Computer-assisted animation of line and paint in Disney's<i>Paperman</i>

Whited, Brian; Daniels, Eric; Kaschalk, Michael; Osborne, Patrick E.; Odermatt, Kyle

doi:10.1145/2343045.2343071

Cited by 20 publications

(11 citation statements)

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“…Its extension to 3D [Hanrahan and Haeberli 1990] led to painting systems such as Disney's Deep Canvas [Daniels 1999] and OverCoat [Schmid et al 2011]. Similar low-level interaction techniques have been proposed for line rendering from 3D models [Cardona and Saito 2015;Kalnins et al 2002;Whited et al 2012]. This resulted in systems that facilitate the creation, combination and application of non-photorealistic techniques in 3D such as Jot [Kalnins et al 2003], OpenNPAR [Halper et al 2003[Halper et al , 2002, RenderBots [Schlechtweg et al 2005] and more recently, Disney's Meander.…”

Section: Related Workmentioning

confidence: 99%

MNPR

Montesdeoca

Seah

Semmo

et al. 2018

Proceedings of the Joint Symposium on Computational Aesthetics and Sketch-Based Interfaces and Modeling and Non-Photorealistic

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Section: Related Workmentioning

confidence: 99%

MNPR

Montesdeoca

Seah

Semmo

et al. 2018

Proceedings of the Joint Symposium on Computational Aesthetics and Sketch-Based Interfaces and Modeling and Non-Photorealistic

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“…This is related to computer-assisted rotoscoping which aims to track edges in videos (Agarwala et al, 2004;O'Donovan and Hertzmann, 2012) with the benefit that perfect motion information can be computed from 3D animations. Disney "Paperman" (Whited et al, 2012) precisely follows such an approach to propagate hand-drawn strokes over CG renders. The main drawback of this system is that artists need to manually merge or split strokes when their topology should change to adapt to the animation.…”

Section: Animationmentioning

confidence: 99%

“…A separate problem is to build artist-friendly tools for authoring artistic styles. There have been various approaches explored in the literature, such as rotoscoping (Kalnins et al, 2002;Sabiston, 2001;Whited et al, 2012;Cardona and Saito, 2015) and procedural authoring (Grabli et al, 2010).…”

Section: Open Research Problemsmentioning

confidence: 99%

Line Drawings from 3D Models: A Tutorial

Bénard¹,

Hertzmann²

2019

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This tutorial describes the geometry and algorithms for generating line drawings from 3D models, focusing on occluding contours.The geometry of occluding contours on meshes and on smooth surfaces is described in detail, together with algorithms for extracting contours, computing their visibility, and creating stylized renderings and animations. Exact methods and hardware-accelerated fast methods are both described, and the trade-offs between different methods are discussed. The tutorial brings together and organizes material that, at present, is scattered throughout the literature. It also includes some novel explanations, and implementation tips.We believe that these topics ought to be known by anyone interested in understanding the curves in visual representational art. It is one where computer graphics can make a unique contribution. Arguably, the algorithmic simulation of line drawing is a crucial step in understanding visual art. Occluding contoursThis tutorial focuses on the curves known as occluding contours or, simply contours. In some computer graphics research, these have been called silhouettes, though the silhouettes are technically a separate set of curves, as we will describe below.The occluding contours of a simple 3D object are shown in Figure 1.1. As a first definition, suppose we have a 3D object that we wish to render from a specific viewpoint. The occluding contours are surface curves that separate visible parts from invisible parts. By rendering the visible portions of these 3D curves together with the object, we get a basic line drawing (Figure 1.1b).There are many different contour detection and rendering algorithms, and some significant tradeoffs between them. The most important tradeoff is between simple algorithms that produce approximate results, and more complex algorithms that give more precision, control, and stylization capabilities. Just rendering reasonable-looking contours as solid black lines is very straightforward for a graphics programmer. These most basic algorithms can be implemented in a few additional lines of code in an existing renderer, and have been implemented in many real-time applications, including many popular video games (one of the earliest was Jet Set Radio in 2000). However, if we wish to stylize the curves, for example, by rendering the curves with sketchy or calligraphic strokes (Figure 1.1d), things become more difficult. With a bit of perseverance, renderings with distinctive and lovely styles can be created. At times, these renderings may still contain topological artifacts that are not suitable for very high-end production. High-quality algorithms that remove these artifacts are more complex; in the extreme, no provably-correct algorithm exists for this problem. However, there are a number of partial solutions that are good enough to be used in many circumstances, and we discuss in detail the issues involved.Note that, formally, the occluding contour and occluding contour generator are separate curves in 2D and 3D. However, we will frequently use the te...

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“…The field emerged in the 1990s as a response to photorealism. The goal was to make an image that was created by an artists hand using traditional methods [3] such as watercolor [7], oil paints [12], or even traditional hand drawn animation [29]. These methods mix automation with input from artists and attempt to mimic what traditional artists can do.…”

Section: Non-photo Realistic Renderingmentioning

confidence: 99%

A process to create dynamic landscape paintings using barycentric shading with control paintings

Justice¹,

Akleman²

2018

ACM SIGGRAPH 2018 Posters

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In this work, we present a process that uses a Barycentric shading method to create dynamic landscape paintings that change based on the time of day. Our process allows for the creation of dynamic paintings for any time of the day using simply a limited number of control paintings. To create a proof of concept, we have used landscape paintings of Edgar Payne, one of the leading landscape painters of the American West. His specific style of painting that blends Impressionism with the style of other painters of the American West is particularly appropriate for the demonstration of the power of our Barycentric shading method.ii DEDICATION To my girlfriend Madison Kramer, Ergun Akleman, the employees of the Visualization Department, and my family.iii CONTRIBUTORS AND FUNDING SOURCES

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Computer-assisted animation of line and paint in Disney'sPaperman

Cited by 20 publications

References 0 publications

MNPR

MNPR

Line Drawings from 3D Models: A Tutorial

A process to create dynamic landscape paintings using barycentric shading with control paintings

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