ResearchIndex]  © 1999 Kowalski etal. Other Rendering Styles Non-PhotorealisticRendering (1998) by Bill Feth(based on earlier work by Bruce Land).Builtupon the DX (DataExplorer)system, creates shaded images with limited palettes (reminiscent ofserigraphs), outlined in a pen-and-ink style. Non-PhotorealisticRendering Image Gallery (and related pages) by Daniel Teece.See also this citation of a SIGGRAPH Sketch: 3Dpainting for non-photorealistic rendering (1998). Art-BasedRendering of Fur, Grass, and Trees(1999, PDF 748KB) by Michael A. Kowalski, Lee Markosian, J.D. Northrup, Lubomir Bourdev, Ronen Barzel, Loring S. Holden and John F. Hughes. EVA ExpressiveRenderer (1999) by DaveGordonis a unique rendering framework utilizing a C++ based shading languageandprovides a host of 2D and non-photorealistic effects based on theconcept of a mark generator. Take a look at the amazing imageryin the EVA gallery. Art-basedModeling and Rendering for Computer Graphics(2000, PhD dissertation, PDF 2.8MB) by Lee Markosian.Seeks touse techniques from traditional art and illustration to increase theexpressive power of 3D computer graphics. See also the related pages ofthe Art-basedModeling and Rendering project. Art-basedRendering with Continuous Levels of Detail (2000) by Lee Markosian, Barbara J. Meier, Michael Kowalski, Loring S. Holden, J. D. Northrupand John F. Hughes.Extends previous art-based rendering work to provide better frame-to-framecoherence of the graftal elements of which the images areconstructed.The page includes an abstract, the full paper(PDF, 0.4MB) and animated sample images. TheLit Sphere: A Model for Capturing NPR Shading from Art (2001) by Peter-PikeJ. Sloan, WilliamMartin, Amy Goochand Bruce Goochdescribes a systemfor shading by example. 3D models are shaded with a sphericaldiffusecolor map. This map is created by interactively selecting regions of aprototype stylized image to form pie-slice shaped sectors of the spheremap.The full paper is available (PDF 1.26 MB). View-DependentParticles for Interactive Non-Photorealistic Rendering Derek Cornish, AndreaRowan and DavidLuebkerepresents a 3D model as a system of particles, placed by aview-dependentclustering algorithm. The algorithm unifies several tasks: placingstrokes,regulating screen-space stroke density, and ensuring coherence foranimation.The full paper is available(PDF, 0.15 MB). ResearchIndexStylized Halftoning ArtisticScreening (1995) by Victor Ostromoukhov,full paper is available (PDF 3.7MB). Technique to createhalftone style images using arbitrary high contrast micro art to shapethehalftone "dots." See also the ArtScreenpage. SpecialEffects with Half-Toning (1996) by John W. Buchanan. Aninterface for the interactive design of artistic screens (1998) by Nicolas Rudaz, Roger D. Hersch, and Victor Ostromoukhov,full paper is available (PDF 1MB). ImportanceDriven Halftoning(1998, Postscript 2.2MB) by Lisa Streit and John Buchanan.Introduces a user-defined importance function which controlsthenature fo the half tone, allows user selection of drawing primitive. Multi-Colorand Artistic Dithering (1999) by Victor Ostromoukhov,full paper is available (PDF 5.5MB).Generalizing the Artistic Screening to color printing. Halftoningwith Image-Based Dither Screens (1999) Oleg Veryovka and John Buchanan.Full paper is available (compressed Postscript 495 KB). Non-photorealisticRendering Using an Adaptive Halftoning Technique(1999, Postscript 4.4MB) by Lisa Streit, Oleg Veryovka and John Buchanan.Control of tone and texture for non-photorealistic halftones. ComprehensiveHalftoning of 3D Scenes(1999, PDF 718KB) by Oleg Veryovka and John Buchanan.Uses additional information from rendered 3D scenes to create stylizedhalftones better suited to the subject matter.  © 1999 Aaron Hertzmann Real Time Techniques(or at least, those running at interactive rates) Real-TimeNon-photorealistic Rendering (1997) by Lee Markosian, Michael A. Kowalski, Samuel J. Trychin, Lubomir Bourdev, Daniel Goldstein, and John F. Hughes.Trades accuracy and detail for speed, uses a method for determiningvisiblelines and surfaces which is a modification of Appel's hidden-linealgorithm. ImplicitSurface Renderer (1998) by David Bremer and John F. Hughesfeatures (almost) real time non-photorealistic rendering of implicitsurfaces in a sketchy style. See also RapidApproximate Silhouette Rendering of Implicit Surfaces(1998, (6.3MB Postscript)) InteractiveLine Art Rendering of Freeform Surfaces (1999, 2.8MBcompressesed Postscript) by Gershon Elber.Usesextensive preprocessing to provide display of polynomial and rationalsurfacesat interactive rates. InteractiveTechnical Illustration (1999) by Bruce Gooch, Peter-PikeJ. Sloan, Amy Gooch, Peter Shirley and Richard Riesenfeld.Uses