Introduction to SIGGRAPH and Computer Graphics Course Speakers: Mike Bailey, Oregon State University Andrew Glassner, Coyote Wind Films The SIGGRAPH conference is an exciting event, but it is often an intimidating experience for first-time attendees. There are so many new terms, new concepts, and new products to try to understand. It is like standing in a room with 100 doors and having no idea which door to open because you have no idea what the label on each door actually means. This leaves new attendees baffled and frustrated about how to spend their time. This course is designed to ease newcomers into the SIGGRAPH conference experience by presenting the fundamental concepts and vocabulary at a level that can be readily understood. Far from being made up of dry facts, this course will also portray the fun and excitement that led most of us here in the first place. Attendees in the course will become well-prepared to understand, appreciate, enjoy, network, and learn from the rest of the SIGGRAPH experience. This is a half-day Beginning course. This course will be given lecture-style. There will be live demos showing the use of computer graphics in applications such as modeling, animation, rendering, and visualization. These will be used to illustrate fundamental concepts and to illustrate those concepts in applications. Lecturers: Mike Bailey Computer Science Oregon State University 2117 Kelley Engineering Center Corvallis, OR 97331-5501 W: 541-737-2542 F: 541-737-1300 [email protected]Mike Bailey is a professor in Computer Science at Oregon State University. Mike holds a PhD from Purdue University. Mike has worked at Sandia National Labs, Purdue University, Megatek Corporation, and the San Diego Supercomputer Center. Mike has extensive experience with the SIGGRAPH courses, having been Courses Chair five times and Conference Co-Chair in 1991. Mike has taught numerous classes at conferences (SIGGRAPH, IEEE Visualization, Supercomputing), at the college level (Purdue, UC San Diego, San Diego State University, Oregon State University), and
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Introduction to SIGGRAPH and Computer Graphics Course Speakers:
Mike Bailey, Oregon State University Andrew Glassner, Coyote Wind Films
The SIGGRAPH conference is an exciting event, but it is often an intimidating experience for first-time attendees. There are so many new terms, new concepts, and new products to try to understand. It is like standing in a room with 100 doors and having no idea which door to open because you have no idea what the label on each door actually means. This leaves new attendees baffled and frustrated about how to spend their time. This course is designed to ease newcomers into the SIGGRAPH conference experience by presenting the fundamental concepts and vocabulary at a level that can be readily understood. Far from being made up of dry facts, this course will also portray the fun and excitement that led most of us here in the first place. Attendees in the course will become well-prepared to understand, appreciate, enjoy, network, and learn from the rest of the SIGGRAPH experience.
This is a half-day Beginning course. This course will be given lecture-style. There will be live demos showing the use of computer graphics in applications such as modeling, animation, rendering, and visualization. These will be used to illustrate fundamental concepts and to illustrate those concepts in applications.
Lecturers:
Mike Bailey Computer Science Oregon State University 2117 Kelley Engineering Center Corvallis, OR 97331-5501 W: 541-737-2542 F: 541-737-1300 [email protected]
Mike Bailey is a professor in Computer Science at Oregon State University. Mike holds a PhD from Purdue University. Mike has worked at Sandia National Labs, Purdue University, Megatek Corporation, and the San Diego Supercomputer Center. Mike has extensive experience with the SIGGRAPH courses, having been Courses Chair five times and Conference Co-Chair in 1991. Mike has taught numerous classes at conferences (SIGGRAPH, IEEE Visualization, Supercomputing), at the college level (Purdue, UC San Diego, San Diego State University, Oregon State University), and
commercially. Mike was five times voted Computer Science Teacher of the Year by the UCSD CS seniors.
Andrew Glassner Coyote Wind Films 726 North 47th Street Seattle, WA 98103 W: 206-632-7663 F: 206-632-7665 [email protected]
Andrew Glassner is an independent writer and consultant. Andrew holds a PhD from the University of North Carolina at Chapel Hill. Andrew is well known in the SIGGRAPH community through his papers, panel presentations, and course speaking. Andrew has also worked at Xerox PARC, IBM Watson Research Lab, Bell Communications Research, Delft University, the New York Institute of Technology, and Microsoft Research. Andrew is familiar with the workings of SIGGRAPH, having been Papers Chair in 1994. Andrew is also known for his "unique" sense of humor that comes through in his presentations.
Prerequisites
The prerequisites for this course are a basic understanding of computers and algebra. We will fill in all other required knowledge by carefully planning the order of presentations.
Level of Difficulty
Beginner
Intended Audience
This course is intended for the complete newcomer to SIGGRAPH and computer graphics who wants to learn some of the basic terms and concepts in computer graphics as well as receive some guidance on how to get the most out of attending SIGGRAPH.
