Rendering Complexity in Computer-Generated Pen-and-Ink Illustrations
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Transcript of Rendering Complexity in Computer-Generated Pen-and-Ink Illustrations
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Rendering Complexity in Computer-Generated
Pen-and-Ink Illustrations
Brett Wilson & Kwan-Liu Ma
The University of California, Davis
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How would an artist treat this scene?
• Ambiguous boundaries
• Ambiguous depth
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Method 1: Abstraction
• Merge similar regions
• Strokes don’t followgeometry exactly
• Good color / texture
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Method 2: Separation
• Separate similar regions
• Geometry is clear
• Color is not as true
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How can a computermake these decisions?
• Introduction to NPR pipelines
• Hybrid 2D / 3D pipeline
• Abstraction: when and how?– Silhouette rendering– Hatching
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Image-based NPR
• Good abstraction• Low detail — always lose information
Image Image
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Geometry-based NPR
• Poor abstraction• High detail — gain information
Geometry Image
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Geometry rendering techniques
• Hierarchical textures [Winkenbach & Salesin 1994]
• Arbitrary meshes [Girshick et al. 2000]
• Smoothed direction fields [Hertzmann & Zorin 2000]
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Neither of these techniquesworks well for complex scenes.
• 2D approach gives too little detail, no relative importance
• 3D approach gives too much detail, hard to pick out important things
• Challenge: Intelligent use of abstraction
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2+D NPR processing
• Hamel & Strothotte: Capturing and Re-Using Rendering Styles for NPR [EG ’99]
• Generate multiple renderings• Match image attributes to example
input
• Discard geometry
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Tree rendering.
• Deussen & Strothotte: Computer-Generated Pen-and-Ink Illustrations of Trees [SIGGRAPH 2000]
• Generate 2D depth renderings to extract important feature lines of the foliage.
• Requires complex areas (leaves) to be tagged.
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A generalized hybrid pipeline.
• Add rendering and segmentation to the middle of the pipeline.
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Silhouette rendering
• Generate a complexity map
• Indicates regions of high geometric complexity
• Simplify areas likely to be confusing
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A complexity map generatedfrom an edge rendering.Silhouette rendering Complexity map
• Many other ways to measure complexity
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Silhouette image should match a grayscale rendering.
Edges Target
Too light Too dark
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Resulting edge rendering
• Use Deussen’s technique to keep edges in order of importance
• Add occluded edgesfor darkening
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Grayscale rendering with hatching.
• Artists don’t draw every object with separate strokes
• Small, similar objects grouped and use the same strokes
• Apply based on complexity
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Segmentation for hatching
• Use segmentation to identify groups of strokes.
– Depth– Angle
– Color– Texture– …etc.
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Notes on segmentation.
• Much easier than general image segmentation
• No image understanding necessary
• Simple segmentation is acceptable– Region growing
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Segmentation-based hatching with important silhouette lines.
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Primate Chest Isosurface
• 3.5 M triangles
• High detail
• Ambiguous area
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Silhouette edges
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Fully hatched rendering
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The rendering is separated into complex and non-complex regions.
Simple Complex
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Hybrid pen/paint rendering
• Hatching fornon-complex areas
• Solid black shadingfor complex areas
• Preserves feel whilesimplifying rendering
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Close-up comparison of hybrid rendering
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Sharp boundaries
• Blur operationaffects boundaries
• “Knock out” large objects
• Future work:Clustering in Z?
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Conclusion
• Abstraction– When– How
• How will the viewer perceive the scene?– Incorporate segmentation in 3D pipeline
• Clearer, more artistically believable pictures
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Future work
• Better models
• Higher-quality hatching
• More rendering styles in general
• More possibilities with segmentation
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Thank You
• Funded by the U.S. National Science Foundation under– ACI 9983641 (PECASE
award)– ACI 0325934 (ITR)– ACI 0222991