non-photorealistic lighting, silhouetting, and shadowing in aninteractive environment to produce rendering of 3d models enhanced forillustrative purposes. Real-TimePainting (1999) by AaronHertzmannis a high speed version of his techniques described in the PainterlyImageProcessing section of this page. Real-timePrincipalDirection Line Drawings of Arbitrary 3D Surfaces (1999) by Ahna Girshick and VictoriaInterrante.Uses the principal directions of curvature to guide lines over curved3Dsurface, can be rendered in real-time. CartoonRendering on the GeForce 256 (1999) by Sim Dietrich. This whitepaperwritten for NVIDIA developersdescribestoon rendering techniques implemented on the GeForce 256 hardware. SigGraph/UIUCReal-TimePainterly Rendering (2000) by Josh Michaels, Shanon Drone, Phil Smith, Don Schmidt. The pageincludes an abstract, sample images, and source code. ShadesofDisney: Opaquing a 3D World (2000, PDF, 0.3 MB)by Jeff Lander describes realtimecartoon and sketch rendering for use in games. See the companionarticle Underthe Shadeof the Rendering Tree (2000, PDF, 0.3 MB).Theywere published in in the February and March 2000 issues of Game Developer magazine. See alsothis online supplementwith linksto source code and executable for a real-time cartoon rendering demo. StylizedRendering Techniques for Scalable Real-Time 3D Animation(2000, PDF, 2.4 MB) by Adam Lake, Carl Marshall, Mark Harris and Marc Blackstein.See also this project page: Non-PhotorealisticRendering (Toon) and these slidesfrom a presentation at the Game Developers Conference 2000. InteractiveArtistic Rendering (2000, PDF 1.66 MB) by Matthew Kaplan, Bruce Gooch and Elaine Cohen.Rendering subdivision surfaces of complex scenes, at interactive rates,in avariety of artistic styles using an interactively editable particlesystem.See also this page of sampleanimations. Performance-DrivenHand-Drawn Animation (2000, PDF 713KB) by Ian Buck, Adam Finkelstein,Charles Jacobs, AllisonKlein, DavidSalesin, JoshuaSeims, RickSzeliski and KentaroToyama.Describes a method for generating performance-driven, hand-drawnanimation inreal-time. Does multi-way morphs to generate real-time animation thatmimicsthe expressions of a user. PainterlyRendering for Video and Interaction (2000, PDF 0.9MB) by AaronHertzmann and Ken Perlin.Real time painting over successive frames of animation, applying paintonly inregions where the source video is changing. Brush strokes may be warpedbetween frames using optical flow. Non-PhotorealisticVirtual Environments (2000) by Allison W. Klein, Wilmot Li, Misha Kazhdan, Wagner ToledoCorrêa, AdamFinkelsteinand Thomas A. Funkhouser.Real time walk-throughs of architectural interiors using stroke-basedtextures and image based rendering methods. Full paper is available (PDF, 12.5 MB). NPRQuake(2000) by Alex Mohr, Erik Bakke, Andrew Gardner, Christopher Herrman and SteveDutcher modifies GLQuake to render in several real-timestylizations.This is accomplished by intercepting the OpenGL library calls. See theMohrand Gleicher I3D 2001 paper (below) for more details. Non-Invasive,Interactive, Stylized Rendering (2001) by Alex Mohr and Michael Gleicherdescribes atechnique for taking an existing OpenGL application and changing it touse newvisual stylizations. This is done "non-invasively": without modifingtheapplication's source code. Instead the OpenGL calls are intercepted andreinterpreted to produce stylized portrayal. The web page includesanimation,additional figures and the full paper is available (PDF, 0.04 MB). Real-TimeHatching(2001) by Emil Praun, Hugues Hoppe, Matthew Webband Adam Finkelstein areal-timesystem for non-photorealistic rendering of hatching strokes overarbitrarysurfaces. Preprocessing builds a tonal art map. Hardwaremultitexturingblends hatch images over rendered faces, varing tone while maintainingspatialand temporal coherence. Based on lapped texturesThe full paper is available(PDF 5.75 MB). Real-TimeStroke Textures (2001, PDF 0.6 MB) by Bert Freudenbergusesper-pixel-shading graphics hardware to implement non-photorealisticshadingwith hatching textures. There are links to slides and movies on theauthor's publicationpage. created with Piranesiby Kyoto Institute of TechnologyInteractive Techniques PaintBy Numbers: Abstract Image Representations (1990) by Paul Haeberli (full paperis available (PDF 7.4 MB) but requires ACM DigitalLibrary access). Describes interactive "over-painting" of an imagewith a shaped color-sampling brush. For an interactive sample, visitPaul's Impressionistapplet. (This techniques is now available incommercialsoftware such as Instant Photo Artist and DeepPaint) InteractivePen-and-Ink Illustration (1994) Michael P. Salisbury Sean Anderson, Ronen Barzeland David Salesin. Piranesiis acommercially available system which allows interactive post processingofrendered 3d scenes (with z-buffer data) to achieve various artisticstyles.See this gallery.Originally Piranesi was an academic project, see; InteractiveRendering and Non-photorealistic Rendering: the Piranesisystem, see its Galleryof Non-photorealistically Rendered Images, and the paper InteractiveComputer Rendering (1995) by Paul Richens and Simon Schofieldand BeyondPhotorealism(1997) by Paul Richens. LiveArt(formerly ThinkFish LiveStyles) Harold:A World Made of Drawings by Jonathan Cohen, John F. Hughesand Robert Zeleznik.Creating 3d virtual environments from hand-drawn 2D input. 