StyLit

Fišer, Jakub; Jamriška, Ondřej; Lukáč, Michal; Shechtman, Eli; Asente, Paul; Lu, Jingwan; Sýkora, Daniel

doi:10.1145/2897824.2925948

Cited by 97 publications

(15 citation statements)

References 38 publications

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“…Based on the Image Analogy framework [Hertzmann et al 2001], several methods propose to reproduce watercolor effects from exemplars and make them evolve in time. Fišer et al [2016] describe a method to turn a photorealistically-rendered 3D model into a painted image. Taking advantage of global illumination information, their method produces believable interactive results for static imagery, but it has artifacts and temporal coherence issues when the 3D scene is animated.…”

Section: Image-space Methodsmentioning

confidence: 99%

Edge- and substrate-based effects for watercolor stylization

Montesdeoca

Seah

Bénard³

et al. 2017

Proceedings of the Symposium on Non-Photorealistic Animation and Rendering

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International audienceWe investigate characteristic edge-and substrate-based effects for watercolor stylization. These two fundamental elements of painted art play a significant role in traditional watercolors and highly influence the pigment's behavior and application. Yet a detailed consideration of these specific elements for the stylization of 3D scenes has not been attempted before. Through this investigation, we contribute to the field by presenting ways to emulate two novel effects: dry-brush and gaps & overlaps. By doing so, we also found ways to improve upon well-studied watercolor effects such as edge-darkening and substrate granulation. Finally, we integrated controllable external lighting influences over the watercolorized result, together with other previously researched watercolor effects. These effects are combined through a direct stylization pipeline to produce sophisticated watercolor imagery, which retains spatial coherence in object-space and is locally controllable in real-time

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Section: Image-space Methodsmentioning

confidence: 99%

Edge- and substrate-based effects for watercolor stylization

Montesdeoca

Seah

Bénard³

et al. 2017

Proceedings of the Symposium on Non-Photorealistic Animation and Rendering

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“…Two methods for stylizing objects and animations by example using the Image Analogies framework of Hertzmann et al (2001) have been developed (Bénard et al, 2013;Fišer et al, 2016).…”

Section: Object Shading and Texturingmentioning

confidence: 99%

“…Machine learning and example-based rendering could provide a way to author styles. So far, there has been very little effort combining machine learning and 3D NPR; exceptions include (Kalogerakis et al, 2012;Bénard et al, 2013;Fišer et al, 2016).…”

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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“…At the opposite end of the interaction spectrum, most generic example-based methods (e.g., [Bénard et al 2013;Fišer et al 2016]) lack intuitive local control of the style transfer, as discussed by Semmo et al [2017]. Only a few methods targeting a specific task or style, such as hatching illustration [Gerl and Isenberg 2013], offer tools that let the user guide the underlying synthesis algorithm.…”

Section: Related Workmentioning

confidence: 99%