Realistic Rendering of Plant Leaves

合集下载

全新版大学英语第二版综合教程4课后答案

全新版大学英语第二版综合教程4课后答案

Overview of the New College English Second Edition Comprehensive Tutorial
This tutorial is designed for college students to improve their English
proficiency and enhance their language skills
• Summarizing: Summarizing is the process of condensing a text into a shorter version that captures the main ideas and key points This can be done by identifying the most important information in each section of the text and then synthesizing it into a conclusion summary
03 Translation section answers and analysis
• Translation section answers and analysis
目录
• Answers and analysis for the writing section
• Answers and analysis for the listening section
01 Course Introduction and Background
• The textbook provides a wealth of authentic materials, such as news reports, academic articles, and cultural essays, to expose students to different types of English texts

美国文学思维导图

美国文学思维导图

Herman Melville
late period
The Confidence-Man Billy Budd
White Jacket
life on a United States man-of-war
explore the paradoxes of belief and the optimisms and hypocrisies of American life
The Marble Faun
about the dark aberrations of the human spirit
everyone possesses some evil secret
Young Goodman Brown
When he is about to be confirmed into the group, he finds his wife Faith is also there beside him concern with guilt and evil
literary is disturbed, tormented and problematical
"black" vision of life and human beings
特点
"there is evil in every human heart, which may remain latent, perhaps, through the whole life; but circumstances may rouse it to activity"
The Pequod
主要名称
hero: Ishmael Nhomakorabea作品

描写画画技术高超的英语作文

描写画画技术高超的英语作文

描写画画技术高超的英语作文英文回答:Painting and drawing are versatile forms of art, characterized by the use of various tools and techniques to create images. Mastering the art of drawing requires a combination of talent, practice, and technical skill.1. Understanding Composition and Perception:Skilled draftsmen understand the principles of composition, the arrangement of elements within an artwork to achieve visual harmony. They perceive the world around them with an eye for proportion, perspective, and form.2. Developing Hand-eye Coordination:Drawing effectively requires precise hand-eye coordination. Artists train their hands to translate their thoughts and observations into accurate lines and shapes onpaper or canvas.3. Mastery of Materials and Techniques:Proficient artists are familiar with the properties of different drawing materials, such as pencils, charcoal, and markers. They understand the techniques associated with each medium and employ them to create specific effects.4. Rendering Realistic Textures and Shadows:Skilled draftsmen can render realistic textures and shadows to add depth and realism to their drawings. They employ techniques such as cross-hatching, stippling, and blending to create the illusion of three dimensionality.5. Capturing Movement and Emotion:Accomplished artists can convey movement and emotion in their drawings. They use dynamic lines and body language to create a sense of energy and express the feelings of their subjects.6. Advanced Techniques:With experience, artists develop advanced techniques such as foreshortening, which involves drawing objects at an exaggerated angle to create an illusion of depth, and trompe l'oeil, which aims to create realistic illusions on a flat surface.7. Patience and Practice:Becoming a skilled draftsman requires patience and consistent practice. Artists spend countless hours observing, experimenting, and refining their techniques to achieve excellence.中文回答:绘画和素描是多才多艺的艺术形式,特点是用各种工具和技法创作图像。

写实记录美术技能范文

写实记录美术技能范文

写实记录美术技能范文英文回答:1. What are the key elements of a successful realistic painting?Accurate observation and rendering of forms, light, and shadow.Strong composition and perspective.Detailed brushwork and attention to texture.Understanding of color theory and mixing techniques.Patience and practice.2. What are the different techniques used for creating realistic paintings?Oil painting: Uses oil-based paints that are slow-drying and allow for blending and layering.Acrylic painting: Uses water-based paints that are quick-drying and have a matte finish.Watercolor painting: Uses water-based paints that are transparent and allow for layering and glazing.Drawing: Uses pencils, charcoal, or other dry media to create lines and tones.Mixed media: Uses a combination of different media to create texture and depth.3. What are the common mistakes made by beginner realists?Lack of observation: Not paying close attention to the subject and the details.Poor composition: Placing the subject awkwardly or inan uninteresting way.Incorrect perspective: Not accurately representing the 3D space on the 2D canvas.Flat lighting: Not creating enough contrast orvariation in light and shadow.Overworking the painting: Continuing to paint after the subject is already well-defined, resulting in a loss of detail.4. What are the benefits of practicing realism in painting?Improved observation skills: Develops the ability to see and analyze the world around you.Stronger technical skills: Improves brushwork, color mixing, and composition.Deeper understanding of art history: Connects to thetradition of realism in art.Increased confidence: Builds confidence in your ability to create realistic and believable works of art.5. What are the different ways to learn realistic painting?Formal instruction: Take classes or workshops at alocal art school or community center.Online tutorials: Find videos and tutorials that demonstrate various realistic painting techniques.Books and magazines: Study books and magazines dedicated to realistic painting.Practice: The most important factor is to practice regularly and experiment with different techniques.中文回答:1.成功的写实绘画的关键要素有哪些?准确的观察和表现形式、光影。