3D objectsare madeof planar strokes, reoriented for camera motion. The page includes anabstract, the full paper(PDF, 845KB) and a video demonstration. DecouplingStrokes and High-Level Attributes for Interactive TraditionalDrawing (2001) by FrédoDurand, VictorOstromoukhov, MathieuMiller, FrançoisDuranleauand Julie Dorseydescribes an interactive drawing system in which the user drawsabstract strokes over a reference photograph. The system hashighlevel controlsto select various stylizations which are displayed in real time. Sampleimagesand the full paper is available (PDF 3.3 MB). WYSIWYG NPR:Drawing Strokes Directly on 3D Models (2002) by Robert D. Kalnins, Lee Markosian, Barbara J. Meier, Michael A. Kowalski, Joseph C. Lee, Philip L. Davidson, Matthew Webb, John F. Hughes and Adam Finkelstein.Allows the user to paint brush strokes directly on the surface of a 3dmodel.Silhoutte and hatching strokes are identified. The number and placementofhatching strokes is adjusted as the model is rendered. Silhouettestrokes ina similar style are synthesized for newly exposed object edges.The project page contains the fullpaper(PDF 2.5MB), movies and still images. Object-BasedImage Editing (2002, PDF 16MB) by William Barrettand Alan Cheney,uses image segmentation to identify objects in the image asregions ofpixels. The objects can then be "scaled, stretched, bent, warped orevendeleted." 3D Modeling Based on 2D Sketch Input Teddya sketch-based 3D modeling system (1999) by TakeoIgarashi, SatoshiMatsuoka and Hidehiko Tanaka, uses a fast sketch renderer. See the paper Teddy:A Sketching Interface for 3D Freefrom Design (PDF,650KB) and the Javaapplet. Sketchingwith Projective 2D Strokes (1999) by Osama Tolba, Julie Dorsey,and Leonard McMillan.Describes a 2D sketching program which incorporates a simplerepresentationof 3D space, essentially providing a panoramic sketchpad. See also this PDF (4.24 MB) version of the paper, MPEGvideo clips and this Javaapplet. SketchUp (2000) acommercialsketch-based 3D design system. Infers 3D architectural forms fromsketchedinput. Free demo version available. See this gallery andthese animated demosofthe system.Toon Shaders/Plug-Ins (and related "cel-look" effects) UsingArbitrary Output Variables in PhotoRealistic Renderman (1998,Application Note #24) includes exampled of "cel-like", "painted-like",and"pen and ink" rendering styles. Cartoon-LookingRendering of 3D Scenes (1996) by Philippe Decaudin toon- A shader for cartoon rendering (1997, for RenderMan) by Colin Doncaster ToonRendering for Softimage by Michael Arias.This is one ofthe more widely used toon rendering plug-ins. The site contains sampleimages,tutorials, and other articles. CartoonShading Using Shading Mapping (for PowerAnimator) by Jake Morrison SuperHero tests (still and animated) by Vision Scape Imagingfor a client called Ideal Entertainment. SuperCel Shader 1.00 Tips and Tricks (for LightWave 3D) and a gallery at the Celshader.com site of Jennifer Lynn Hachigian. CartoonReyes is a plug-inshader for 3D Studio MAX. Here is a sampleimageand a demo program is available. This tutorialand this review apparently refer to the same system. TheIncredible Comicshop (for 3D Studio Max, see also) from Meme-X. Illustrate!toon and illustration renderer plug-in for 3D Studio Max. See this gallery. Toon UpProcel shading for trueSpace. See this gallery. SceneIII a 3d plug-in for Animo 3, supports Cartoon Shading Toon!for Ray Dream 5.02 and 5.5 (and Carrara(?)) by Eric Winemiller, seethis gallery. Toony Shadersfor RenderMan ("Dang I'm tired of photorealism")by David "Neal" McDonald,see alsothis Page OfReally Way TooLarge Images Alice:Toon-Texturesa stylized rendering package for the AliceInteractive Graphics Programming Environment from CMU's Stage 3Research Group. ToonShader(2001)from Toon Boom is a plug-in fortheUSAnimation system and exports to Maya. It is described on this brochure (PDF 0.05 MB)  © 1993 Cabraland Leedom  © 1999 RE:VisionEffects  © 1998 Aaron Hertzmann Painterly Image Processing Techniques ImagingVector Fields Using Line Integral Convolution (1993) by Brian Cabral and Leith (Casey) Leedom(full paper is available (PDF 1.5 MB) but requires ACMDigitalLibrary access). Primarily used for visualizing 2 and 3 dimensionalvector fields, the LIC technique operates by distorting texture mapsalongstreamlines of the vector field. It can be used to produce a"wind-blown wetpaint" version of a source image. SpecklePainting (1997) by PaulBourke,simulating the paintings of the aboriginal Australian. Processingimages and video for an impressionist effect (1997) by Peter Litwinowicz (full textin PDFformat (3.5 MB), requires ACM Digital Libraryaccess, as does this description of, and image from, Pete's animation Impressionsof San Francisco). See also this summaryby Matthew Ward. PainterlyRendering with Curved Brush Strokes of Multiple Sizes (1998) by Aaron Hertzmann, fullpaper is available (PDF 425KB). See also PainterlyVideoProcessing on an approach to process sequences of video frames. PainterlyRendering with a Painter's Perspective by Caroline Dahllof AutomaticGeneration of Non-Photorealistic Images by Steve Treavett (?) RE:Vision Effectsmakers of the Video GoghTMsystem, a simple version of their technology seen in the 1998 featurefilm WhatDreams May Come (see also the official site and this page at GOAT). ArtisticRendering of Portrait Photographs thesis research by EricWong: preliminary samples of photographic portrait images processedintowhat looks like pencil drawing. (Note: Ericgraduated, Cornell removed his pages. When he sets up a new web sitethis link will beupdated. 12-7-99) GeneralizedImpressionistic Texture Matrix Generator by Ken Musgrave and Myeong L. Lim.GIT creates juxtaposition of color (producing tones by placingsmallareas of several colors close to each other) in a manner suggesting theimpressionist technique. See also Lim's GITpage and his gallery.See also this draft of a SIGGRAPH art sketch The GeneralizedImpressionistic Texture Matrix Generator (Postscript794KB) and a draft paper AStatistical Approach to Color Juxtaposition. Non-PhotorealisticEffects (1998) by RobAshdown, agallery of several images processed into several styles (pencil,watercolour, tapestry, chalk, by numbers, etching). PaintAlchemya Photoshop plug-in from Xaos Tools for painterly image processing. Seethis gallery. PaintBy Relaxation (2001) by AaronHertzmann describes painterly image processing of still and movingimages.A user-defined energy function controls the stylization. Theoutputimage is generated by searching for a collection of brush strokeswithminimal energy. This approach yields good frame to frame coherence formovingimages. Full paper is available in several lengths and formatsincluding thisCGI 2001 paper (PDF 17 MB). ImageAnalogies (2001) by AaronHertzmann, CharlesE.Jacobs, NuriaOliver, BrianCurless, and DavidSalesindescribes processing images by example: learning an imagetransformation fromone pair of before and after images, them applying thetransformation to a third image to produce a fourth. The projectpage links to full paper, examples images and software. AbstractedImage Stylization by DougDeCarlo and AnthonySantella contains images and links related to two related 2002papers: AbstractedPainterly Renderings Using Eye-Tracking Data (PDF1.8MB) and Stylization and Abstraction of Photographs (PDF 1.8MB). In this work, eye tracking technology is used to capturewhichareas of a photograph are most important. A stylized version of theimage iscreated introducing line along edges and abstracted regions of constantcolorobtained from segmentation. Detail is concentrated in the ares deemedimportant during eye tracking. StylizedVideo Cubes (2002) by Allison W. Klein, Peter-PikeJ. Sloan, AdamFinkelsteinand Michael F.Cohen.Describes an approach to stylizing video which treats the video as aspace-timevolume of image data. Stylized elements, such as brush strokes, aredefinedover time and space, then sampled as needed. The full paper (PDF 1.5MB) is available online.  © 1986 Steve StrassmannSimulation of Traditional Artistic Media Hairybrushes (1986) by SteveStrassmann simulates the traditional Japanese art of sumi-ebymodeling the motion and bristles of the brush and the absorption of theinkinto the paper. There is a brief description of Strassmann's work in Linesand How to Draw Them (1997) by Stefan Schlechtweg.The gist of Strassmann's work was reimplemented in 1999 as a Java appletby Golan Levin. ModelingWatercolor by Simulating Diffusion, Pigment, and Paper Fibers(1990) by David Small (Better version available in Postscript.) MicroscopicStructural Modeling of Colored Pencil Drawings (1997, article requires ACM Digital Library access, abstract is free) by Saeko Takagiand Issei Fujishiro. Cellular-Automaton-BasedSimulation of Ink Behavior and Its Application toSuibokuga-like 3D Rendering of Trees (1999, abstract) by Qing Zhang, Youetsu Sato, Jun-ya Takahashi, Kazunobu Muraoka and Norishige Chiba. Seethe full citation,and these images. VolumetricModeling of Aristic Techniques in Colored Pencil drawing(1999) by SaekoTakagi, Issei FujishiroandMasayuki Nakajima. See also the Pumpkinsproject whose aim is to "capture the charm of colored pencil drawing." ObservationalModel of Blenders and Erasers in Computer-Generated PencilRendering (1999) by MarioSousa and JohnBuchanan. See also Computer-GeneratedGraphite Pencil Rendering of 3D Polygonal Models (GZippedPostscript 3MB) by the sameauthors. 