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Composition:Composition:
Basic Principles Mario Costa Sousa
University of Calgary
NPR Techniques Bruce Gooch
University of Utah
Animation Vision Image Processing
Computer Science + Art + Psychology
Rendering
Modeling
Materials
Measuring
Composition
Production
Basic Principles of CompositionBasic Principles of Composition
• What is Composition?
• Why Learn These Principles?
• Fulfilling the Purpose
• Selecting the Subject
• Drawing Steps
• What is Composition?
• Why Learn These Principles?
• Fulfilling the Purpose
• Selecting the Subject
• Drawing Steps
Basic Principles of CompositionBasic Principles of Composition
• Unity, Balance, Center of Interest• Unity, Balance, Center of Interest
Basic Principles of CompositionBasic Principles of Composition
• Achieving Emphasis with Light and Shade, Details, Contrasts
• Recomposing Forms
• Achieving Emphasis with Light and Shade, Details, Contrasts
• Recomposing Forms
What is Composition?What is Composition?
Putting together things and arranging
them in order, to make one unit of
them all
An art (difficult) in itself
Putting together things and arranging
them in order, to make one unit of
them all
An art (difficult) in itself
What is Composition?What is Composition?
Applied to any kind of subject matter
and to any kind of drawing/painting
(quickest sketch highly finished
rendering)
Applied to any kind of subject matter
and to any kind of drawing/painting
(quickest sketch highly finished
rendering)
BibliographyBibliography
• G. FranksPencil DrawingWalter Foster Publishing, Inc., 1988
• D. Lewis Pencil Drawing Techniques Watson Guptill Publications Inc., 1984
• G. PricePencil Drawing (from the Art is... Video Series)Crystal Productions, 1993
• G. FranksPencil DrawingWalter Foster Publishing, Inc., 1988
• D. Lewis Pencil Drawing Techniques Watson Guptill Publications Inc., 1984
• G. PricePencil Drawing (from the Art is... Video Series)Crystal Productions, 1993
Why Learn These Principles?Why Learn These Principles?
Two types of drawings:
• Naturalistic or realistic representations
• Personal interpretations of the subject– Our primary interest– Foundation of art
(imagination, originality, beauty)
Two types of drawings:
• Naturalistic or realistic representations
• Personal interpretations of the subject– Our primary interest– Foundation of art
(imagination, originality, beauty)
Why Learn These Principles?Why Learn These Principles?
You are able to delineate small detailsof buildings…
Do you have the ability to composethem into a complete whole?
You are able to delineate small detailsof buildings…
Do you have the ability to composethem into a complete whole?
Why Learn These Principles?Why Learn These Principles?
• Define commonly used terms• Discuss a few of the principles • Offer some specific advice• Hands-on Exercises!
• Define commonly used terms• Discuss a few of the principles • Offer some specific advice• Hands-on Exercises!
Fulfilling the Purpose : Rendering GoalsFulfilling the Purpose : Rendering Goals
• Poster Artist• Advertising Artist• Magazine Illustrator• Architectural Renderer• Fine Artist
• Poster Artist• Advertising Artist• Magazine Illustrator• Architectural Renderer• Fine Artist
Fulfilling the Purpose : Rendering GoalsFulfilling the Purpose : Rendering Goals
Poster Artist
• Extremely simple, directly expressed composition
• Must attract and hold the attention of the spectator
• Can be comprehended almost at a glance
Poster Artist
• Extremely simple, directly expressed composition
• Must attract and hold the attention of the spectator
• Can be comprehended almost at a glance
Fulfilling the Purpose : Rendering GoalsFulfilling the Purpose : Rendering Goals
Advertising Artist
• Must attract and hold attention to the object advertised
• Creating a favorable impression of that object
Advertising Artist
• Must attract and hold attention to the object advertised
• Creating a favorable impression of that object
Fulfilling the Purpose : Rendering GoalsFulfilling the Purpose : Rendering Goals
Magazine Illustrators
• Must make the magazine as a whole more attractive
• Should create in the mind of the spectator a desire to read the text it illustrates.
• Must correctly illustrate some thought in the story, supplementing or emphasizing, without giving away the whole plot.
Magazine Illustrators
• Must make the magazine as a whole more attractive
• Should create in the mind of the spectator a desire to read the text it illustrates.
• Must correctly illustrate some thought in the story, supplementing or emphasizing, without giving away the whole plot.
