This paper describes a method for synthesizing images that match the texture appearanceof a given digitized sample. This synthesis is completely automatic and requires only the "target" texture as input. It allows generation of as much texture as desired so that any object can be covered. It can be used to produce solid textures for creating textured 3-d objects without the distortions inherent in texture mapping. It can also be used to synthesize texture mixtures, images that look a bit like each of several digitized samples. The approach is based on a model of human texture perception, and has potential to be a practically useful tool for graphics applications. 1 Introduction Computer renderings of objects with surface texture are more interesting and realistic than those without texture. Texture mapping [15] is a technique for adding the appearance of surface detail by wrapping or projecting a digitized texture image ontoa surface. Digitized textures can be obtained from a variety ...

This paper introduces particle systems--a method for modeling fuzzy objects such as fire, clouds, and water. Particle systems model an object as a cloud of primitive particles that define its volume. Over a period of time, particles are generated into the system, move and change form within the system, and die from the system. The resulting model is able to represent motion, changes of form, and dynamics that are not possible with classical surface-based representations. The particles can easily be motion blurred, and therefore do not exhibit temporal aliasing or strobing. Stochastic processes are used to generate and control the many particles within a particle system. The application of particle systems to the wall of fire element from the Genesis Demo sequence of the film Star Trek II: The Wrath of Khan [10] is presented.

We present a patch-based sampling algorithm for synthesizing textures from an input sample texture. The patch-based sampling algorithm is fast. Using patches of the sample texture as building blocks for texture synthesis, this algorithm makes high-quality texture synthesis a real-time process. For generating textures of the same size and comparable (or better) quality, patch-based sampling is orders of magnitude faster than existing texture synthesis algorithms. The patch-based sampling algorithm synthesizes high-quality textures for a wide variety of textures ranging from regular to stochastic. By sampling patches according to a non-parametric estimation of the local conditional MRF density, we avoid mismatching features across patch boundaries. Moreover, the patch-based sampling algorithm remains effective when pixel-based non-parametric sampling algorithms fail to produce good results. For natural textures, the results of the patch-based sampling look subjectively better.

The realistic depiction of smoke, steam, mist and water reacting to a turbulent field such as wind is an attractive and challenging problem. Its solution requires interlocking models for turbulent fields, gaseous flow, and realistic illumination. We present a model for turbulent wind flow having a deterministic component to specify large-scale behaviour, and a stochastic component to model turbulent small-scale behaviour. The small-scale component is generated using space-time Fourier synthesis. Turbulent wind fields can be superposed interactively to create subtle behaviour. An advection-diffusion model is used to animate particle-based gaseous phenomena embedded in a wind field, and we derive an efficient physically-based illumination model for rendering the system. Because the number of particles can be quite large, we present a clustering algorithm for efficient animation and rendering. CR Categories and Subject Descriptors: I.3.7 [Com- puter Graphics]: Three-Dimensional Graphics...

A new approach to ray tracing is introduced. The definition of a "ray" is extended into a cone by including information on the spread angle and the virtual origin. The advan-tages of this approach, which tries to model light propagation with more fidelity, include a better method of anti-aliasing, a way of calculating fuzzy shadows and dull reflections, a method of calculating the correct level of detail in a procedural model and texture map, and finally, a procedure for faster intersection calculation.

Natural lighting models to date have been limited to calculation of direct sunlight. However, this paper proposes an improved model for natural lighting calculations that adequately

Illustration using a coarse geometry clipmap (size n=31) View of the 216,000×93,600 U.S. dataset near Grand Canyon (n=255) Figure 1:Terrains rendered using geometry clipmaps, showing clipmap levels (size n×n) and transition regions (in blue on right). Rendering throughput has reached a level that enables a novel approach to level-of-detail (LOD) control in terrain rendering. We introduce the geometry clipmap, which caches the terrain in a set of nested regular grids centered about the viewer. The grids are stored as vertex buffers in fast video memory, and are incrementally refilled as the viewpoint moves. This simple framework provides visual continuity, uniform frame rate, complexity throttling, and graceful degradation. Moreover it allows two new exciting real-time functionalities: decompression and synthesis. Our main dataset is a 40GB height map of the United States. A compressed image pyramid reduces the size by a remarkable factor of 100, so that it fits entirely in memory. This compressed data also contributes normal maps for shading. As the viewer approaches the surface, we synthesize grid levels finer than the stored terrain using fractal noise displacement. Decompression, synthesis, and normal-map computations are incremental, thereby allowing interactive flight at 60 frames/sec.

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We present actively procedural multiresolution paint textures. Texture elements may be linearly combined to create complex composite textures that continue to refine themselves when viewed at successively greater magnification. Actively procedural textures constitute a powerful drawing tool that can be used in a multiresolution paint system. They provide a mechanism to generate an infinite amount of detail with a simple and compact representation. We give several examples of procedural textures and show how to create different painting effects with them. 1 Introduction The introduction of multiresolution paint systems is a recent development in the field of computer graphics, [10], [1], [5], [12]. In this type of system, the user can view and modify an image at any desired resolution. This is possible because the internal image representation supports multiple levels of detail. In multiresolution paint systems it is possible to make modifications at different image magnifications. T...

This paper describes the basis for techniques such as stochastic subdivision in the theory of random processes and estimation theory. The popular stochastic subdivision construction is then generalized to provide control of the autocorrelation and spectral properties of the synthesized random functions. The generalized construction is suitable for generating a variety of perceptually distinct high-quality random functions, including those with non-fractal spectra and directional or oscillatory characteristics. It is argued that a spectral modeling approach provides a more powerful and somewhat more intuitive perceptual characterization of random processes than does the fractal model. Synthetic textures and terrains are presented as a means of visually evaluating the generalized subdivision technique. Categories and Subject Descriptors: I.3.3 [Computer Graphics]: Picture/Image Generation; I.3.7 [Computer Graphics]: Three Dimensional Graphics and Realism -<F11.