六年级下册英语第三单元作文画画

六年级下册英语第三单元作文画画

六年级下册英语第三单元作文画画Art has always been a powerful form of expression, and drawing is perhaps one of the most accessible and enjoyable ways to express oneself creatively. In the third unit of our sixth-grade English textbook, we are introduced to the joy of drawing, encouraging us to explore our imaginations and bring our ideas to life through the medium of a pencil and paper.Drawing can be a meditative process, one that requires focus and concentration. It's about observing the world around us, understanding its shapes, colors, and textures, and then translating those observations into something that is both personal and universal. Whether it's a simple sketch of a flower or a complex rendering of a landscape, each stroke of the pencil tells a story, expresses an emotion, or captures a moment in time.For many of us, drawing is a form of escape. It's a way to zone out from the stresses of daily life and immerse ourselves in a world that we create. Whether we're drawing a fantasy landscape, a cartoon character, or a realistic portrait, the process of creation itself is therapeutic.It's about finding joy in the simple act of putting pen to paper and watching our ideas take shape.But drawing is not just about self-expression. It'salso about connection. Drawing can be a powerful tool for communication, allowing us to share our ideas and stories with others. Whether it's through a doodle on a notebook or a detailed illustration in a comic book, drawings have the ability to capture people's imaginations and evoke emotions. In the sixth-grade English textbook, we are encouragedto explore different techniques and styles of drawing, from simple line drawings to more complex renderings withshading and detail. This variety not only helps us develop our skills as artists but also allows us to experiment with different ways of expressing ourselves.Drawing can also be a powerful tool for learning. It helps us develop our observation skills, teaching us to notice the small details that we might overlook in ourdaily lives. It also fosters creativity, encouraging us to think outside the box and create something new and unique.In conclusion, drawing is not just a hobby or a skill;it's a way of life. It's a medium that allows us to expressourselves, connect with others, and learn about the world around us. Through the third unit of our sixth-gradeEnglish textbook, we are given a window into the world of creativity and encouraged to explore the joy and power of drawing.**画画:创造力的窗口**艺术一直是一种强大的表达形式,而画画或许是其中最为易得且令人愉快的方式之一。

关于我最喜欢的动漫英语作文

关于我最喜欢的动漫英语作文

动漫的魅力:我的最爱Anime, a Japanese term for animated cartoons, has captivated me since my childhood. It is not just a form of entertainment but a window to a different world filled with exciting adventures, profound life lessons, cultural and unique insights. In this essay, I will delve into the reasons why anime has become my favorite genre of all time, exploring its diverse themes, captivating storylines, and impact on my personal growth.**The Diversity of Themes and Storylines**One of the most appealing aspects of anime is its diverse range of themes and storylines. Unlike traditional cartoons, anime often deals with complex and mature themes such as war, loss, friendship, love, and self-discovery. These themes are explored through intricate storylines that are both engaging and thought-provoking. For instance, the anime "Attack on Titan" tells a story of humans fightingfor survival against的巨大生物巨人)that threaten their existence. The series not only provides an adrenaline rush with its action-packed scenes but also explores themes ofbravery,牺牲精神),and the importance of unity and cooperation.**The Unique Art Style and Animation**Another reason for my love for anime is its unique art style and animation. Anime features a diverse range of character designs, colorful visuals, and innovative animation techniques. The characters are often beautifully drawn with intricate details, expressing a wide range of emotions through their facial expressions and body language. The animation is also highly detailed, with fluid movements and realistic rendering of environments. This visual style not only adds to the overall enjoyment of watching animebut also enhances the storytelling capabilities of the medium.**The Impact on Personal Growth**Finally, anime has had a profound impact on my personal growth. The themes and storylines of anime often deal with real-life issues and challenges, providing valuableinsights and lessons that help me navigate through life.For instance, the anime "Cowboy Bebop" teaches the importance of accepting one's past mistakes and movingforward, while "One Piece" emphasizes the value of perseverance and friendship. These lessons have helped me develop a more positive mindset and a stronger character. In conclusion, anime has become my favorite genre ofall time due to its diverse range of themes and storylines, unique art style and animation, and impact on my personal growth. It is not just a form of entertainment but a valuable tool for personal development and cultural understanding. I believe that the魅力 of anime lies in its ability to captivate its audience with its exciting adventures and profound life lessons while also providing a window to a different culture and way of thinking.**动漫的魅力:我的最爱**动漫,这个源自日本的动画术语,自从我小时候起就深深吸引了我。