Fulfilling the Purpose : Rendering GoalsFulfilling the Purpose : Rendering Goals
Architectural Renderers
• Must picture some building (not yet built, placed in an imaginary environment)
• Drawing must look convincingly real, down to the last detail
• Well-trained memory + Fertile imagination
Architectural Renderers
• Must picture some building (not yet built, placed in an imaginary environment)
• Drawing must look convincingly real, down to the last detail
• Well-trained memory + Fertile imagination
Fulfilling the Purpose : Rendering GoalsFulfilling the Purpose : Rendering Goals
Fine Artist
• Imaginative painting not understood at a glance
• Its interest grows as it is studied
• All is not revealed at once
Fine Artist
• Imaginative painting not understood at a glance
• Its interest grows as it is studied
• All is not revealed at once
Fulfilling the Purpose : Precision X Art FreedomFulfilling the Purpose : Precision X Art Freedom
• There should be a definite purpose behind every drawing
• Everything done to the drawing should contribute towards the expression of this purpose
• There should be a definite purpose behind every drawing
• Everything done to the drawing should contribute towards the expression of this purpose
Fulfilling the Purpose : Precision X Art FreedomFulfilling the Purpose : Precision X Art Freedom
Communication process:
• illustrator should produce accurate work that is also pleasing to the eye in terms of balance and artistic handling of the subject
• Conceptual illustrations does not always require measurement and exact depiction; it allows more latitude for artistic license.
Communication process:
• illustrator should produce accurate work that is also pleasing to the eye in terms of balance and artistic handling of the subject
• Conceptual illustrations does not always require measurement and exact depiction; it allows more latitude for artistic license.
Composition and NPRComposition and NPR• Jarvis
Architecture-by-yourself: an experiment with computer graphics for house design SIGGRAPH '76
• D.D. Seligmann and S. Feiner Automated generation of Intent Based 3D Illustration SIGGRAPH ‘91
• Schofield Non-photorealistic Rendering: A critical examination and proposed system PhD thesis, Middlesex University, 1994
• Jarvis Architecture-by-yourself: an experiment with computer graphics for house design SIGGRAPH '76
• D.D. Seligmann and S. Feiner Automated generation of Intent Based 3D Illustration SIGGRAPH ‘91
• Schofield Non-photorealistic Rendering: A critical examination and proposed system PhD thesis, Middlesex University, 1994
Composition and NPRComposition and NPR
• Strothotte et al. How to Render Frames and Influence People Eurographics '94
• Winkenbach and Salesin Computer-Generated Pen-and-Ink IllustrationSIGGRAPH '94
• Carpendale et al. Making distortions comprehensibleIEEE Symposium on Visual Languages '97
• Strothotte et al. How to Render Frames and Influence People Eurographics '94
• Winkenbach and Salesin Computer-Generated Pen-and-Ink IllustrationSIGGRAPH '94
• Carpendale et al. Making distortions comprehensibleIEEE Symposium on Visual Languages '97
Composition and NPRComposition and NPR
• Streit and Buchanan Importance Driven Halftoning Eurographics '98
• Sousa and Buchanan Computer-Generated Graphite Pencil Rendering of 3D Polygonal Models Eurographics '99
• Agrawala et al. Artistic Multiprojection RenderingEurographics Workshop Rendering ‘00
• Streit and Buchanan Importance Driven Halftoning Eurographics '98
• Sousa and Buchanan Computer-Generated Graphite Pencil Rendering of 3D Polygonal Models Eurographics '99
• Agrawala et al. Artistic Multiprojection RenderingEurographics Workshop Rendering ‘00
Composition and NPRComposition and NPR
• Gooch et al. Artistic Composition for Image CreationEurographics Workshop Rendering ‘01
