Video cubism (original) (raw)

Cubist style rendering from photographs

2003

Abstract The contribution of the paper is a novel nonphotorealistic rendering (NPR) technique, influenced by the style of Cubist art. Specifically, we are motivated by artists such as Picasso and Braque, who produced art work by composing elements of a scene taken from multiple points of view; paradoxically, such compositions convey a sense of motion without assuming temporal dependence between views.

Non-Photorealism in Interactive Rendering Systems

This project discusses interactive non-photorealistic rendering techniques. It is split up into two sections – outlining merhods and shading methods. Three outlining methods were implemented – stencilling, front-face culling and ink-sketching. Sten- cilling uses the stencil buffer to create a mask to draw the outline. Front-face culling uses edge localisation methods to draw the silhouette as well as the outline. Ink- sketching builds on front-face culling to make the edges look like they have been sketched with an ink pen. The second section discusses three shading methods – cellshading, ‘simple’ crosshatching and ‘fine’ crosshatching. The cellshading method uses 1D textures to make the shading of the model discrete. ‘Simple’ crosshatch- ing uses textures to shade shade the polygons. ‘Fine’ crosshatching moves beyond current research and refines the ‘simple’ crosshatching to make it more accurate on models with low polygon counts. All of the work presented in this paper is designed to work in real-time with speeds ranging from 24 to 60 frames per second.

2015 - Aesthetics of temporal and spatial transformations in virtual environments

Metaverse Creativity, 2015

Our common interaction with media based on motion, time and screen, such as cinema, television, video and animation, is built on the depiction of visual images one after another: the same visual space is rewritten continuously. Throughout history there have been alternative methods for interacting with a sequence of frames. Pioneering techniques like chronophotography and cyclography shared the same interests of recent artworks and scientific visualizations in capturing, tracing and representing movement in space. In this article, we introduce an experimental approach to represent video artworks as 3D models in virtual environments. Our aim is to contribute to the possibilities offered by contemporary computing techniques to explore alternative ways of interacting with motion media.

2013 - Motion Structures: Aesthetics of Spatial and Temporal Transformations

re-new digital arts forum, 2013

Time-based media such as video and film often depict visual images one after another: the same visual space is erased continuously. Alternative ways of interacting with the same sequence of frames have already been explored: as a grid of frames; as a flattened image averaging a set of frames based on a particular visual feature (e.g., maximum or minimum brightness); and more recently 3D explorations. In this contribution, we introduce an experimental approach to explore and interact with time-based media. We aim at studying spatial-temporal transformations represented as a 3D object and at contributing to the ongoing research on 3D forms and shapes. We present three recent productions created from video artworks. In the end, we reflect on potential uses of our productions.

Non-photorealistic rendering: a critical examination and proposed system

1994

In the first part of the program the emergent field of Non-Photorealistic Rendering is explored from a cultural perspective. This is to establish a clear understanding of what Non-Photorealistic Rendering (NPR) ought to be in its mature form in order to provide goals and an overall infrastructure for future development. This thesis claims that unless we understand and clarify NPR's relationship with other media (photography, photorealistic computer graphics and traditional media) we will continue to manufacture "new solutions" to computer based imaging which are confused and naive in their goals. Such solutions will be rejected by the art and design community, generally condemned as novelties of little cultural worth ( i.e. they will not sell). This is achieved by critically reviewing published systems that are naively described as Non-photorealistic or "painterly" systems. Current practices and techniques are criticised in terms of their low ability to artic...