基于L-system的植物模拟仿真

南开大学毕业设计中文题目:基于L-system的植物模拟仿真英文题目: Simulation of plants Based on L-system学生姓名系别计算机科学与信息工程系专业班级指导教师成绩评定目录1 绪论 (5)1.1 开发背景 (5)1.2 开发目的及意义 (7)1.3 主要研究内容及设计思路 (7)1.4 论文结构安排 (8)2 系统总体说明 (10)2.1 使用环境 (10)2.1.1 硬件配置要求 (10)2.1.2 软件配置要求 (10)2.2 系统主要功能 (10)2.3 系统主要特点 (10)3 开发环境与相关技术 (12)3.1 开发环境 (12)3.2 开发工具 (12)3.3 设计方法与技术 (12)3.3.1 设计方法 (12)3.3.2 设计技术 (13)4 仿真设计要点 (18)4.1 仿真总体设计 (18)4.1.1 仿真采用模式 (18)4.1.2 仿真采用结构 (18)4.1.3 仿真整体功能介绍 (18)4.2 L文法设计 (18)4.2.1 分解 (19)4.2.2 同态 (20)4.3 视图颜色设计技术 (22)4.4 植物外形设计 (22)4.4.1 叶子设计 (22)4.4.2 花瓣设计 (23)4.5 植物生长函数设计 (24)4.6 植物生长效果 (25)5 分析与结论 (27)5.1 创新点 (27)5.2 存在的问题 (27)5.3 经验和体会 (27)5.4 展望 (27)参考文献 (28)致谢 (29)附录1:相关英文文献 (30)附录2:英文文献中文译文 (38)摘要自然界普遍存在着不规则且复杂的现象。

而分形则是探讨自然界的复杂事物的客观规律及其内在联系的需要。

本文从分形学以及分形思想着手并以此引申出L-system 作为它的一个典型实例,对L-system基本原理和形式化描述做了细致的表述。

文章结合分形思想和L-system的形式化描述,着重对仿真的模型进行设计,给出了L-system的文法设计流程图。

景物渲染英语作文模板

景物渲染英语作文模板英文回答:Landscape Rendering Template。

Introduction。

A landscape rendering is a digital or hand-drawn representation of a natural environment. It can be used for a variety of purposes, such as architectural visualization, land planning, and environmental impact assessment.Key Elements of a Landscape Rendering。

The key elements of a landscape rendering include:Terrain: The shape and texture of the land.Vegetation: The types and distribution of plants.Water: The presence and flow of water.Structures: Buildings, roads, and other human-made features.Lighting: The direction and intensity of light.Software for Landscape Rendering。

There are a variety of software programs available for creating landscape renderings. Some of the most popular programs include:AutoCAD。