• Kowalski et al. User-Guided Composition Effects For Art-Based Rendering I3D ‘01
• Gooch et al. Artistic Composition for Image CreationEurographics Workshop Rendering ‘01
• Kowalski et al. User-Guided Composition Effects For Art-Based Rendering I3D ‘01
Composition and NPRComposition and NPR
• Gooch and Willemsen Evaluating Space Perception in NPR Immersive EnvironmentsNPAR ‘02
• Singh A Fresh PerspectiveGraphics Interface ‘02
• Gooch and Willemsen Evaluating Space Perception in NPR Immersive EnvironmentsNPAR ‘02
• Singh A Fresh PerspectiveGraphics Interface ‘02
NPR SystemsNPR Systems
COMPOSITIONCOMPOSITION
RENDERINGRENDERING
PRIMITIVESPRIMITIVES
MEDIAMEDIA Pen-and-ink, pencil, watercolor, …Pen-and-ink, pencil, watercolor, …
Strokes, brushes, erasers, blenders, …Strokes, brushes, erasers, blenders, …
Image, Object, HardwareImage, Object, Hardware
Stages, layout, emphasis, …Stages, layout, emphasis, …
COMPOSITIONCOMPOSITION
Principles
Steps
Selection Study
Subject
Finished Rendering
Initial Sketch
Unity
Balance • Shape• Value• Proximity• Motion• Sheet Space
Center of Interest
Light and Shade
Details
Contrast
Emphasis
COMPOSITIONCOMPOSITION
Principles
Selection Study
Subject
Finished Rendering
Initial Sketch
Unity
Balance • Shape• Value• Proximity• Motion• Sheet Space
Center of Interest
Light and Shade
Details
Contrast
Emphasis
Steps
The SubjectThe SubjectThe SubjectThe Subject
Select it Properly
Study It!• Extract major geometric features• Highlights to visually eliminate extraneous
details and reduce the subject to simple lights and darks
• Textures, angles where different forms join, perspective, foreshortening
Select it Properly
Study It!• Extract major geometric features• Highlights to visually eliminate extraneous
details and reduce the subject to simple lights and darks
• Textures, angles where different forms join, perspective, foreshortening
COMPOSITIONCOMPOSITION
Principles
Stages
Selection Study
Subject
Finished Rendering
Initial Sketch
Unity
Balance • Shape• Value• Proximity• Motion• Sheet Space
Center of Interest
Light and Shade
Details
Contrast
Emphasis
Drawing StagesDrawing Stages
• Control the composition of a drawing work from the initial sketch to the finished rendering
• The rendering proceeds in layered steps emulating the process that artists take to make sure that the composition is correct at specific steps
• Control the composition of a drawing work from the initial sketch to the finished rendering
• The rendering proceeds in layered steps emulating the process that artists take to make sure that the composition is correct at specific steps
Drawing StagesDrawing StagesDrawing StagesDrawing Stages
Drawing StagesDrawing StagesDrawing StagesDrawing Stages
[Sousa and Buchanan 99]
COMPOSITIONCOMPOSITION
Principles
Selection Study
Subject
Finished Rendering
Initial Sketch
Balance • Shape• Value• Proximity• Motion• Sheet Space
Center of Interest
Light and Shade
Details
Contrast
Emphasis
UnitySteps
UnityUnityUnityUnity
Composition a homogeneous whole
All the parts must be related and somerge or blend together that theybecome a single unit, expressing onemain thought
Composition a homogeneous whole
All the parts must be related and somerge or blend together that theybecome a single unit, expressing onemain thought
UnityUnityUnityUnity
Depends on the proper selection/studyand emphasis of the subject
Each detail must be given just theamount of attention proportionate to itsimportance
Depends on the proper selection/studyand emphasis of the subject
Each detail must be given just theamount of attention proportionate to itsimportance
UnityUnityUnityUnity
Lack of unit!
• Objects are not sufficiently well related by use to ever become a satisfying single whole
UnityUnityUnityUnity
A fine composition unit!
