Applications with 3D graphics often utilize high-resolution image textures to enhance re-alism. Image textures are stored as large files, which can result in significant storage spaceallocation for the application. Furthermore, image textures are also disadvantaged becausethey are static and lack flexibility. These issues could be addressed through the use of pro-cedurally generated textures, referred to as procedural textures. The thesis explored andinvestigated the feasibility of implementing procedural textures in Configura’s 3D interiordesign software CET. A procedural texture was implemented that showcased many posi-tive attributes of procedural textures, including: reduced storage space requirements, un-limited resolution, and versatile customization. To accomplish this, an iterative approachwas used as the methodology, where the procedural texture was gradually incorporatedinto CET. The procedural texture later underwent a performance evaluation. The resultsshowed that traditional textures allocate an order of magnitude more storage space thanthe procedural approach. Despite this, renderings times in CET remained similar. In tworendering tests, the procedural texture was measured to be 9% faster in the first test, and 3.4% slower in the second test. In conclusion, procedural texture have many benefits thatcompanies such as Configura could take advantage of.

Procedural textures and image textures are commonplace in graphics today, finding uses in such places as animated movies and video games. Unlike image texture maps, procedural textures typically suffer from minification aliasing. I present a method that, given a procedural texture on a surface, automatically creates an anti-aliased version of the procedural texture. The new procedural texture maintains the original textures details, but reduces minification aliasing artifacts. This new algorithm creates an image pyramid similar to MIP-Maps to represent the texture. Whereas a MIP-Map stores per-texel color, however, my texture hierarchy stores weighted sums of reflectance functions, allowing a wider-range of effects to be anti-aliased. The stored reflectance functions are automatically selected based on an analysis of the different functions found over the surface. When the texture is viewed at close range, the original texture is used, but as the texture footprint grows, the algorithm gradually replaces the textures result with an anti-aliased one. This results in faster development time for writing procedural textures as well as higher visual fidelity and faster rendering. With the optional addition of authoring guidelines, the analysis phase can be sped up by as much as two orders of magnitude. Furthermore, I developed a method for handling pre-filtered integration of reflectance functions to anti-alias specular highlights. The normal-centric BRDF (NBRDF) allows for fast evaluation over a range of normals appearing on the surface of an object. The NBRDF is easy to implement on the GPU for real-time results and can be combined with procedural reduction maps for real-time procedural texture minification anti-aliasing.

The goal of this thesis is to design and implement a program capable of automatically generating synthetic images of eye retinas. The generated images should be similar to those of real retinas, which are hard to obtain, so they could be used for development of various algorithms, which work with eye retina images in their place. This thesis describes anatomic properties of the eye retina, ways to take images of it and also usage of eye retina recognition in biometric and medicinal applications. Design of the program and the way in which individual parts of the retina are assembled together into the final image is also explained in this thesis. These individual parts are created using procedural textures in separate layers of the image. Next chapter of this work describes implementation details of the program. The conclusion then experimentally verifies suitability of the generated images for algorithmic processing.

This Master’s thesis investigates the application of dynamically generated procedural terrain textures for texturing 3D representations of the Earth’s surface. The study explores techniques to overcome limitations of the currently most common method – projecting satellite imagery onto the mesh – such as insufficient resolution for close-up views and challenges in accommodating external lighting models. Textures for sand, rock and grass were generated procedurally on the GPU. Aliasing was prevented using a clamping technique, dynamically changing the level of detail when freely navigating across diverse landscapes. The general color of each terrain type was extracted from the satellite images, guided by land cover rasters, in a process where shadows were eliminated using HSV color space conversion and filtering. The procedurally generated textures provide significantly more details than the satellite images in close-up views, while missing some information in medium- to far-distance views, due to the satellite images containing information lacking in the 3D mesh. A qualitative analysis spanning six data sets from diverse global locations demonstrates that the proposed methods are applicable across a range of landscapes and climates.

This work deals with ray tracing technique, focused to rendering of chess scene with procedural texture materials. Based on this knowledge, program that displays specified chess set is designed.