Course Syllabus
• 8:30: Welcome and Overview (Bailey) o Course goals and schedule
• 8:30 – 9:00: How to attend a SIGGRAPH, I (Bailey)
o How to read the schedule and where to get more help o What other courses will attending this one qualify you for? o What is the difference between Papers and Panels? o What are Posters? o What is the Educators program? o What to look for in the Exhibition, and advice on getting the most from it in a short time
• 9:00 – 9:30: How to attend a SIGGRAPH, II (Glassner)
o Why you want to attend the Electronic Theatre and when o How is the ET different from the Computer Animation Festival? o What is the difference between Papers and Sketches? o What is special about the Art Gallery? o What is Emerging technology about? o What is the Guerilla Studio?
• 9:30 – 9:45: Scientific and Data Visualization (Bailey)
o What problems are you trying to solve? o How does this impact hardware and software decisions?
• 9:45 – 10:15: GPU Programming (Bailey)
o Vertex, Geometry, Fragment shaders o Where does this fit in the graphics pipeline? o What you can do with shaders -- effects, visualization, geometry o How does this affect buying a graphics card?
• 10:15 – 10:30: Morning Break
• 10:30 – 11:00: Modeling (Glassner)
o The creation of 3D models o Scene descriptions o Levels of detail o Model "robustness" versus complexity o Geometric primitives
• 11:00 – 11:30: Rendering (Glassner)
o Efficiency, Accuracy, Effects o Two approaches: start at the object and start at the eye o Local and global illumination o Shading o Cel rendering o Toon rendering o Rendering in Hardware
• 11:30 – 12:00: Animation (Glassner)
o Keyframe interpolation o Object geometry animation o Camera animation o Kinematics and inverse kinematics
• 12:00 – 12:30: Finding additional information (Bailey)
Introduction to SIGGRAPHand Computer Graphics
Mike BaileyMike BaileyOregon State UniversityOregon State University
Andrew Andrew GlassnerGlassnerIndependentIndependent
Mike Bailey
Professor of Computer Science, Oregon State UniversityProfessor of Computer Science, Oregon State University
PhD from Purdue UniversityPhD from Purdue University
Has worked at Sandia Labs, Purdue University, Has worked at Sandia Labs, Purdue University, Megatek, San Diego Supercomputer CenterMegatek, San Diego Supercomputer Center(UC San Diego), and OSU(UC San Diego), and OSU
Author, screenwriter, artist from Coyote Wind StudiosAuthor, screenwriter, artist from Coyote Wind Studios
PhD from the University of North Carolina PhD from the University of North Carolina --Chapel HillChapel Hill
Has worked at IBM, Bell Communications, Has worked at IBM, Bell Communications, Delft University, NYIT, Xerox PARC, Delft University, NYIT, Xerox PARC, Microsoft Research, and Coyote Wind StudiosMicrosoft Research, and Coyote Wind Studios
Think Strategically -- Make a Plan and a Schedule !
Courses
•• Sunday Sunday –– WednesdayWednesday
•• Some are Some are ““standard knowledgestandard knowledge”” (e.g., this one(e.g., this one……))
•• Some are cutting edgeSome are cutting edge
•• Some are new topicsSome are new topics
•• You got the full set of notes on the courses DVDYou got the full set of notes on the courses DVD
Courses Strategy
•• Choose courses that are usefulChoose courses that are useful
•• Choose courses that are meaningfulChoose courses that are meaningful
•• Chose courses where you really want to see the Chose courses where you really want to see the speaker(sspeaker(s))
•• Choose courses for which there will be great visualChoose courses for which there will be great visual
presentations which cannot be replicated in the notespresentations which cannot be replicated in the notes
•• Hop around between courses to catch the best topicsHop around between courses to catch the best topics
and speakersand speakers
Web Program
•• Wednesday Wednesday -- ThursdayThursday
•• Covers issues such as: navigation, 3D interfaces, applications,Covers issues such as: navigation, 3D interfaces, applications,
animations, games, and standardsanimations, games, and standards
Opening Session
•• Monday, 1:15 Monday, 1:15 –– 3:153:15
•• Doors open Doors open ≈≈ 12:3012:30
•• Only those with Full Conference or One Day badges can enterOnly those with Full Conference or One Day badges can enter
•• ““State of the SIGGRAPHState of the SIGGRAPH”” message by the SIGGRAPH Chairmessage by the SIGGRAPH Chair
Opening Session Awards
•• Coons AwardCoons Award
•• Achievement AwardAchievement Award
•• Significant New Researcher AwardSignificant New Researcher Award
Papers
•• MondayMonday--ThursdayThursday
•• Deep technical informationDeep technical information
•• Printed in the proceedings and on the conference DVDPrinted in the proceedings and on the conference DVD
•• Strategy: attend when an animation or interactiveStrategy: attend when an animation or interactivetechnique is being discussedtechnique is being discussed
•• Strategy: attend when you think you will not understandStrategy: attend when you think you will not understandthe topic from reading alonethe topic from reading alone
Panels
•• MondayMonday--ThursdayThursday
•• General discussion, opinion, sometimes controversialGeneral discussion, opinion, sometimes controversial
•• Important point: sometimes transcribed, usually notImportant point: sometimes transcribed, usually not
•• Strategy: attend when a topic, speaker, or animationStrategy: attend when a topic, speaker, or animationyou really want to see is being discussedyou really want to see is being discussed
Sketches
•• Monday Monday -- ThursdayThursday
•• PaperPaper--like content, but shorter and less formallike content, but shorter and less formal
•• Some of the work has been completedSome of the work has been completed
•• Some of it is Some of it is ““Work in ProgressWork in Progress””
•• It is considered It is considered coolcool to see it early in the weekto see it early in the week
•• Watch to see whose piece goes first and whose goes lastWatch to see whose piece goes first and whose goes last
•• Sometimes includes an audience participation pieceSometimes includes an audience participation piece
Reception !