Architectural RenderingArchitectural RenderingArchitectural RenderingArchitectural Rendering
Certain accessories are made tooimportant in relation to the architectureitself
These accessories are often indicated• Trees are shown in an inconspicuous manner• Clouds are either omitted or lightly indicated• Shadows simplified
Certain accessories are made tooimportant in relation to the architectureitself
These accessories are often indicated• Trees are shown in an inconspicuous manner• Clouds are either omitted or lightly indicated• Shadows simplified
Architectural RenderingArchitectural RenderingArchitectural RenderingArchitectural Rendering
Architectural RenderingArchitectural RenderingArchitectural RenderingArchitectural Rendering
Architectural RenderingArchitectural RenderingArchitectural RenderingArchitectural Rendering
[Jarvis 76]
Architectural RenderingArchitectural RenderingArchitectural RenderingArchitectural Rendering
[Schofield 94]
Subject MatterSubject Matter(141 refs)(141 refs)Subject MatterSubject Matter(141 refs)(141 refs)
COMPOSITIONCOMPOSITION
Principles
Selection Study
Subject
Finished Rendering
Initial Sketch
Balance • Shape• Value• Proximity• Motion• Sheet Space
Center of Interest
Light and Shade
Details
Contrast
Emphasis
UnitySteps
BalanceBalanceBalanceBalance
Part of the principle of unity withoutbalance there could be no unity
Establishing the equilibrium that resultsfrom having all the parts of thecomposition so arranged that eachreceives just its correct share ofattention
Part of the principle of unity withoutbalance there could be no unity
Establishing the equilibrium that resultsfrom having all the parts of thecomposition so arranged that eachreceives just its correct share ofattention
BalanceBalanceBalanceBalance
Every part of a picture has a certainattractive force which acts upon the
eye
In proportion to its power of attract, itdetracts from every other part
Every part of a picture has a certainattractive force which acts upon the
eye
In proportion to its power of attract, itdetracts from every other part
BalanceBalanceBalanceBalance
If we find our interest in a drawingdivided definitely between severalparts—if certain tones or lines seem tooinsistent or prominent—we know thatthe composition is lacking in balance
If we find our interest in a drawingdivided definitely between severalparts—if certain tones or lines seem tooinsistent or prominent—we know thatthe composition is lacking in balance
BalanceBalanceBalanceBalance
Each part of a drawing depends on aninfinite number of variablecircumstances
Basic variables: shape, value,proximity, motion, sheet space
Each part of a drawing depends on aninfinite number of variablecircumstances
Basic variables: shape, value,proximity, motion, sheet space
Balance: ShapeBalance: ShapeBalance: ShapeBalance: Shape
Curve-shaped forms has more strength to attract than straight forms of similar size
Star-shaped forms or a triangle has more strength to attract than a square or rectangle of similar size
Balance: ValueBalance: ValueBalance: ValueBalance: Value
Which square will exert strongest force?
Dark square White square
Balance: ProximityBalance: ProximityBalance: ProximityBalance: Proximity
Considerable attention
Much less noticeable
Balance: MotionBalance: MotionBalance: MotionBalance: Motion
[Strothotte et al. 94]
A moving object or one which suggests motion will be more prominent than a similar object in repose.
Balance: Sheet SpaceBalance: Sheet SpaceBalance: Sheet SpaceBalance: Sheet Space
Objects near the edges of the sheet, or in the corners, usually arrest the eye more quickly than they would if nearer the center of the paper.
COMPOSITIONCOMPOSITION
Principles
Selection Study
Subject
Finished Rendering
Initial Sketch
Balance • Shape• Value• Proximity• Motion• Sheet Space
Center of Interest
Light and Shade
Details
Contrast
Emphasis
UnitySteps
Center of InterestCenter of InterestCenter of InterestCenter of Interest
Assumption: artist is looking mainly inone fixed direction at some interestingobject
Assumption: artist is looking mainly inone fixed direction at some interestingobject
Center of InterestCenter of InterestCenter of InterestCenter of Interest
The object becomes the center ofinterest or the point of focus
The strongest contrasts and sharpestdetails appear at this center of interest,and grow less and less distinct towardsthe edges of the paper.
The object becomes the center ofinterest or the point of focus
The strongest contrasts and sharpestdetails appear at this center of interest,and grow less and less distinct towardsthe edges of the paper.
Center of InterestCenter of InterestCenter of InterestCenter of Interest
Every drawing imitative of nature (i.e.,landscape, street scenes, buildings)should have the center of interestemphasized, and all else subordinate to it.
Be careful not to have two or morecenters showing equal emphasis!
Every drawing imitative of nature (i.e.,landscape, street scenes, buildings)should have the center of interestemphasized, and all else subordinate to it.
Be careful not to have two or morecenters showing equal emphasis!
