NDLI: Proceedings of the 8th International Symposium on Non-Photorealistic Animation and Rendering (NPAR '10)

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A few good samples: shape & tone depiction for Hermite RBF implicits

Non-Photorealistic Rendering and the science of art

Compact explosion diagrams

Towards mapping the field of non-photorealistic rendering

Detail-preserving paint modeling for 3D brushes

Viewing progress in non-photorealistic rendering through Heinlein's lens

Diffusion constraints for vector graphics

Visual explanations

Directional texture transfer

Example-based stippling using a scale-dependent grayscale process

IR2s: interactive real photo to Sumi-e

Painterly animation using video semantics and feature correspondence

Progressive histogram reshaping for creative color transfer and tone reproduction

Self-similar texture for coherent line stylization

Sisley the abstract painter

Stylized depiction of images based on depth perception

Towards artistic minimal rendering

Vector fluid: a vector graphics depiction of surface flow

Video stylization for digital ambient displays of home movies

Proceedings of the 8th International Symposium on Non-Photorealistic Animation and Rendering (NPAR '10)

Content Provider	ACM Digital Library
Editor	Collomosse, John McGuire, Morgan
Copyright Year	2010
Abstract	Welcome to NPAR 2010, the eighth meeting of the International Symposium on Non-Photorealistic Animation and Rendering, taking place 7-10 June in Annecy, France. NPAR unites researchers and practitioners from both academia and industry who share the goal of synthesizing expressive imagery for the visual communication of ideas and information. On first beholding a daguerreotype in 1839, Delaroche decried, "From today, painting is dead!" Yet some of the best known painters today, including Monet, Renoir, Picasso, Cézanne, Braque, and Dali, had not yet set a brush to canvas. This holds powerful lesson for computer graphics. Artists in traditional media achieved realism and then transcended it, accessing new powers of expression through abstraction. Until the early nineties, computer rendering was following the 15th-century path of painting by seeking ever finer techniques for photorealism. Seminal papers like Haeberli's "Paint by Numbers" produced the first intentionally non-realistic images, and created a new field within computer graphics. Non-photorealistic rendering (NPR) was the equivalent of abstract impressionism in traditional art, and promises to be an integral part of the future of computer graphics. Non-photorealistic rendering has its roots in the emulation of both traditional media and the processes of artistic visualization and abstraction. Yet these goals have quickly diversified to span interfaces and interactive methods to aid the creative process, alongside novel camera models, image and video enhancement, and new models for composing and presenting 2D graphics, to name but a few. These challenges are much broader, and harder, than anyone might have expected in the nineties. This has promoted greater overlap between computer graphics and disciplines that seek to understand visual structure (computer vision) and the interface between users and computer graphics (psychology and human computer interaction). Many of the papers presented at the symposium this year can be considered to span at least two of these disciplines.
ISBN	9781450301251
Language	English
Publisher	Association for Computing Machinery (ACM)
Publisher Date	2010-06-07
Access Restriction	Subscribed
Content Type	Text
Resource Type	Conference Proceedings

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