3DPhysics-Based Brush Model for Painting (1999) SuguruSaito andMasayuki Nakajima. A 3D physically based brush model that allows userstopaint various strokes intuitively and directly on a computer with apen-typeinput device. ObservationalModels of Graphite Pencil Materials (1999, PDF19.5 MB) by MarioSousa and JohnBuchanan.Presents a model of graphite pencil, drawing papers, blenders andkneadederasers that produce realistic looking pencil marks, textures andtones. SimulatingDecorative Mosaics (2001) by Alejo Hausner converts input images to mosaics composed of shapedtiles.Uses a relaxation technique to minimize the visible grout (theareabetween tiles) while aligning tiles with user-specified featureboundaries.The full paper is available (PDF 1.7 MB) dAb: InteractiveHaptic Painting with 3D Virtual Brushes (2001) by Bill Baxter, Vincent Scheib, Ming Lin and Dinesh Manocha describesitself as"capturing the sight, touch, action, and feeling of painting" throughinteractive use of a physically based paint brush and paint model withhapticfeedback providing a natural interface via simulation of traditionalartists'tools. The project page includes movies and the full paper in tworesolutions: high(PDF 10 MB) and low(PDF 0.2 MB). Pastel-Like Rendering Considering the Properties of Pigments andtheSupport Medium (2002) by Kyoko Murakamiand ReijiTsuruno. "A new NPR technique that reproduces pastel drawing-liketextures byfocusing especially on the attributes of pastel pigments." ThisSIGGRAPHsketch is apparently not online, but there is a PDF article of the samename inthis special issue. Automatic Generation of Pencil Drawing Using Line-IntegralConvolution(2002) by XiaoyangMao,Yoshinori Nagasaka and Atsumi Imamiy. "A new technique forautomaticallygenerating pencil drawings from 2D gray-scale images usingline-integralconvolution." Sketchy Rendering(2002) by John Haddonbrieflydescribessoftware to "reproduce the appearance of line drawings in both penciland ink,along with other effects such as the bleeding of ink in water and theapplication of pastel to paper." Fulltext (PDF, 1.5MB) is available online. Silhouettes ImageJets, Level Sets, & Silhouettes (1998) by Lance Williams, onshape and shading from silhouettes. Non-photorealistic"Outlining" Effects Using Sphere-mapping (1998) by Kenny Hoff uses OpenGL's sphere-mappingfacilities tocreate novel stylized shading. Image PrecisionSilhouetteEdges (1999) by RameshRaskarand Michael Cohen.Includes demo codeand theseadditional images. Introductionto 3D Non-Photorealistic Rendering: Silhouettes and Outlines(1999, PDF 171KB) by Aaron Hertzmann ContourRendering (1999) by PerH. Christensen, describes the Mental Ray contour shader.Unfortunatelythe illustrations from the hardcopy edition of Computer Graphics33(1)are not included on this web page. CalculatingDistance-to-Silhouette on k-Manifolds(1999, 1.07MB Postscript) MS Thesis by Paul Brewster.See also this related earlier work: Fixed-WidthSilhouettes on Parametric Surfaces ArtisticSilhouettes: A Hybrid Approach (2000) by J. D. Northrupand Lee Markosian.Describes a technique where silhouette edges are processed in imagespace,leading to more consistent detection and subsequent rendering. The pageincludes an abstract, the full paper(PDF, 312KB) and both still and animated sample images. The EdgeBuffer: A Data Structure for Easy Silhouette Rendering (2000, PDF 421 KB) by John Buchananand Mario Sousa. Theedge bufferis a technique for highlighting silhouette edges, boundary edges, andartistdefined edges. See also this demo program. Non-traditional perspective (for viewing and modeling) MultiperspectivePanoramas for Cel Animation 2MB PDF (1997)by Daniel Wood, Adam Finkelstein,Craig Thayer, John Hughesand David Salesin. Multiple-Center-of-ProjectionImages (1998 abstract) by Paul Rademacherand Gary Bishop, the fullpaper is available (PDF 1.4MB) Note: the applicability of thispaper to non-photorealistic rendering is questionable, but it fitreallywell into this sub-category! AFramework for Non-Realistic Projections(1998, PDF format 604K) Master's Thesis by Jon Levene.This novel