Center of InterestCenter of InterestCenter of InterestCenter of Interest
[Strothotte et al. 94]
Center of InterestCenter of InterestCenter of InterestCenter of Interest
[Winkenbach and Salesin 94]
COMPOSITIONCOMPOSITION
Principles
Selection Study
Subject
Finished Rendering
Initial Sketch
Balance • Shape• Value• Proximity• Motion• Sheet Space
Center of Interest
Light and Shade
Details
Contrast
Emphasis
UnitySteps
Achieving EmphasisAchieving EmphasisAchieving EmphasisAchieving Emphasis
Light and ShadeLight and Shade • Composing with Values• Decorative Values• Value Studies• Exercises in Value Composition
DetailsDetails • Creating a Focal Point
Light and ShadeLight and Shade • Composing with Values• Decorative Values• Value Studies• Exercises in Value Composition
DetailsDetails • Creating a Focal Point
Achieving EmphasisAchieving EmphasisAchieving EmphasisAchieving Emphasis
ContrastsContrasts
• Illusion with Values• Interpreting Sunshine• Blacker than Black, Whiter than White• Modifications• Using Contrast for Focus
ContrastsContrasts
• Illusion with Values• Interpreting Sunshine• Blacker than Black, Whiter than White• Modifications• Using Contrast for Focus
COMPOSITIONCOMPOSITION
Principles
Selection Study
Subject
Finished Rendering
Initial Sketch
Balance • Shape• Value• Proximity• Motion• Sheet Space
Center of Interest
Light and Shade
Details
Contrast
Emphasis
UnitySteps
Achieving Emphasis :Achieving Emphasis :Light and ShadeLight and ShadeAchieving Emphasis :Achieving Emphasis :Light and ShadeLight and Shade
Composing with Values• An important compositional device: a
single subject, many value schemes• Exercise: Draw a simple house with:
– Light from left– Light from right– Light from behind– Roofs light, walls dark– Walls light, roofs dark– Building light against dark
Composing with Values• An important compositional device: a
single subject, many value schemes• Exercise: Draw a simple house with:
– Light from left– Light from right– Light from behind– Roofs light, walls dark– Walls light, roofs dark– Building light against dark
Achieving Emphasis :Achieving Emphasis :Light and ShadeLight and ShadeAchieving Emphasis :Achieving Emphasis :Light and ShadeLight and Shade
Composing with Values Composing with Values
An important compositional device:a single subject, many value schemes
Achieving Emphasis :Achieving Emphasis :Light and ShadeLight and ShadeAchieving Emphasis :Achieving Emphasis :Light and ShadeLight and Shade
Composing with Values Composing with Values
Achieving Emphasis :Achieving Emphasis :Light and ShadeLight and ShadeAchieving Emphasis :Achieving Emphasis :Light and ShadeLight and Shade
Composing with Values Composing with Values
Achieving Emphasis :Achieving Emphasis :Light and ShadeLight and ShadeAchieving Emphasis :Achieving Emphasis :Light and ShadeLight and Shade
Decorative or Conventionalized ValuesDecorative or Conventionalized Values
• No tonal matching
• Artist is simply creating a design
• Exercise: conventionalize treatment with simple values
Achieving Emphasis :Achieving Emphasis :Light and ShadeLight and ShadeAchieving Emphasis :Achieving Emphasis :Light and ShadeLight and Shade
Decorative or Conventionalized ValuesDecorative or Conventionalized Values
• No tonal matching
• Artist is simply creating a design
Achieving Emphasis :Achieving Emphasis :Light and ShadeLight and ShadeAchieving Emphasis :Achieving Emphasis :Light and ShadeLight and Shade
Value StudiesValue Studies
• Drawing from Photographs: one of the best approaches!
• ~ 170 NPR references
Achieving Emphasis :Achieving Emphasis :Light and ShadeLight and ShadeAchieving Emphasis :Achieving Emphasis :Light and ShadeLight and Shade
Value Studies Drawing from Photographs
Hertzmann, Painterly Rendering with Curved Brush Strokes of Multiple Size, SIGGRAPH '98
Kasao and Nakajima, A Resolution Independent Nonrealistic Imaging System for Artistic Use, ICMCS '98
Sousa and Buchanan, Observational Model of Graphite Pencil Materials, Computer Graphics Forum, 2000.
Gooch, Artistic Vision: Painterly Rendering Using Computer Vision Techniques, NPAR 02
Haeberli, Paint By Numbers: Abstract Image Representations, SIGGRAPH '90
S. Schofield. Non-photorealistic Rendering: A critical examinationand proposed system. PhD thesis, School of Art and Design, MiddlesexUniversity, 1994.
