@inproceedings{Meier:1996:PRA,
optcitations =
{Haeberli:1990:PBN,Saito:1990:CRD,Salisbury:1994:IPI,Strassmann:1986:HB,Winkenbach:1994:CGP},
optnote = {},
optorganization = {},
author = {Barbara J. Meier},
optkey = {},
series = CGPACS,
optannote = {},
editor = {Holly Rushmeier},
address = {New York},
localfile = {papers/Meier.1996.PRA.pdf},
publisher = {ACM Press/ACM SIGGRAPH},
doi = {http://doi.acm.org/10.1145/237170.237288},
optmonth = {},
citeseer = {http://citeseer.nj.nec.com/meier96painterly.html},
optcrossref = {},
booktitle = SIGGRAPH96,
optstatus = {OK},
optvolume = {},
optnumber = {},
title = {{P}ainterly {R}endering for {A}nimation},
abstract = {We present a technique for rendering animations in a painterly
style. The difficulty in using existing still frame methods for
animation is getting the paint to ``stick'' to surfaces rather
than randomly change with each frame, while still retaining a
hand-crafted look. We extend the still frame method to animation
by solving two major specific problems of previous techniques.
First our method eliminates the ``shower door'' effect in which an
animation appears as if it were being viewed through textured
glass because brush strokes stick to the viewplane not to the
animating surfaces. Second, our technique provides for
frame-to-frame coherence in animations so that the resulting
frames do not randomly change every frame. To maintain coherence,
we model surfaces as 3d particle sets which are rendered as 2d
paint brush strokes in screen space much like an artist lays down
brush strokes on a canvas. We use geometric and lighting
properties of the surfaces to control the appearance of brush
strokes. This powerful combination of using 3d particles, surface
lighting information, and rendering 2d brush strokes in screen
space gives us the painterly style we desire and forces the brush
strokes to stick to animating surfaces. By varying lighting and
choosing brush stroke parameters we can create many varied
painterly styles. We illustrate the method with images and
animated sequences and present specific technical and creative
suggestions for achieving different looks.},
year = {1996},
pages = {477--484},
}
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