6th Symposium on Non-Photorealistic Animation and Rendering
Annecy, June 9-11, 2008 Version française

Papers Program

Session 1 - Shapes, Labels and Lines

Partial Visibility for Stylized Lines
Forrester Cole and Adam Finkelstein

Dynamic Label placement for Improved Interactive Exploration
Thierry Stein and Xavier Décoret

Apparent Relief: a Shape Descriptor for Stylized Shading
Romain Vergne, Pascal Barla, Xavier Granier and Christophe Schlick

Session 2 - Binary Shading

Semi-Automatic Stencil Creation Through Error Minimization
Jonathan Bronson, Penny Rheingans and Marc Olano

Artistic Thresholding
Jie Xu and Craig S. Kaplan

Stylized Black and White Images from Photographs
David Mould and Kevin Grant

Session 3 - View and Shape Transformations

Rigid Shape Interpolation Using Normal Equations
William Baxter, Pascal Barla and Ken-ichi Anjyo

DynaFusion: a Modeling System for Interactive Impossible Objects
Shigeru Owada and Jun Fujiki

Non-linear Perspective Widgets for Creating Multiple-View Images
Nisha Sudarsanam, Cindy Grimm and Karan Singh

Session 4 - Groups and Mosaics

Cut-out Image Mosaics
Jeff Orchard and Craig S. Kaplan

3D Dynamic Grouping for Guided Stylization
Hedlena Bezerra, Elmar Eisemann, Xavier Décoret and Joëlle Thollot

Invited Speakers

New Power, New Problems
        What the videogames industry is learning about realism

Glenn Entis
Senior Vice President
Electronic Arts

In the past, the videogame industry didn’t have to worry about photorealism, game platforms just didn’t have the power to deliver highly realistic imagery, so there was no practical need for that particular debate. Now, the debate is on game platforms are more powerful, game imagery is narrowing the gap with pre-rendered imagery, and photorealism (or some version of it) is a possibility - sometimes an appropriate possibility, sometimes merely seductive, but always a part of the discussion.

In my talk I’ll address what we’ve learned in the videogame industry (or are struggling to learn) about the important questions of art direction, style, and how to make creative, compelling and emotionally impactful images and animation. In the course of this discussion, I’ll address issues such as:

  • Why Photorealism is an oxymoron but is not a style.
  • Why Photorealism is so critically important to the games industry, but how we can and do go overboard with it.
  • Why so many video games look alike.
  • How believability, particularly emotional believability (for characters) and interactive believability (in games), is different from realism
  • Why art direction the creative and analytical process by which the goal of an image, animation or game is aligned with the style in which it will be delivered becomes, more, not less, important as images become more sophisticated and/or realistic.

In his most recent role as Electronic Arts’ Worldwide Chief Visual and Technical Officer, Glenn Entis has been responsible for leading EA's worldwide community of over 3000 talented artists and engineers. Prior to EA, Glenn was CEO of DreamWorks Interactive, where he worked closely with Steven Spielberg and Jeffrey Katzenberg, and oversaw the development of the first titles in the Medal of Honor series. He joined EA when EA acquired DreamWorks Interactive in 2000.
Prior to joining DreamWorks in 1995, Glenn co-founded the pioneering animation studio Pacific Data Images (now part of DreamWorks Animation). During his twelve years at PDI, Glenn wrote software, animated, produced, and held key management positions as the company grew. In 1998 he received Scientific and Technical Award from the Academy of Motion Picture Arts and Sciences for his work at PDI.
Glenn graduated from Ohio Wesleyan University with a BFA in Fine Arts and a BA in Philosophy, and lives in Vancouver, BC, Canada with his wife and two teenage daughters.

From Flapping Birds to Space Telescopes:
        The Modern Science of Origami

Robert J. Lang
Alamo, California

The last decade of this past century has been witness to a revolution in the development and application of mathematical techniques to origami, the centuries-old Japanese art of paper-folding. The techniques used in mathematical origami design range from the abstruse to the highly approachable. In this talk, I will describe how geometric concepts led to the solution of a broad class of origami folding problems - specifically, the problem of efficiently folding a shape with an arbitrary number and arrangement of flaps, and along the way, enabled origami designs of mind-blowing complexity and realism, some of which you'll see, too. As often happens in mathematics, theory originally developed for its own sake has led to some surprising practical applications. The algorithms and theorems of origami design have shed light on long-standing mathematical questions and have solved practical engineering problems. I will discuss examples of how origami has enabled safer airbags, Brobdingnagian space telescopes, and more.

Robert J. Lang is recognized as one of the foremost origami artists in the world as well as a pioneer in computational origami and the development of formal design algorithms for folding. With a Ph.D. in Applied Physics from Caltech, he has, during the course of work at NASA/Jet Propulsion Laboratory, Spectra Diode Laboratories, and JDS Uniphase, authored or co-authored over 80 papers and 45 patents in lasers and optoelectronics as well as 8 books and a CD-ROM on origami. He is a full-time artist and consultant on origami and its applications to engineering problems but moonlights as the Editor-in-Chief of the IEEE Journal of Quantum Electronics.