In computer graphics, textures are used to create detail along geometric surfaces. They are less computationally expensive than geometry, but this efficiency is traded for greater memory demands, especially with large output resolutions. Research has shown, that textures can be synthesized from low-resolution exemplars, reducing overall runtime memory cost and enabling applications, like remixing existing textures to create new, visually similar representations. In many modern applications, textures are not limited to simple images, but rather represent geometric detail in different ways, that describe how lights interacts at a certain point on a surface. Physically Based Rendering (PBR) is a technique, that employs complex lighting models to create effects like self-shadowing, realistic reflections or subsurface scattering. A set of multiple textures is used to describe what is called a material. In this thesis, example-based texture synthesis is extented to physical lighting models to create a physically based material synthesizer. It introduces a framework that is capable of utilizing multiple texture maps to synthesize new representations from existing material exemplars. The framework is then tested with multiple exemplars from different texture categories, to prospect synthesis performance in terms of quality and computation time. The synthesizer works in uv space, enabling to re-use the same exemplar material at runtime with different uv maps, reducing memory cost, whilst increasing visual varienty and minimizing repetition artifacts. The thesis shows, that this can be done effectively, without introducing inconsitencies like seams or discontiuities under dynamic lighting scenarios.:1. Context and Motivation 2. Introduction 2.1. Terminology: What is a Texture? 2.1.1. Classifying Textures 2.1.2. Characteristics and Appearance 2.1.3. Advanced Analysis 2.2. Texture Representation 2.2.1. Is there a theoretical Limit for Texture Resolution? 2.3. Texture Authoring 2.3.1. Texture Generation from Photographs 2.3.2. Computer-Aided Texture Generation 2.4. Introduction to Physically Based Rendering 2.4.1. Empirical Shading and Lighting Models 2.4.2. The Bi-Directional Reflectance Distribution Function (BRDF) 2.4.3. Typical Texture Representations for Physically Based Models 3. A brief History of Texture Synthesis 3.1. Algorithm Categories and their Developments 3.1.1. Pixel-based Texture Synthesis 3.1.2. Patch-based Texture Synthesis 3.1.3. Texture Optimization 3.1.4. Neural Network Texture Synthesis 3.2. The Purpose of example-based Texture Synthesis Algorithms 4. Framework Design 4.1. Dividing Synthesis into subsequent Stages 4.2. Analysis Stage 4.2.1. Search Space 4.2.2. Guidance Channel Extraction 4.3. Synthesis Stage 4.3.1. Synthesis by Neighborhood Matching 4.3.2. Validation 5. Implementation 5.1. Modules and Components 5.2. Image Processing 5.2.1. Image Representation 5.2.2. Filters and Guidance Channel Extraction 5.2.3. Search Space and Descriptors 5.2.4. Neighborhood Search 5.3. Implementing Synthesizers 5.3.1. Unified Synthesis Interface 5.3.2. Appearance Space Synthesis: A Hierarchical, Parallel, Per-Pixel Synthesizer 5.3.3. (Near-) Regular Texture Synthesis 5.3.4. Extented Appearance Space: A Physical Material Synthesizer 5.4. Persistence 5.4.1. Codecs 5.4.2. Assets 5.5. Command Line Sandbox 5.5.1. Providing Texture Images and Material Dictionaries 6. Experiments and Results 6.1. Test Setup 6.1.1. Metrics 6.1.2. Result Visualization 6.1.3. Limitations and Conventions 6.2. Experiment 1: Analysis Stage Performance 6.2.1. Influence of Exemplar Resolution 6.2.2. Influence of Exemplar Maps 6.3. Experiment 2: Synthesis Performance 6.3.1. Influence of Exemplar Resolution 6.3.2. Influence of Exemplar Maps 6.3.3. Influence of Sample Resolution 6.4. Experiment 3: Synthesis Quality 6.4.1. Influence of Per-Level Jitter 6.4.2. Influence of Exemplar Maps and Map Weights 7. Discussion and Outlook 7.1. Contributions 7.2. Further Improvements and Research 7.2.1. Performance Improvements 7.2.2. Quality Improvements 7.2.3. Methology 7.2.4. Further Problem Fields

This thesis deals with the creation of minimal graphics intro. Intro size is not extending 64kB. The base of the intro is procedurally generated terrain supplemented with procedural vegetation and texture representing clouds. It also has terrain texture and imported 3D models. As background music is music playing.