SketchUp。

Revit。

3ds Max。

Cinema 4D。

Steps for Creating a Landscape Rendering。

AI创作绘画关键词神兽

关键词Kirin, is a mythical creature in ancient China, from shanhai classic, they are painted with the lion's head, deer horn, big of eyes, lovely sitting, tang sancai four-legged creature that color of skin, Chinese mythology, Chinese god beast, and the classic, very large, the king of monsters, 8 k, super details, high realism, epic scenes, edge light, style of float world draw, Details, ar 9:16 Gluttony, is a mythical creature, in the classic ancient Chinese mountain, they are described as green skin four-legged alien creatures, with the shark teeth, eyes on the shoulder, eyes shining, and seas in the classical Chinese culture is described as fengshen, Chinese god beast, wings of a huge cloud, windfury huge explosion, release the power, lightning, movies, the epic scenes, vivid, light volume, Fantasy, surreal, highly detailed, octane rendering, light and shade contrast,Unreal Engine,symmetry, 4k,hdGluttony, is a mythical creature, in the classic ancient Chinese mountain, they are described as green skin four-legged alien creatures, with the shark teeth, eyes on the shoulder, eyes shining, and seas in the classical Chinese culture is described as fengshen, Chinese god beast, wings of a huge cloud, windfury huge explosion, release the power, lightning, movies, the epic scenes, vivid, light volume, Fantasy, surreal, highly detailed, octane rendering, light and shade contrast,Unreal Engine,symmetry,4k,hdmythical creature, setting conceptGluttony, is a mythical creature, in the classic ancient Chinese mountain, they are described as green skin four-legged alien creatures, with the shark teeth, eyes on the shoulder, eyes shining, and seas in the classical Chinese culture is described as fengshen, Chinese god beast, wings of a huge cloud, windfury huge explosion, release the power, lightning, movies, the epic scenes, vivid, light volume, Fantasy, surreal, highly detailed, octane rendering, light and shade contrast,Unreal Engine,symmetry,4k,hdgryphon mythical creatureportrait of a mythical creature, death, skull, 50% human 50% death, dark forest, smoke, high quality, excellent detail, dramatic lighting, 8KHDPortrait of a mythical creature, dark forest, smoke, a formidable dragon, red eyes, high quality, excellent detail, dramatic lighting, 8KHDdragon, mythical creatures, forest colors in backround, 3D, clumsyan anthropomorphic mythical creature, character design, fantasy art, cinematic lighting, soft natural lighting, visual clarity, tone mapping, color grading, enhance, retouch, outdoors, open sky, wide view, hyperrealism, hyper detailedthe great ouroboros, a self devouring dragon , detailed and realistic 3d model, intricate ornate skin, legendary creature, mythical, ultra high detail, unreal engine 5, lumen, vfx, post processing, ray tracing , white and fuchsia, hazy, shot by denis villeneuve, 35mm lens, color correctionJapanese Fox Mask Sticker - Japanese Folklore - Mythical Creature Decal - Mythology Nine Tailed Fox DecalsKirin, is a mythical creature in ancient China, from shanhai classic, they are painted with the lion's head, deer horn, big of eyes, lovely sitting, tang sancai four-legged creature that color of skin, Chinese mythology, Chinese god beast, and the classic, very large, the king of monsters, 8 k, super details, high realism, epic scenes, edge light, style of float world draw, Details, ar 9:16Majestic Phoenix, mythical creature, concept art, fiery aura, majestic, highly detailed, smoke, cinematic lighting, radiant, fantasy, swirling fire, glowingMajestic Phoenix, mythical creature, concept art, fiery aura, beautiful, highly detailed, smoke, cinematic lighting, radiant, fantasy, swirling fire, glowingMajestic Phoenix, mythical creature, concept art, fiery aura, beautiful, highly detailed, smoke, cinematic lighting, radiant, fantasy, swirling fire, glowing, watercolor styleMajestic Phoenix, mythical creature, concept art, fiery aura, beautiful, highly detailed, smoke, cinematic lighting, radiant, fantasy, swirling fire, glowing, japanese illustration styleMajestic Phoenix, mythical creature, concept art, fiery aura, beautiful, highly detailed, smoke, cinematic lighting, radiant, fantasy, swirling fire, glowing, chinese illustration style**surrealistic, digital collage style,, mesh of dark creatures and mythical monsters with random objects