work explores non-photorealistic "perspective" projections. View-DependentGeometry (1999) by PaulRademacher,full paper is available (PDF 931KB) ObserverDependentDeformations in Illustration (2000, PDF 2.4 MB)by D. Martín, S. Garcia and J. C. Torres.Deformations of objects and space contributes to the expressiveness ofillustration. Presents use of hierarchical extended non-lineartransformations as a powerful tool for obtaining such expressivity. ArtisticMultiprojectionRendering (2000) by Maneesh Agrawala, Denis Zorin and Tamara Munznerdescribes an interactive system for creating multiprojection imageswhere eachobject in the scene can have it own local camera. The project pageincludesimages, movies and the full paper (PDF,14.6 MB) in several formats. AnimatingChineseLandscape Paintings and Panoramas (2001) Master's thesis by Nelson Siu-Hang Chudescribes anIBMR approach for making fly-through or walk-through animations from asinglelarge multi-perspective landscape painting or panorama. This pagecontainslinks to animations, the thesis and a CGI 2001 paper by Chu and Tai: AnimatingChineseLandscape Paintings and Panorama using Multi-Perspective Modeling (PDF6MB).Stylized Motion and its Depiction Speedlines- Depicting Motion in Motionless Pictures(1999, PDF 529KB) by MaicMasuch, StefanSchlechtweg, and RonnySchulz.See additional images in this gallery. Non-photorealisticRendering of Dynamic Motion by JessicaHodgins, NancyPollard, etal.See also ArtisticRenderings of Dynamic Actions, this page featuring stylized speedlinesand this related page at Brown. Style Machines(2000)by Matthew Brand and Aaron Hertzmann.Stylisticmotion synthesis by learning motion patterns from motion capture (orothersources). New motions can be generated from learned styles, orcombinationsof them. Full paper is available (PDF 1.4 MB).  © 1999 Kirby, Marmanisand Laidlaw Scientific Visualization Image-GuidedStreamline Placement (1996) by Greg Turkand David Banks."Accurate control ofstreamline density is key to producing ... visualization of2-dimensionalvector fields. We introduce a technique that uses an energy function toguidethe placement of streamlines at a specified density..." VisualizingMultivalued Data from 2D Incompressible Flows Using Concepts fromPainting (1999, PDF, 1.6 MB) by R. Michael Kirby, HaralambosMarmanisand David H. Laidlaw.Uses a combination of visual elements arranged in multiple layers tovisuallyrepresent multivalued data. The representations are inspired by thebrushstrokes artists apply in layers to create an oil painting. PLIC:Bridging the Gap Between Streamlines and LIC (1999) by Vivek Verma, David Kaoand Alex Pengcompares flow visualizations using streamlines and line integralconvolution(LIC), describes a methodology for flexibly generating flowvisualizationsthat span the spectrum of streamline-like to LIC-like. Non-PhotorealisticVolume Rendering (1999) student project by Michael Sharps, Kim Harringtonand Evelyn Chun-Yi Wangportrays volumetric data sets using non-photorealistic rendering toemphasizepertinent detail. AFlow-guided Streamline Seeding Strategy (2000) by Vivek Verma, David Kaoand Alex Pengdescribes a seed placement strategy for streamlines based on flowfeatures of2d vector fields. Its goal is to capture flow patterns in the vicinityofcritical points in the flow field. Various reports from NASA's NumericalAerospace Simulation Systems Division on flow visualization usingLIC anddiagrammatic imagery: AFLIC(Animated Flow Line Integral Convolution) and ...GeneratingSurface Oil Flow Visualizations.. (1996) EnhancedLine Integral Convolution with Flow Feature Detection (1996)by Arthur Okada and David Lane UnsteadyFlow Analysis Toolkit (UFAT) (1996) NewSoftware Tool Improves Interactive Analysis of CFD Numerical Flows(1998) WhichWay Is the Flow? (1999) by DavidKao, figures. VolumeIllustration:Non-Photorealistic Rendering of Volume Models (2000) by David Ebert and Penny Rheinganscolors (and shades) volumetric data sets according to local operationsonsmall voxel neighborhood. The full paper is available (PDF 0.24 MB). ResearchIndex FormalizingArtistic Techniques and Scientific Visualization forPaintedRenditions of Complex Information Spaces (2001) by Christopher G. Healeydescribes a method for visualizing complex information spaces aspaintedimages. See also his Nonphotorealistic Visualization project page. CombiningPerception and Impressionist Techniques for NonphotorealisticVisualization of Multidimensional Data (2001) by Christopher G. Healeythis course presentation surveys a number of issues innonphotorealisticrendering and visual perception, then discusses their relevance tocomputergraphics and scientific visualization through a series of descriptions,examples, and practical applications. The page contains movies,presentationslides and the full paper (PDF 4.1 MB).Computer Graphic Effects for Traditional Cel Animation Shadowsfor Cel Animation (2000) by Lena Petrovic, Brian Fujito,Lance Williams and AdamFinkelstein.Describes a semi-automatic method for creating shadow mattes forhand-drawncharacters in cel animation. Employs a scheme for inflating 2D line arttoproduce 3D figures. The full paper is available (PDF, 3.2 MB). 