y z y x Figure 1: With an original 3D scene (left), we generate a high relief (middle) that incorporates free-standing sculpture elements located within a limited depth range. Today, high reliefs can be produced thanks to additive fabrication technologies such as 3D printing (right). AbstractWe present a method for synthesizing high reliefs, a sculpting technique that attaches 3D objects onto a 2D surface within a limited depth range. The main challenges are the preservation of distinct scene parts by preserving depth discontinuities, the fine details of the shape, and the overall continuity of the scene. Bas relief depth compression methods such as gradient compression and depth range compression are not applicable for high relief production. Instead, our method is based on differential coordinates to bring scene elements to the relief plane while preserving depth discontinuities and surface details of the scene. We select a user-defined number of attenuation points within the scene, attenuate these points towards the relief plane and recompute the positions of all scene elements by preserving the differential coordinates. Finally, if the desired depth range is not achieved we apply a range compression. High relief synthesis is semi-automatic and can be controlled by user-defined parameters to adjust the depth range, as well as the placement of the scene elements with respect to the relief plane.

a b s t r a c tCubism, pioneered by Pablo Picasso and Georges Braque, was a breakthrough in art, influencing artists to abandon existing traditions. In this paper, we present a novel approach for cubist rendering of 3D synthetic environments. Rather than merely imitating cubist paintings, we apply the main principles of analytical cubism to 3D graphics rendering. In this respect, we develop a new cubist camera providing an extended view, and a perceptually based spatial imprecision technique that keeps the important regions of the scene within a certain area of the output. Additionally, several methods to provide a painterly style are applied. We demonstrate the effectiveness of our extending view method by comparing the visible face counts in the images rendered by the cubist camera model and the traditional perspective camera. Besides, we give an overall discussion of final results and apply user tests in which users compare our results very well with analytical cubist paintings but not synthetic cubist paintings.

We describe a model to calculate saliency of objects due to their motions. In a decision-theoretic fashion, perceptually significant objects inside a scene are detected. The work is based on psychological studies and findings on motion perception. By considering motion cues and attributes, we define six motion states. For each object in a scene, an individual saliency value is calculated considering its current motion state and the inhibition of return principle. Furthermore, a global saliency value is considered for each object by covering their relationships with each other and equivalence of their saliency value. The position of the object with highest attention value is predicted as a possible gaze point for each frame in the animation. We conducted several eye-tracking experiments to practically observe the motion-attention related principles in psychology literature. We also performed some final user studies to evaluate our model and its effectiveness.

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Providing multiple meanings in a single piece of art has always been intriguing to both artists and observers. We present Purkinje images, which have different interpretations depending on the luminance adaptation of the observer. Finding such images is an optimization that minimizes the sum of the distance to one reference image in photopic conditions and the distance to another reference image in scotopic conditions. To model the shift of image perception between day and night vision, we decompose the input images into a Laplacian pyramid. Distances under different observation conditions in this representation