Salisbury et al., Interactive Pen-and-Ink Illustration, SIGGRAPH '94
and more…
Achieving Emphasis :Achieving Emphasis :Light and ShadeLight and ShadeAchieving Emphasis :Achieving Emphasis :Light and ShadeLight and Shade
Value Studies Exercise: select aphotograph and try the following effects:
• Values kept lighter and more transparent• White paper replaces lighter gray tones• Dark mass on the left or right: lighter• Elements around: less distinct• Entire left or right portion: simplified
Value Studies Exercise: select aphotograph and try the following effects:
• Values kept lighter and more transparent• White paper replaces lighter gray tones• Dark mass on the left or right: lighter• Elements around: less distinct• Entire left or right portion: simplified
Achieving Emphasis :Achieving Emphasis :Light and ShadeLight and ShadeAchieving Emphasis :Achieving Emphasis :Light and ShadeLight and Shade
Value Studies
• Fewer lines and greater freedom• Different light rays and shadow masses• Most interesting: reversed values for the
viaduct and the sky• Value reversal is a common composition
technique!
Value Studies
• Fewer lines and greater freedom• Different light rays and shadow masses• Most interesting: reversed values for the
viaduct and the sky• Value reversal is a common composition
technique!
Achieving Emphasis :Achieving Emphasis :
Light and Shade Light and Shade Value StudiesAchieving Emphasis :Achieving Emphasis :
Light and Shade Light and Shade Value Studies
Achieving Emphasis :Achieving Emphasis :
Light and Shade Light and Shade Value StudiesAchieving Emphasis :Achieving Emphasis :
Light and Shade Light and Shade Value Studies
Achieving Emphasis :Achieving Emphasis :Light and ShadeLight and ShadeAchieving Emphasis :Achieving Emphasis :Light and ShadeLight and Shade
Exercise the following effects in value composition:
1. Dark against light2. Light against dark3. Contrived contrasts4. View through archway5. Frame of planting6. A half-frame
Exercise the following effects in value composition:
1. Dark against light2. Light against dark3. Contrived contrasts4. View through archway5. Frame of planting6. A half-frame
Achieving Emphasis : Light and Shade :Achieving Emphasis : Light and Shade :Exercises in Value CompositionAchieving Emphasis : Light and Shade :Achieving Emphasis : Light and Shade :Exercises in Value Composition
Achieving Emphasis :Achieving Emphasis :Light and ShadeLight and ShadeAchieving Emphasis :Achieving Emphasis :Light and ShadeLight and Shade
The artist was looking at that part of the building nearest to him, so he made this the center of interest; all else is subordinated.
Achieving Emphasis :Achieving Emphasis :Light and ShadeLight and ShadeAchieving Emphasis :Achieving Emphasis :Light and ShadeLight and Shade
Blurred and indistinct
Details + strongest contrasts in light and shade
Achieving Emphasis :Achieving Emphasis :Light and ShadeLight and ShadeAchieving Emphasis :Achieving Emphasis :Light and ShadeLight and Shade
Rest of the building is subordinated.
Strongest contrasts and accents
Achieving Emphasis :Achieving Emphasis :Light and ShadeLight and ShadeAchieving Emphasis :Achieving Emphasis :Light and ShadeLight and Shade
The artist was looking at the upper part of the tower(center of interest)
Achieving Emphasis :Achieving Emphasis :Light and ShadeLight and ShadeAchieving Emphasis :Achieving Emphasis :Light and ShadeLight and Shade
Blurred or softened
Achieving Emphasis :Achieving Emphasis :Light and ShadeLight and ShadeAchieving Emphasis :Achieving Emphasis :Light and ShadeLight and Shade
Faint outline against the sky
The artist was gazing down the street(center of interest)
COMPOSITIONCOMPOSITION
Principles
Selection Study
Subject
Finished Rendering
Initial Sketch
Balance • Shape• Value• Proximity• Motion• Sheet Space
Center of Interest
Light and Shade
Details
Contrast
Emphasis
UnitySteps
Achieving Emphasis :Achieving Emphasis :DetailsDetailsAchieving Emphasis :Achieving Emphasis :DetailsDetails
Creating a Focal Point
• Detailed texturing• Vigorous strokes• Detailed treatment
Creating a Focal Point
• Detailed texturing• Vigorous strokes• Detailed treatment
Creating a Focal PointCreating a Focal Point
Detailed texturing Vigorous strokes Detailed treatment
Achieving Emphasis : DetailsAchieving Emphasis : DetailsAchieving Emphasis : DetailsAchieving Emphasis : Details
Creating a Focal PointCreating a Focal Point
Achieving Emphasis : DetailsAchieving Emphasis : DetailsAchieving Emphasis : DetailsAchieving Emphasis : Details
Creating a Focal PointCreating a Focal Point
Achieving Emphasis : DetailsAchieving Emphasis : DetailsAchieving Emphasis : DetailsAchieving Emphasis : Details
Achieving Emphasis : DetailsAchieving Emphasis : DetailsAchieving Emphasis : DetailsAchieving Emphasis : Details
Creating a Focal PointCreating a Focal Point
COMPOSITIONCOMPOSITION
Principles
Selection Study
Subject
Finished Rendering
Initial Sketch
Balance • Shape• Value• Proximity• Motion• Sheet Space
Center of Interest
Light and Shade
Details
Contrast
Emphasis
UnitySteps
Achieving Emphasis :Achieving Emphasis :ContrastsContrastsAchieving Emphasis :Achieving Emphasis :ContrastsContrasts
• Sousa and Buchanan, Observational Model of Graphite Pencil MaterialsComputer Graphics Forum, 2000.