and elements, mysterious realm, dark magic, eerie, insidious, fierce, exciting, beautiful, magical, beautiful collage, ultra-realistic, realistic, photorealistic, smooth, hyperdetail, hypermaximalist, sharp focus, octane render, global illumination, art by artgerm, trending on artstation, 8k, super quality surrealistic, digital collage style, story, mesh of mythical monsters and dark creatures in scenes with random objects and elements, mysterious, storytelling, myths, interesting realm, dark magic, eerie, insidious, fierce, exciting, beautiful, magical, beautiful collage, ultra-realistic, realistic, photorealistic, smooth, hyperdetail, hypermaximalist, sharp focus, octane render, global illumination, art by artgerm, trending on artstation, 8k, super qualitysurrealistic, digital collage style,, mesh of dark legendary creatures and mythical special monsters with random objects and elements, mysterious, storytelling, myths, interesting realm, dark magic, eerie, insidious, fierce, exciting, beautiful, magical, beautiful collage, ultra-realistic, realistic, photorealistic, smooth, hyperdetail, hypermaximalist, sharp focus, octane render, global illumination, art by artgerm, trending on artstation, 8k, super qualitysurrealistic, digital collage style, dark creatures and mythical monsters in a magical and mysterious realm, dark magic, eerie, insidious, spells, beautiful collage, ultra-realistic, daylight, beautiful colors, realistic, ultra realistic, photorealistic, octane render, global illumination, art by artgerm, trending on artstation, 8k, super quality, full of detail**surrealistic, digital collage style, mythical scenes in strange realms, mesh of dark creatures and mythical monsters, mysterious realm, dark magic, eerie, insidious, fierce, exciting, beautiful, magical, beautiful collage, ultra-realistic, realistic, photorealistic, smooth, hyperdetail, hypermaximalist, sharp focus, octane render, global illumination, art by artgerm, trending on artstation, 8k, super qualitymythological bat, creature concept + creation bioluminescence, hyper detailed mythical, octane render cinematic lighting, volumetric lighting, unreal enginemythological bat, creature concept + creationbioluminescence, hyper detailed mythical, octane render cinematic lighting, volumetric lighting, unreal enginemythical creatures, Horns and hooves, setting conceptdark creature, dark red environment, mythical, dangerousA warrior in golden armor riding a mammoth fighting with the enemy., iper quality, iper detailed, intricate details, octan render, cinematic, standing facing the viewer, mythical creature, hermit, concept art, wide angle, full composition, dynamic lighting, cinematic,dark purple mythical angelic scary creature, angel wings, black fur, purple thunder surrounding him, dark purple eyes, unreal engine, realisticmythical creature , blue thunder surrounding him, red wings with katana in hand, crow with red eyes on his shoulder unreal engine , realisticforgotten mythical creature, art, detailed, happyWild Man Riding by a Mammoth in heavy gilded armor, standing facing the viewer, mythical creature, hermit, concept art, wide angle, full composition, dynamic lighting, cinematic, 4K, realistic, octane rendering,Cute kappa (mythical water-dwelling creature),PhotoReal, hyper qualityanime mythical creatures multicolor detailedA Wild Man warrior Riding by a Mammoth in heavy gilded armor, standing facing the viewer, mythical creature, hermit, concept art, wide angle, full composition, dynamic lighting, cinematic, 4K, realistic, octane rendering,zoo of mythical creatures, dragon, unicorn, phoenix, griffon, luminous, ethereal示例图更新时间热度2022-10-152022-10-152022-10-152022-10-152022-10-15840.7577380 2022-10-15842.11911672022-10-15842.180**** ****-10-15842.0621741 2022-10-15842.05452812022-10-15841.9956393 2022-10-15841.9950562 2022-10-15840.94451882022-10-15841.6904202 2022-10-15841.5475756 2022-10-15841.51477992022-10-15841.5079376 2022-10-15841.4671351 2022-10-15841.50094622022-10-15841.4877176 2022-10-15840.0528162 2022-10-15840.07487002022-10-15839.7812240 2022-10-15839.7902162 2022-10-15840.52670372022-10-15841.187**** ****-10-15841.184**** ****-10-15840.31664382022-10-15840.4251438 2022-10-15840.1937757 2022-10-15840.65166762022-10-15840.6351662 2022-10-15840.4246051 2022-10-15839.85675842022-10-15840.3189176 2022-10-15840.0573364 2022-10-15839.88471822022-10-15839.7430522。

