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.
Proceeding Downloads
A few good samples: shape & tone depiction for Hermite RBF implicits
We present techniques for rendering Hermite Radial Basis Function (HRBF) Implicits in different pen-and-ink styles. HRBF Implicits is a simple and compact representation, providing three fundamental qualities: a small number of point-normal samples as ...
Compact explosion diagrams
This paper presents a system to automatically generate compact explosion diagrams. Inspired by handmade illustrations, our approach reduces the complexity of an explosion diagram by rendering an exploded view only for a subset of the assemblies of an ...
Detail-preserving paint modeling for 3D brushes
Recent years have witnessed significant advances in 3D brush modeling and simulation in digital paint tools. Compared with traditional 2D brushes, a 3D brush can be both more intuitive and more expressive by offering an experience closer to wielding a ...
Diffusion constraints for vector graphics
The formulation of Diffusion Curves [Orzan et al. 2008] allows for the flexible creation of vector graphics images from a set of curves and colors: a diffusion process fills out the parts of the image that are away from curves. However, this model has ...
Directional texture transfer
A texture transfer algorithm modifies the target image replacing the high frequency information with the example source image. Previous texture transfer techniques normally use such factors as color distance and standard deviation for selecting the best ...
Example-based stippling using a scale-dependent grayscale process
We present an example-based approach to synthesizing stipple illustrations for static 2D images that produces scale-dependent results appropriate for an intended spatial output size and resolution. We show how treating stippling as a grayscale process ...
IR2s: interactive real photo to Sumi-e
We propose an interactive sketch-based system for rendering oriental brush strokes on complex shapes. We introduce a contour-driven approach; the user inputs contours to represent complex shapes, the system estimates automatically the optimal trajectory ...
Painterly animation using video semantics and feature correspondence
We present an interactive system that stylizes an input video into a painterly animation. The system consists of two phases. The first is an Video Parsing phase that extracts and labels semantic objects with different material properties (skin, hair, ...
Progressive histogram reshaping for creative color transfer and tone reproduction
Image manipulation takes many forms. A powerful approach involves image adjustment by example. To make color edits more intuitive, the intelligent transfer of a user-specified target image's color palette can achieve a multitude of creative effects, ...
Self-similar texture for coherent line stylization
Stylized line rendering for animation has traditionally traded-off between two undesirable artifacts: stroke texture sliding and stroke texture stretching. This paper proposes a new stroke texture representation, the self-similar line artmap (SLAM), ...
Sisley the abstract painter
We present an interactive abstract painting system named Sisley. Sisley works upon the psychological principle [Berlyne 1971] that abstract arts are often characterized by their greater perceptual ambiguities than photographs, which tend to invoke ...
Stylized depiction of images based on depth perception
Recent works in image editing are opening up new possibilities to manipulate and enhance input images. Within this context, we leverage well-known characteristics of human perception along with a simple depth approximation algorithm to creatively ...
Towards artistic minimal rendering
Many nonphotorealistic rendering techniques exist to produce artistic effects from given images. Inspired by various artistic work such as Warhol's, interesting artistic effects can be produced by using a minimal rendering, where the minimum refers to ...
Vector fluid: a vector graphics depiction of surface flow
We present a simple technique for creating fluid silhouettes described with vector graphics, which we call "Vector Fluid." In our system, a solid region in the fluid is represented as a closed contour and advected by fluid flow to form a curly and clear ...
Video stylization for digital ambient displays of home movies
Falling hardware costs have prompted an explosion in casual video capture by domestic users. Yet, this video is infrequently accessed post-capture and often lies dormant on users' PCs. We present a system to breathe life into home video repositories, ...
Non-Photorealistic Rendering and the science of art
I argue that Non-Photorealistic Rendering (NPR) research will play a key role in the scientific understanding of visual art and illustration. NPR can contribute to scientific understanding of two kinds of problems: how do artists create imagery, and how ...
Towards mapping the field of non-photorealistic rendering
Non-photorealistic rendering (NPR) as a field of research is generally described by what it is not and as a result it is often hard to embrace the strengths of non-photorealistic rendering as a discipline beyond digitizing or replicating traditional ...
Viewing progress in non-photorealistic rendering through Heinlein's lens
The field of non-photorealistic rendering is reaching a mature state. In its infancy, researchers explored the mimicry of methods and tools used by traditional artists to generate works of art, through techniques like watercolor or oil painting ...
Visual explanations
Human perceptual processes organize visual input to make the structure of the world explicit. Successful techniques for automatic depiction, meanwhile, create images whose structure clearly matches the visual information to be conveyed. We discuss how ...
- Proceedings of the 8th International Symposium on Non-Photorealistic Animation and Rendering