2D/3D Hybrid CharacterAnimation on"Spirit" (2002) by DougCooperbriefly describes a production process that allows freely intermixingtraditional hand-drawn 2d character animation with toon-shaded 3drendering. Full text (PDF,0.1MB) is available online. Books Non-PhotorealisticRendering (2001) by Gooch& Gooch. A.K. Peters Ltd,Publishers Non-PhotorealisticComputer Graphics: Modeling, Rendering, and Animation(2002) by ThomasStrothotteand StefanSchlechtweg. MorganKaufmann Publishers Surveys and Overview Articles ExpressiveRendering: A Review of Nonphotorealistic Techniques (1995,abstract) bythe late JohnLansdown and SimonSchofield in IEEE CG&A.The fullarticle isavailable to those with access to the IEEE Digital Library in HTMLand PDFformats. DifferentStrokes (1997) by Barbara Robertson, CGW Magazine. (Note: Pennwell, CGW's publisher, is rebuildingtheir website, so this article is temporarily unavailable.) Ten Papers onNon-Photorealistic Rendering (1998, revised 1999) survey by Tom Janzen There was a focus on non-photorealistic rendering in the SIGGRAPH Computer Graphics Newsletter (February 1999), see this introductionby the guest editor. SeeingBetween the Pixels (1999) by Brian Hayes (in AmericanScientist) an essay about non-raster image representations. Lecture notes by JonathanCohenfor a 1999 course on RenderingTechniques including sections on: Non-photorealistic Rendering: Pen-and-Ink Illustration(PDF, 2.6MB), PainterlyRendering (PDF, 3.3MB) and Non-photorealisticIllumination Models (PDF, 0.9MB). Aninvitationto discuss computer depiction (2002) by Frédo Durandbringsthe perspective of Art History to the analysis of stylized depiction,andproposes a classification of techniques for stylized depictionaccording tofour criteria. Project page includes the full paper (PDF 0.3 MB) and presentationslides.[ResearchIndex][ACM DL] Miscellaneous Conferences and conferencesessions on these topics: NPAR The FirstAnnual Symposium onNon Photorealistic Animation and Rendering was held June 5-7, 2000inconjunction with the Animated Film Festival of Annecy,France.The official online proceedings require ACM Digital Library access, some of theindividual papers are available from the authors, see above. The InternationalSymposium onNon Photorealistic Animation and Rendering (NPAR 2002) will be heldJune3-5, 2002 in Annecy,France.See also the NPAR site. SIGGRAPH SIGGRAPH 96: Illustration SIGGRAPH 97: Non-PhotorealisticRendering SIGGRAPH 98: Art,Illustration, Expression SIGGRAPH 99: ImaginativeRendering Course 17: Non-PhotorealisticRendering. See this course pagefor an abstract and full coursenotes(PDF, 13MB) SIGGRAPH 2000: Non-PhotorealisticRendering SIGGRAPH 2001: Course 32: NonphotorealisticRendering in Scientific Visualization SIGGRAPH 2002: Paper session: Painting and Non-Photorealistic Graphics Course 23: RecentAdvances in Non-Photorealistic Rendering for Art and Visualization Sketch sessions: Non-PhotorealisticRendering, 2DAesthetic in a 3D World and Shape. Research groups and project pages related to these topics: University of Utah Non-PhotorealisticRendering BrownUniversity Art-based Modeling and Rendering New York University (Media Research Lab) Non-PhotorealisticRendering Films using these techniques: Teddy Ruxpin test (1985?), Digital Productions, toonshading. Plese contact meif you know any details. Oilspotand Lipstick (1987) Walt Disney Pictures, all toon shaded. The Toon Shading process was developed by TadGielow and MJ Turner. Tad says: "The process involved two renders, onefor color (via Wavefront's Render) and one for plotter output (viaWavefront plot). The plotter output render was suitable for driving apen plotter to create artwork that integrated into the traditional Inkand Paint process (used on TheGreat Mouse Detective, Oliverand Company, The LittleMermaid, and a number of shorts). We took the plotter output andwrote a script to drive a Pixar ImageComputer to draw the lines. The lines images was then compositedover the color render." Burning Love (1988) short by Carlos Arquelos et al.at PDI. Plese contact meif you know any details. TheFuntastic Worldof Hanna-Barbera (1989?), deGraf/Wahrman Inc., toon shading ofBedrock(and other locales?) Gas Planet(1992) short by Eric Darnell et al. at PDI. [Quicktimeclip, 4.6MB] TheLion King (1994): toon shading on stampeding wildebeests [fan site] Brick-a-Brac(1995) short by CassidyCurtis et al. at PDI. Hercules(1997): toon shading for the Hydras Impressionsof San Francisco (1997) short by Peter Litwinowicz. WhatDreams May Come (1998): painterly rendering for Chris' Paradise [officialsite] [goat] Mulan(1998):toon shading for the Hun cavalry charge. ThePrince of Egypt (1998): toon shading on props and "extras" in crowdscenes TheNew Chair (1998) short by CassidyCurtis Blixxorr!