• Majumder and Gopi, Hardware Accelerated Real Time Charcoal RenderingNPAR 02
• Sousa and Buchanan, Observational Model of Graphite Pencil MaterialsComputer Graphics Forum, 2000.
• Majumder and Gopi, Hardware Accelerated Real Time Charcoal RenderingNPAR 02
Achieving Emphasis :Achieving Emphasis :ContrastsContrastsAchieving Emphasis :Achieving Emphasis :ContrastsContrasts
Combining contrasting tones
Eyes go directly to white spot
Strong attractive force;Many objects in nature similar to such spots
Modifications (contrast indicators)
Achieving Emphasis :Achieving Emphasis :ContrastsContrastsAchieving Emphasis :Achieving Emphasis :ContrastsContrasts
Combining contrasting tones• White spot against a dark tone:
– Appears even whiter if the dark tone fades gradually to white
– Eliminates the strongly contrasting edges that lead the eye away from the spot itself.
• A dark spot against a white background: Blacker than black
Combining contrasting tones• White spot against a dark tone:
– Appears even whiter if the dark tone fades gradually to white
– Eliminates the strongly contrasting edges that lead the eye away from the spot itself.
• A dark spot against a white background: Blacker than black
Achieving Emphasis :Achieving Emphasis :ContrastsContrastsAchieving Emphasis :Achieving Emphasis :ContrastsContrasts
Illusion with ValuesWhiter than White (Interpreting Sunshine)
Illusion with ValuesWhiter than White (Interpreting Sunshine)
Try It!
Achieving Emphasis :Achieving Emphasis :ContrastsContrastsAchieving Emphasis :Achieving Emphasis :ContrastsContrasts
Blacker than BlackBlacker than Black
Try It!
Achieving Emphasis :Achieving Emphasis :ContrastsContrastsAchieving Emphasis :Achieving Emphasis :ContrastsContrasts
ModificationsModifications
Try It!
Achieving Emphasis :Achieving Emphasis :ContrastsContrastsAchieving Emphasis :Achieving Emphasis :ContrastsContrasts
ModificationsModifications
Try It!
Achieving Emphasis : ContrastsAchieving Emphasis : ContrastsAchieving Emphasis : ContrastsAchieving Emphasis : Contrasts
Where is the Focus?
Where is the Focus?
Achieving Emphasis : ContrastsAchieving Emphasis : ContrastsAchieving Emphasis : ContrastsAchieving Emphasis : Contrasts
COMPOSITIONCOMPOSITION
Principles
Selection Study
Subject
Finished Rendering
Initial Sketch
Unity
Balance • Shape• Value• Proximity• Motion• Sheet Space
Center of Interest
Light and Shade
Details
Contrast
Emphasis
Steps
Basic Principles of Basic Principles of CompositionCompositionBasic Principles of Basic Principles of CompositionComposition
Recomposing Forms
• Powerful strategy
• Recent in NPR
• Review Carpendale’s lecture!
Recomposing Forms
• Powerful strategy
• Recent in NPR
• Review Carpendale’s lecture!
Case StudyCase Study
Automatic Image Creation via Artistic Composition Principles
Fulfilling the Purpose : Precision X Art FreedomFulfilling the Purpose : Precision X Art Freedom
Kowalski, Hughes, Rubin, OhyaUser-Guided Composition Effects For Art-Based Rendering2001 ACM Symposium on Interactive 3D Graphics pp. 99--102