This dissertation describes the principles of pen-and-ink illustration, and shows how a great number of them can be implemented as part of an automated rendering system. Illustration techniques in general, and pen-and-ink rendering in particular, offer great potential for creating effective images from CAD models. And with the computer's ability to manipulate increasingly large models, communicating complex information in an effective and comprehensible manner is becoming an important problem. However, this potential remains relatively untapped in the field of computer graphics. After discussing principles of traditional pen-and-ink rendering, this dissertation shows how the traditional graphics pipeline must be modified to support pen-andink rendering. Then, it introduces the new concept of prioritized stroke textures. Prioritized stroke textures form the central mechanism by which strokes are generated so as to both convey a certain texture, such as "bricks", and achieve a target tone simultaneously. Prioritized stroke textures also have the advantages of being resolution dependent

Phong-shaded 3D imagery does not provide geometric information of the same richness as human-drawn technical illustrations. A non-photorealistic lighting model is presented that attempts to narrow this gap. The model is based on practice in traditional technical illustration, where the lighting model uses both luminance and changes in hue to indicate surface orientation, reserving extreme lights and darks for edge lines and highlights. The lighting model allows shading to occur only in mid-tones so that edge lines and highlights remain visually prominent. In addition, we show how this lighting model is modified when portraying models of metal objects. These illustration methods give a clearer picture of shape, structure, and material composition than traditional computer graphics methods.

Route maps, which depict a path from one location to another, have emerged as one of the most popular applications on the Web. Current computer-generated route maps, however, are often very difficult to use. In this paper we present a set of cartographic generalization techniques specifically designed to improve the usability of route maps. Our generalization techniques are based both on cognitive psychology research studying how route maps are used and on an analysis of the generalizations commonly found in handdrawn route maps. We describe algorithmic implementations of these generalization techniques within BeeLine, a real-time system for automatically designing and rendering route maps. We show that Bee-Line produces route maps that are much more usable than those produced by current computer-based route map rendering systems. Feedback from over 1100 users indicates that over 99 % believe BeeLine maps are preferable to using standard computer-generated route maps alone.

This article summarizes the main results of a joint endeavor towards a standard reference model (SRM) for intelligent multimedia presentation systems (IMMPSs). After a brief motivation, we give basic definitions for media terms and presentation systems. The core of this contribution is a generic reference architecture that reflects an implementation-independent view of the processes required for the generation of multimedia presentations. The reference architecture is described in terms of layers, components, and knowledge servers. Our SRM focuses on the functions assigned to the layers and components, rather than on the methods or communication protocols that may be employed to realize this functionality. Finally, we point to some possible extensions of the reference model.

Comics have a rich visual vocabulary, and people find them appealing. They are also an effective form of communication. We have built a system, called Comic Chat, that represents on-line communications in the form of comics. Comic Chat automates numerous aspects of comics generation, including balloon construction and layout, the placement and orientation of comic characters, the default selection of character gestures and expressions, the incorporation of semantic panel elements, and the choice of zoom factor for the virtual camera. This paper describes the mechanisms that Comic Chat uses to perform this automation, as well as novel aspects of the program’s user interface. Comic Chat is a working program, allowing groups of people to communicate over the Internet. It has several advantages over other graphical chat programs, including the availability of a graphical history, and a dynamic graphical presentation.

This paper describes an approach to the automatic presentation of multimedia documents based on parsing and syntax-directed translation using Relational Grammars. This translation is followed by a constraint solving mechanism to create the final layout. Grammatical rules provide the mechanism for mapping from a representation of the content of a presentation to forms that specify the media objects to be realized. These realization forms include sets of spatial and temporal constraints between elements of the presentation. Individual grammars encapsulate the "look and feel" of a presentation and can be used as generators of that style. By making the grammars sensitive to the requirements of the output medium, parsing can introduce flexibility into the information realization process. Keywords: Automatic design, grammar-directed design, visual languages, relational grammars, parsing, constraints 2: Introduction A fully functioning multimedia system requires a wide range of stages to achi...

This paper draws from art history and perception to place computer depiction in the broader context of picture production. It highlights the often underestimated complexity of the interactions between features in the picture and features of the represented scene. Depiction is not always a unidirectional projection from a 3D scene to a 2D picture, but involves much feedback and influence from the picture space to the object space. Depiction can be seen as a pre-existing 3D reality projected onto 2D, but also as a 2D pictorial representation that is superficially compatible with an hypothetic 3D scene. We show that depiction is essentially an optimization problem, producing the best picture given goals and constraints. We introduce a classification of basic depiction techniques based on four kinds of issue. The spatial system deals with the mapping of spatial properties between 3D and 2D (including, but not restricted to, perspective projection). The primitive system deals with the dimensionality and mappings between picture primitives and scene primitives. Attributes deal with the assignment of visual properties such as colors, texture, or thickness. Finally, marks are the physical implementations of the picture (e.g. brush strokes, mosaic cells). A distinction is introduced between interaction and picturegeneration methods, and techniques are then organized depending on the dimensionality of the inputs and outputs.

Researchers in non-photorealistic rendering have investigated the display of three-dimensional worlds using various display models. In particular, recent work has focused on the modeling of traditional artistic media and styles such as pen-and-ink illustration and watercolor painting. By providing 3D rendering systems that use these alternative display models users can generate traditional illustration renderings of their three-dimensional worlds. In this paper we present our graphite pencil 3D renderer. We have broken the problem of simulating pencil drawing down into four fundamental parts: (1) simulating the drawing materials (graphite pencil and drawing paper, blenders and kneaded eraser), (2) modeling the drawing primitives (individual pencil strokes and mark-making to create tones and textures), (3) simulating the basic rendering techniques used by artists and illustrators familiar with pencil rendering, and (4) modeling the control of the drawing composition. Each part builds upon the others and is essential to developing the framework for higher-level rendering methods and tools. In this paper we present parts 2, 3, and 4 of our research. We present non-photorealistic graphite pencil rendering methods for outlining and shading. We also present the control of drawing steps from preparatory sketches to finished rendering results. We demonstrate the capabilities of our approach with a variety of images generated from 3D models.

In next-generation virtual 3D simulation, training, and entertainment environments, intelligent visualization interfaces must respond to user-specified viewing requests so users can follow salient points of the action and monitor the relative locations of objects. Users should be able to indicate which object(s) to view, how each should be viewed, cinematic style and pace, and how to respond when a single satisfactory view is not possible. When constraints fail, weak constraints can be relaxed or multi-shot solutions can be displayed in sequence or as composite shots with simultaneous viewports. To address these issues, we have developed CONSTRAINTCAM, a real-time camera visualization interface for dynamic 3D worlds. It has been studied in an interactive testbed in which users can issue viewing goals to monitor multiple autonomous characters navigating through a virtual cityscape. CONSTRAINT~AM’S real-time performance in this testbed is encouraging.

We present design principles for creating effective assembly instructions and a system that is based on these principles. The principles are drawn from cognitive psychology research which investigated people’s conceptual models of assembly and effective methods to visually communicate assembly information. Our system is inspired by earlier work in robotics on assembly planning and in visualization on automated presentation design. Although other systems have considered presentation and planning independently, we believe it is necessary to address the two problems simultaneously in order to create effective assembly instructions. We describe the algorithmic techniques used to produce assembly instructions given object geometry, orientation, and optional grouping and ordering constraints on the object’s parts. Our results demonstrate that it is possible to produce aesthetically pleasing and easy to follow instructions for many everyday objects.