(1999)short by Matt and Dan O'Donnell (Cicada),all toon shaded. TheIron Giant (1999): toon shading of the giant [officialsite] [AnimationArtist] Tarzan(1999): deep canvas 3d painterly backgrounds [official site] Fishing(1999) short by David Gainey et al. at PDI. [VFXProarticle, Quicktime clips] Officer Down(2000) shortby Matt and Dan O'Donnell (Cicada),alltoon shaded. MyVH1 MusicAwards (2000 and 2001) cel shaded bumpers by Psyop, see video at their site from 2000and (MPEG, 1.6MB). 2001(MPEG, 5.7MB). OsmosisJones (2001): ...will contain toon rendering, say informedsources... [officialsite] LeDéserteur (TheDeserter) (2001) by OlivierCoulon Aude Danset Paolo De Luciaand Ludovic Savonnière.Produced at Supinfocom, won the Jury Award at SIGGRAPH 2002. Seeespeciallythis galleryofimages from the film. See also this articlein pixelcreation. Sarah(2001) by Justine Bonnard et al. stylized as an acrylicpainting (badEnglish translation). DNA(2002, QuickTime, 3.8MB, 60 seconds) cel shaded TV spotfor Volkswagenby Psyop. Video is available onthis pageof VW Commeercials, at Ads.com and at Psyop's gallery. Their site also has two other NPR VW spots: Sheep(MPEG, 7.8MB) and Cones(MPEG, 3.5MB). A Flatpack Projectby John Haddon(2002) ... Real-time interactive systems using these techniques: AlphaWolf(2001)used a real time "charcoal rendering" technique. See this page with pictures describingAlphaWolf (PDF, 0.1MB).This paper describes the AlphaWolf project: Leashingthe AlphaWolves: Mixing User Direction with Autonomous Emotion ina Pack of Semi-Autonomous Virtual Characters(2002, PDF, 3MB) by Bill Tomlinson, Marc Downie, Matt Berlin, Jesse Gray,Derek Lyons, Jennie Cochran and Bruce Blumberg.See a brief video of BillTomlinson describing AlphaWolf(MPEG video, 7.2MB) from SIGGRAPH Online. Non-PhotorealisticRendering Jargon File, a glossary by Craig Gulow. SinceLessis often More: Methods for Stylistic Abstractions In 3D-Graphics(1995)by Antonio Krügerand Thomas Rist. Seealso thefirst authors' page on GraphicalAbstraction The book ComputationalVisualization: Graphics, Abstraction, and Interactivity(1998) by Thomas Strothotte et al. explores abstraction incomputergraphics. It discusses non-photorealistic animation, non-traditionalperspective, and other topics of interest to readers of this page. UnderstandingComics; The Invisible Art (1993) by Scott McCloud. See also this reviewof the book.Now Scott has published a companion volume: ReinventingComics(2000). 2D Paintand CelAnimation from SGI. See also their article about ThePrince of Egypt. Fleeting Image Animation"animation that integrates traditional and computer generatedtechniques" Cicada Interactive is asmallindependent animation production company that specializes in toon-stylefilms.Their propietary software is called Mexico. Not yet categorized Comic-StripRendering (1995) by Peter Hall.[ResearchIndex] Computer Drafting of Stones, Wood, Plant and Ground Materials(1979) by Chris Yessios in Computer Graphics 13(3) SIGGRAPH '79Proceedings,pages 190-198. CreatingInformal Looking Interfaces (1997?) by Jonathan Meyer and MichaelCrumpton. See more about The EtchaPad Project MinimalGraphics (1999) by Ivan Hermanand David Duke,full paper is available (compressed Postscript 1.6 MB).A preliminary investigation into an automatic rendering system based ona modelof cognitive information processing AnimatedCharToonFaces (2000, Postscript 3MB) by Zsófia Ruttkay and HanNoot. Java-based, realtime animation of nonrealistic 2d cartoonfaces.See also these colorplates(Postscript 9.7MB) from the paper, and the CharToon projectpage. DigitalAnimationDe-construction and Restoration describes a image processingserviceoffered by Dynacs DigitalStudios.They scan old animation and "de-construct" it into line art backgroundsandoverlays, allowing it to be reprocessed and recomposited. InteractiveDynamic Abstraction(2000, PDF 1.6 MB) by Scott Sona Snibbe and Golan Levin Special IssueonNon-photorealistic Rendering (2002 v1n2) in The Journal of the SocietyforArt and Science. Note: I cannot display these articles, perhaps thePDFfiles do not contain font data? Send comments to Craig Reynolds<cwr@red3d.com> visitors since June 27, 1999Last update: September 22, 2003 |
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