喜羊羊

NPR Today•“Stylized Rendering Techniques for Scalable Real-Time 3D Animation”, Adam Lake, Carl Marshall, Mark Harris and Marc Blackstein, NPAR 2001•"Computer-Generated Pen-and-Ink Illustration of Trees", Oliver Deussen and Thomas Strothotte, SIGGRAPH 2000•"Sketchy Drawings", Marc Nienhaus and Jurgen Dollner, AfriGraph 2004 led路灯、无极灯、led景观灯 Stylized RenderingTechniques for Scalable Real-Time 3D AnimationPaper OverviewLeo Chao•Published–NPAR 2001•(Non-Photorealistic Animation and Rendering)–Authors•Adam Lake•Carl Marshall•Mark Harris•Marc Blackstein•Graphics Algorithms and 3D Technologies Group –Intel Architecture Labs•UNC –Chapel Hill•Prior Work–No novel techniques, adapts from prior works to hardware•Motion Lines–Maic Masuch. “Speedlines: Depicting Motion in Motionless Pictures.”ACM SIGGRAPH 99 Technical sketch.–Siu Chi Hsu and Irene H. H. Lee. "Drawing and Animation using Skeletal Strokes". In Proceedings of ACM SIGGRAPH 94, pages 109-118. 1994.•Silhouette Edges–Lee Markosian, Michael Kowalski, Samuel Trychi, Lubomir Bourdev, Daniel Goldstein, and John Hughes. Real-Time Nonphotorealistic Rendering. InProceedings of ACM SIGGRAPH 97, pages 113-122. 1997.•Cartoon ShadingContributions•Hardware Implementation of NPR Techniques–Stylistic Shading•Cartoon Shading•Pencil Sketch Shading–Stylistic Inking•Silhouette Edge Detection•Stylized Silhouette Rendering–Motion Lines•Fundamentals–Preprocess colour textures–Render as normal–Except:•Modify lighting/shading calculations•May require texture coordinate processing •“Painter”–Modified Shading Step –Cartoon Shading–Pencil Sketch Shading•Cartoon Shading–Reducing detail aids comprehension –No Smooth Shading•Color Reduction•Hard Transitions•Variants SimpleALGORITHM Cartoon ShadePreprocess:1.Calculate the illuminated diffuse color for each material:2. Calculate the shadowed diffuse color:3. For each material, create a texture with two colors-u=1 is coloured C i -u=0 is coloured C s ml m l m g i d d a a a a C ⨯+⨯+⨯=ml m g s a a a a C ⨯+⨯=C i Vertex ColorCs Shadow Diffuse Color a l Light Ambientd l Light Diffuse a m Material Ambientd m Material DiffuseALGORITHM Cartoon ShadeRuntime:1.Calculate the one-dimensional texture coordinate at each vertex2. Render the model using a standard graphics API -Lighting disabled-Enable texture mapping }0,{n L Max L normalized light vector•Pencil Sketch Shading–Extends cartoon shading to 2D textures–Extends cartoon shading to multiple textures –Multiple textures to represent light density–Associate texture coordinates•Project texture from the viewport onto the model•Fundamentals–Identify “important”edges•Silhouette•Border•Crease–Modify drawing of these edges •“Inker”–Modified Line Drawing –Visually important edge detection –Stylized edge drawing•Visually important edge detection –Silhouettes•Front-Face and Back-Face share an edge –Borders•Edge shared by two materials•Unshared polygon edge–Creases•Large dihedral angle between polygonsALGORITHM SEDPreprocess:1.Create edge-list structure with Edge Type flagsa.Create a unique edge list using a hash table.b.Edge Hash Function: sum the two vertexindicesc.Border Flag-Edges with only one neighboring face-Two neighboring faces with differentmaterialsd.Set crease flags-Non-deformable geometry-Dihedral angle of two faces > thresholdALGORITHM SEDRuntime:1.For deformable meshes:a.Calculate face normalsb.Detect crease edges from face normalsc.Set Crease Edge flags2. Detect silhouette edgesa.•Stylized “Important”Lines –Emphasis on these lines–Option 1: Straight Line•Fast/Easy–Option 2: Texture Maps•“Artistic”Style•Curvature driven “strokes”•Involves a graph driven search•This is a HACKMotion Lines•Gives the appearance of motion•For fast moving objects•Simple algorithm•Not much overhead–One circular buffer to maintain position data•Claim: Maintain Real-Time Speeds –30 fps, in 2001•Tests:–Integrated with a level of detail scheme–Altered model complexity to maintain FPSFuture Work•Inker–Better “artistic”lines•Painter–Pencil sketch “doesn’t look right”–Follow surface gradient perhaps •Incorporate other NPR techniques –Those used by artists–Doesn’t say which would amenableQuestions?•ques·tion(kw s ch n)n.–An expression of inquiry that invites or callsfor a reply.•heck·le (h k l)tr.v.–To try to embarrass and annoy (someonespeaking or performing in public) by questions, gibes, or objections“Computer-Generated Pen-and-Ink Illustration of Trees”(SIGGRAPH 2000)Oliver DeussenThomas StrothotteMotivation•The paper presents a method for creating pen-and-ink-like illustrations from detailed geometric models.•Motivated by the need for illustrative representations of plant life in architectural and landscape renderings.•We want to be able to produce images similar to this:Related Work•“Cartoon Tree” –Alvay Ray Smith–Use small disks to represent bunches of leaves •Reeves and Blau–Use structured particle system to represent realistic trees.•Kowalski et al.