Made available in DSpace on 2014-12-17T15:48:13Z (GMT). No. of bitstreams: 1 LaurindoSBN.pdf: 1520391 bytes, checksum: 86f5072a56e661766a5174bce88b82d5 (MD5) Previous issue date: 2007-09-21 / Conselho Nacional de Desenvolvimento Cient?fico e Tecnol?gico / Non-Photorealisitc Rendering (NPR) is a class of techniques that aims to reproduce artistic techniques, trying to express feelings and moods on the rendered scenes, giving an aspect of that they had been made "by hand". Another way of defining NPR is that it is the processing of scenes, images or videos into artwork, generating scenes, images or videos that can have the visual appeal of pieces of art, expressing the visual and emotional characteristics of artistic styles. This dissertation presents a new method of NPR for stylization of images and videos, based on a typical artistic expression of the Northeast region of Brazil, that uses colored sand to compose landscape images on the inner surface of glass bottles. This method is comprised by one technique for generating 2D procedural textures of sand, and two techniques that mimic effects created by the artists using their tools. It also presents a method for generating 21 2D animations in sandbox from the stylized video. The temporal coherence within these stylized videos can be enforced on individual objects with the aid of a video segmentation algorithm. The present techniques in this work were used on stylization of synthetic and real videos, something close to impossible to be produced by artist in real life / Renderiza??o N?o Fotoreal?stica (NPR) ? uma classe de t?cnicas que almejam reproduzir t?cnicas art?sticas, tentado expressar sentimentos e emo??es nas cenas renderizadas, dando um aspecto de que foram feitas "manualmente". Outra forma de definir a NPR ? como o processamento de cenas, imagens ou v?deos para gera??o de trabalhos de arte, gerando cenas, imagens ou v?deos que podem ter o atrativo visual de pe?as art?sticas, expressando caracter?sticas visuais e emocionais do estilo art?stico. Esta disserta??o apresenta um novo m?todo de NPR para estiliza??o de imagens e v?deos baseado em uma express?o art?stica t?pica da regi?o Nordeste do Brasil, que usa areia colorida para compor imagens de paisagens na superf?cie interna de garrafas de vidro. Este m?todo possui uma t?cnica para gera??o de texturas procedurais de areia 2D, e duas t?cnicas que imitam os efeitos criados pelos artes?es usando sua ferramenta. Al?m disso, essa disserta??o apresenta tamb?m um m?todo para gera??o de anima??es 21 2D em caixas de areia a partir do v?deo estilizado. A coer?ncia temporal nos v?deos estilizados pode ser for?ada nos objetos individuais do v?deo com aux?lio de um algoritmo de segmenta??o de v?deo. As t?cnicas apresentadas neste trabalho s?o usadas na estiliza??o de v?deos reais e sint?ticos, algo quase imposs?vel de ser produzido pelo artes?o na vida real

This work deals with the creation of a graphic demo with the use of inverse kinematics. It explains the motivations that led to the creation of the demo; it briefly mentions the history of the demo as well as the principles of animation. It describes in detail the fundamentals of inverse kinematics as well as the terminology needed for the understanding of inverse kinematics. It also includes some selected algorithms. The issue of inverse kinematics is further developed in the part of the work where the principles of skinning are being described. The principles of the collision detection are also mentioned here. The conclusion consists of a detailed explanation of some of the techniques used in graphic demo, such as the L-systems or procedural textures.

The field of this project is size restricted graphic intro. The paper deals with motivation creating such an intro and talks briefly about history. Main focus is put on general description of various principles common in demo development, techiques used achieving the practical assignment are provided with more detailed description.