We describe an image based rendering approach that generalizes many image based rendering algorithms currently in use including light field rendering and view-dependent texture mapping. In particular it allows for lumigraph style rendering from a set of input cameras that are not restricted to a plane or to any specific manifold. In the case of regular and planar input camera positions, our algorithm reduces to a typical lumigraph approach. In the case of fewer cameras and good approximate geometry, our algorithm behaves like view-dependent texture mapping. Our algorithm achieves this flexibility because it is designed to meet a set of desirable goals that we describe. We demonstrate this flexibility with a variety of examples. Keyword Image-Based Rendering 1

Figure 1: Four different textures pasted on the bunny model. The last picture illustrates changing local orientation and scale on the body. We present a method for creating texture over an arbitrary surface mesh using an example 2D texture. The approach is to identify interesting regions (texture patches) in the 2D example, and to repeatedly paste them onto the surface until it is completely covered. We call such a collection of overlapping patches a lapped texture. It is rendered using compositing operations, either into a traditional global texture map during a preprocess, or directly with the surface at runtime. The runtime compositing approach avoids resampling artifacts and drastically reduces texture memory requirements. Through a simple interface, the user specifies a tangential vector field over the surface, providing local control over the texture scale, and for anisotropic textures, the orientation. To paste a texture patch onto the surface, a surface patch is grown and parametrized over texture space. Specifically, we optimize the parametrization of each surface patch such that the tangential vector field aligns everywhere with the standard frame of the texture patch. We show that this optimization is solved efficiently as a sparse linear system.

Drawing surfaces using hatching strokes simultaneously conveys material, tone, and form. We present a real-time system for nonphotorealistic rendering of hatching strokes over arbitrary surfaces. During an automatic preprocess, we construct a sequence of mipmapped hatch images corresponding to different tones, collectively called a tonal art map. Strokes within the hatch images are scaled to attain appropriate stroke size and density at all resolutions, and are organized to maintain coherence across scales and tones. At runtime, hardware multitexturing blends the hatch images over the rendered faces to locally vary tone while maintaining both spatial and temporal coherence. To render strokes over arbitrary surfaces, we build a lapped texture parametrization where the overlapping patches align to a curvature-based direction field. We demonstrate hatching strokes over complex surfaces in a variety of styles. Keywords: non-photorealistic rendering, line art, multitexturing, chicken-and-egg problem 1

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This paper presents a new interactive rendering and display technique for complex scenes with expensive shading, such as global illumination. Our approach combines sparsely sampled shading (points) and analytically computed discontinuities (edges) to interactively generate high-quality images. The edge-and-point image is a new compact representation that combines edges and points such that fast, table-driven interpolation of pixel shading from nearby point samples is possible, while respecting discontinuities. The edge-and-point renderer is extensible, permitting the use of arbitrary shaders to collect shading samples. Shading discontinuities, such as silhouettes and shadow edges, are found at interactive rates. Our software implementation supports interactive navigation and object manipulation in scenes that include expensive lighting effects (such as global illumination) and geometrically complex objects. For interactive rendering we show that high-quality images of these scenes can be rendered at 8–14 frames per second on a desktop PC: a speedup of 20–60 over a ray tracer computing a single sample per pixel.

We introduce a method for real-time rendering of fur on surfaces of arbitrary topology. As a pre-process, we simulate virtual hair with a particle system, and sample it into a volume texture. Next, we parameterize the texture over a surface of arbitrary topology using “lapped textures ” — an approach for applying a sample texture to a surface by repeatedly pasting patches of the texture until the surface is covered. The use of lapped textures permits specifying a global direction field for the fur over the surface. At runtime, the patches of volume textures are rendered as a series of concentric shells of semi-transparent medium. To improve the visual quality of the fur near silhouettes, we place “fins ” normal to the surface and render these using conventional 2D texture maps sampled from the volume texture in the direction of hair growth. The method generates convincing imagery of fur at interactive rates for models of moderate complexity. Furthermore, the scheme allows real-time modification of viewing and lighting conditions, as well as local control over hair color, length, and direction. Additional Keywords: hair rendering, lapped textures, volume textures. 1.

Simulating hand-drawn illustration techniques can succinctly express information in a manner that is communicative and informative. We present a framework for an interactive direct volume illustration system that simulates traditional stipple drawing. By combining the principles of artistic and scientific illustration, we explore several feature enhancement techniques to create effective, interactive visualizations of scientific and medical datasets. We also introduce a rendering mechanism that generates appropriate point lists at all resolutions during an automatic preprocess, and modifies rendering styles through different combinations of these feature enhancements. The new system is an effective way to interactively preview large, complex volume datasets in a concise, meaningful, and illustrative manner. Volume stippling is effective for many applications and provides a quick and efficient method to investigate volume models.

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.

Non-photorealistic line drawing depicts 3D shapes through the rendering of feature lines. A number of characterizations of relevant lines have been proposed but none of these definitions alone seem to capture all visually-relevant lines. We introduce a new definition of feature lines based on two perceptual observations. First, human perception is sensitive to the variation of shading, and since shape perception is little affected by lighting and reflectance modification, we should focus on normal variation. Second, view-dependent lines better convey the shape of smooth surfaces better than view-independent lines. From this we define view-dependent curvature as the variation of the surface normal with respect to a viewing screen plane, and apparent ridges as the locus points of the maximum of the view-dependent curvature. We derive the equation for apparent ridges and present a new algorithm to render line drawings of 3D meshes. We show that our apparent ridges encompass or enhance aspects of several other feature lines.