–Two step process1.Render shaded primitives that approximate foliage2.Overlay graftals on rendered image using Salisbury’s linedrawing methodRelated Work Examples•Kowalski’s Graftal Trees:•Reeves “particle forest”:•Smith’s “cartoon tree”:Traditional Illustration of Trees•The Skeleton is drawn up to the second level of branching.•Foliage is broken up into three parts:1.The directly lit canopy –represented by outlines and scarce innerdetail2.The half shadow –greater detail provides an overall darker greylevel3.The shaded area –achieved by thicker lines or drawing leaves inblack•Artists will general use a combination of these to draw the leaves. Rarely do they use all three.•The tree skeleton is represented by generalizedcylinders.•Analytical Silhouette Algorithms–Markosian et al.–Rakar and Cohen–Depth Differences•The skeleton is shaded with crosshatch marks. Marks could be placed using the algorithm outlined by Salisbury et al.–The authors actually use a variant of Floyd-Steinbergdiffusion that places strokes when the accumulated greyvalue is above a threshold.•The xfrog modeling system can generate models with 200,000 leaves on a tree. We want to pair this down to 10,000 or so.•Leaves are represented abstractly by particles: a location and an orientation vector.•The goal is to illustrate groups of with a set of strokes.•Idea: Render particles as primitives and use depth buffer information to determine which leaves are spatially close and outline them.Depth Differences•Initially, each particle is rendered with a view-facing primitive, such asa disk.•Basic Algorithm:–For each pixel compute the maximum positive difference between it and its neighbors•If the distance is above the given threshold, mark as an edge.Depth Differences Continued…•The threshold and primitive size can be varied to achieve different effects:Primitive size: 0.15Primitive size: 0.70Threshold: 1000Threshold: 2000•The threshold can be varied usingother buffers, achieving greater detailin areas that results in a shadowingeffect:Abstract Drawing Primitives•More realistic leaves can be achieved by using the particles’ orientation vectors to interpolate between a set of polygons that represent leaves from different viewsLevel-of-Abstraction•Two Approaches1.Convert raw z-buffer values from non-linear, projected values to linear valuesusing formula below and vary threshold according to depth:d: depth value between 0 and 1d0: minimal depth value (e.g. 0)d1: maximal depth value (e.g. 65535)z0: depth value of near clipping planez1: depth value of far clipping plane 2.Take advantage of the non-linearity to automatically generate more abstractrepresentations.–Geometry farther away will bepushed into fewer values in the z-buffer.– A tree in the background willrepresented by fewer strokes thanthe same tree in the foreground.Level of Abstraction Continued…•The level-of-abstraction can be furthered by scaling the primitives so that the amount of screen space they occupy is independent of their depth.r: scaling factord: desired screen spaces: actual screen spaceNo Scaling ScaledSoftware Implementation1.Calculate depth differences and mark pixels above threshold.•In the interactive mode this bitmap is directly used and blended with other geometry.2.Generate shadows in software. Large number of isolated surfacesprecludes hardware implementation.3.Vectorize bitmap using least squares fitting or primitive identificationmethod.•Draw lines using spline interpolation•Apply line stylesResultsFuture Work•Apply cross-hatch shading to the leaves•Create a continuous level-of-detail algorithm that stays performance while getting rid of artifacts that come with discrete representations.•Apply new styles and color for cartoons.•Questions?Sketchy DrawingsMarc Niehaus Jürgen Döllner University of Potsdam University of PotsdamSketchy Drawings•Sketchiness shows unfinished state •Useful for architectural and product designPrevious Work•G-Buffers (Saito & Takahashi 1990)•Edge enhancement (Nienhaus and Döllner 2003)•Loose and Sketchy filter (Curtis 1998)•Artistic Strokes (Northrup & Markosian 2000)Algorithm Overview•Obtain edge and shading data •Perturb this data to get sketchy look •Problem: It needs to be done in real timeG-Buffers•Need to access in real time•Depth/Color/Alpha/Stencil Buffer on graphics card •Textures•Current hardware allows multiple textures •Manipulate with fragment and pixel shadersEdge Map•Need to find edges for most NPR algorithms•Store three types of edges–Silhouette–Crease–Border•See Edge Enhancement (Nienhaus & Döllner 2003)for more detailsShade Map•Render unlit 3D geometry to capture flat colors•Store results in screen aligned texture instead of color bufferAdding Uncertainty•Apply uncertainty function to edge and shade maps •Store function in texture•Use Perlin function to get frame to frame consistency •Multiply uncertainty values with 2x2 matrix•Use different matrix for edge and shade maps to get a more sketchy feelEnd Result•Use shaders to combine results into texture •Render texture on screen-aligned quad。

  1. 1、下载文档前请自行甄别文档内容的完整性,平台不提供额外的编辑、内容补充、找答案等附加服务。
  2. 2、"仅部分预览"的文档,不可在线预览部分如存在完整性等问题,可反馈申请退款(可完整预览的文档不适用该条件!)。
  3. 3、如文档侵犯您的权益,请联系客服反馈,我们会尽快为您处理(人工客服工作时间:9:00-18:30)。

Realistic Rendering of Plant LeavesSuddha Kalyan BasuMay9,2006AbstractThis paper discusses a geometric and optical model for realistic real-istic of plant leaves.We have used a model for deformable thin shells torepresent the naturally curved shape of leaves and its dynamic reponse toimpulse,shear and stress.The optical model uses a simple BRDF func-tion,combined with a transparency map for each leaf.We show that weare able to generate realistic images,without having to model complexspatially varying BRDF functions on the leaf surfaces.1Modeling Leaves as a Thin ShellLeaves,unlike other deformable objects like cloth,rubber,have an undeformed curved shape.There has been lots of research into modeling deformable objects in the recent past,where materials like cloth have been modeled as a layout of triangulated tiles,where the dihedral angles at the edges between the tiles change.There are mainly two kinds of deformations:1.Intrinsic:Shear,Stress.Membrane deformations:Modeled using a spring-mass system.Preserves areas and lengths over the triangulated surface.2.Extrinsic:Beam bending(isometric).Modeled using torsional energies(and torques)on edges.Preserves shape of the model.11.1Energy Calculation The energy operator should be invariant over rigid body transformations.Flex-ural energy,W B ,or the bending potential is calculated using the derivative of the Gauss map ,also interpreted as the local curvature at a point on the surface.Membrane energy,W M ,is a measure of the sum of local changes in length and changes in area over the surface.Figure 1:Bending,Shear and Stress are not affected by rigid-bodynate frame.Typically,this hasn tensors.For example,shellhe second fundamental forms 17ormed configurations (pulling to the undeformed configura-Terzopoulos et al.introduced o the graphics community 25.orial expressions over smooth discretize to carry out the nu-e a discrete constitutive model tors over piecewise-linear sur-nts and our discrete treatment e same.However,the resulting discrete approach.derivative of the Gauss map ‡:e local curvature at a point onng energy is an extrinsic mea-n the shape operator evaluated med surfaces.We express this 25,our membrane and bending en-.The stiffness coefficients of the ctly carry over to the shell model.num plate is knowing the stiffness e to the unit sphere,mapping each ormal.or cloth simulations could not capture this behavior,wh earlier work on shell simulation required significant imp mentation and expertise (see also the color plate).difference as the squared difference of mean curvature :[Tr (ϕ∗S )−Tr (¯S )]2=4(H ◦ϕ−¯H )2,where ¯S and S are the shape operators evaluated over undeformed and deformed configurations respectively;li wise ¯H and H are the mean curvatures;ϕ∗S is the pull-ba of S onto ¯Ω,and we use Tr (ϕ∗S )=ϕ∗Tr (S )=Tr (S )◦ϕH ◦ϕfor a diffeomorphism ϕ.This measure is extrinsic sees only changes in the embedding of the surface in R This measure is invariant under rigid-body transformatio this ensures conservation of linear and angular momentu Integrating (1)over the reference domain we find the co tinuous flexural energy R ¯Ω4(H ◦ϕ−¯H )2d ¯A .Discretiz the integral over the piecewise linear mesh that represe the shell (see the appendix for a derivation),we express o discrete flexural energy as a summation over mesh edgW B (x )=∑e (θe −¯θe )2 ¯e /¯h e ,where θe and ¯θe are correspondi complements of the dihedral angle the deformed and undeformed confiuration respectively,and ¯h e is a third of the average of heights of the two triangles incident to the edge e (see the a pendix for another possible definition of ¯h e ).A contempo neous development (published in this volume)has arrived a similar formula:Bridson et al.6treat the bending and wr c The Eurographics Association 2Figure 2:Leaf deformation as a response to an impulse W M = e k M ∆l 2W B = e k B (θe −¯θe )2W =W B +W Mwhere,W is the total energy,k M is the stiffness of membrane edges and k B is the flexural stiffness.2Figure3:Leaf deformation as a response to an impulse2Rendering Plant LeavesPlant leaves are composed of semitransparentfianicfibres present on skins and leaves exhibit sub-surface scattering and other complex optical prop-erties.Photorealistic images of plant leaves cannot be accomplished by plain texture mapping,as the appearance of the surface is often quite‘hard’.We need to model properties like translucency,BRDF,BTDF,glossiness and sub-surface scattering.It has been studied from real data that leaves have spatially varying BRDF and BTDF functions.Also,properties like subsurface scattering is pretty complicated to model accurately,more so,for a generalized model.Figure4:Plant leaves:Calathea Zebrina and Aglaonema2.1Transparency mapWe generate the transparency map from the leaf texture simplefiltering tech-niques to get a map as shown in Figure6.2.2BRDF and ScatteringWe use the Henyey-Greenstein model for scattering of light on the leaf surface. This is a much simpler model as compared to the complex6-D spatially variant BRDF and BTDF functions used in earlier works.3Figure5:Transparency maps used to get softer shadows on leaves.43ResultsFigure7:Hypoestes Phylostachya.Figure8:Aglaonema.4Conclusion and Future WorkWhile there has been a lot of research into the rendering of plant leaves and modeling optical properties,we require a more elaborate geometrical model of the leaf to be integrated with it.Also,real-time rendering of plant leaves is still a challenging area.While there have been several methods implementsed using GPU accelerated techniques,they are based on approximations and are able to model only specific properties.In our experiments we have modeled household plants and shrubs with palm-sized leaves.We also need a generalized model for rendering of a larger variety of leaves,such as cactii,conifers and hairy plants.5Figure 9:Fittonia Verschaffeltii and Calathea Zebrina (on a simulated water surface).5AcknowlegementsI must thank Prof Dinesh Manocha and Prof.Ming Lin,for providing me guidance for this project.I must also thank all my colleagues for their valuable feedbacks and ideas.I am grateful to Nikunj Raghuvanshi,for helping me generate the final images.I have used the POV-Ray v3.6(Persistence-of-Vision Ray)software to render the scenes.Its free and available for download at .References1.“Chaotic Dynamics of Falling Disks”,Stuart B.Field,M.Klaus,M.G.Moore,and Franco Nori,Nature 388,252,1997.2.“Discrete Shells”,Eitan Grinspun,Anil Hirani,Mathieu Desbrun and Peter Schrder,Eurographics/SCA 2003.3.“Efficient Animation of Point-Sampled Thin Shells”,Martin Wicke,Denis Steinemann,Markus Gross in Proceedings of EUROGRAPHICS 2005.4.“Point Based Animation of Elastic,Plastic and Melting Objects”,Matthias Mller,Richard Keiser,Andrew Nealen,Mark Pauly,Marc Alexa,Markus Gross in Proceedings of the ACM SIGGRAPH/Eurographics Symposium on Computer Animation 2004.5.Lifeng Wang and Wenle Wang and Julie Dorsey and Xu Yang and Baining Guo and Heung-Yeung Shum,”Real-Time Rendering of Plant Leaves”,ACM Trans.Graph ’05.6.Baranoski,G.V.G.,and Rokne,J.2002.Light Interaction with Plants.SIGGRAPH ’02Course Notes.67.Pat Hanrahan,Wolfgang Krueger,Reflection from layered surfaces dueto subsurface scattering,Proceedings of the20th annual conference on Computer graphics and interactive techniques,p.165-174,September1993 8.Jacquemoud,S.,and Ustin,S.2001.Leaf optical properties:A state ofthe art.In Proc.8th Int.Symp.Physical Measurements and Signatures in Remote Sensing,223–232.7。

相关文档
最新文档