•• Wednesday 8:00 Wednesday 8:00 –– 10:0010:00
Pathfinders
•• Staffed by Staffed by ““graphics veteransgraphics veterans”” who can give advice onwho can give advice onattending the conferenceattending the conference
•• They are also very nice peopleThey are also very nice people
•• Open Saturday Open Saturday –– ThursdayThursday
Art Gallery
•• Sunday Sunday –– ThursdayThursday
•• Always fun !Always fun !
•• Be sure to see it, even if you just stroll through withoutBe sure to see it, even if you just stroll through withoutstoppingstopping
Get Involved !
•• Tuesday, 6:30 PMTuesday, 6:30 PM
Educators Program
•• Wednesday and ThursdayWednesday and Thursday
•• Presentations of innovative educational uses ofPresentations of innovative educational uses ofcomputer graphicscomputer graphics
•• Covers both teaching computer graphics and usingCovers both teaching computer graphics and usingcomputer graphics to teach other thingscomputer graphics to teach other things
Emerging Technologies
•• Sunday Sunday -- ThursdayThursday
•• Speculative research on graphics, visualization,Speculative research on graphics, visualization,robotics, music, audio, displays, robotics, music, audio, displays, hapticshaptics, sensors,, sensors,gaming, web, AI, and entertainmentgaming, web, AI, and entertainment
Guerilla Studio
•• Sunday Sunday -- ThursdayThursday
•• Working studio for 2D and 3D graphics, and 3D prototypingWorking studio for 2D and 3D graphics, and 3D prototyping
Job Fair
•• Tuesday Tuesday –– WednesdayWednesday
•• Good place to find information on who is hiringGood place to find information on who is hiring
•• Also a good place to post your resumeAlso a good place to post your resume
Birds of a Feather
•• Opportunity for impromptu gatherings centeredOpportunity for impromptu gatherings centeredaround different topicsaround different topics
•• All weekAll week
•• Check the BOF signCheck the BOF sign--up boardup board
Not all computer graphics is used for realistic rendering, animation, and games. Much of it is used for data exploration and education. Visualization provides very nice examples of that.
2
Computer Graphics
Geometry
Display
“Rendering”
A Gallery of Display OptionsPoints Lines Flat Shaded
SmoothShaded Transparent
3
Scientific Visualization
Geometry
Display
Data“Geometrizing”
“Rendering”
Information& Insight
Visualization DimensionsSpatial
Dimension
DataDimension
2D 3D
Scalar
Vector
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2D Scalar
Examples:• Temperatures on a plane
• Barometric pressures on a map
• Heights on a map
Techniques:• Colored dots
• Contour lines
• Interpolated Colors
2D Color Interpolation
5
2D Contours
3D Scalar
Examples:
• Temperatures in a room
• Molecular potentials
Techniques:
• Colored dots (“point cloud”)
• Cutting plane
• Isosurfaces
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3D Orthographic Point Cloud
3D Perspective Point Cloud
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3D Jittered Point Cloud
Cropping the Point Cloud:Range Sliders
8
Croppingin X, Y, Z
Cropping in S
9
What’s Happening on a Cutting Plane?
What’s Happening on More Than One
Cutting Plane?
10
What’s Happening within the Volume?3D Wireframe Isosurface
3D Polygonal Isosurface
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Isosurface + Contour Plane
Isosurfaces of Medical Data
12
3D Vector
Examples:
• 3D flow field
Techniques:
• Arrows (“vector cloud”)
• Streamlines
3D Flow Field
Vector Cloud
Streamlines
13
3D Flow Field Probes
Ribbon Trace
Streamline Trace
3D Flow Blob Probes
14
3D Volume
Examples:
• 3D Medical Scan
Techniques:
• Volume Rendering
15
A Volume is Essentially a Point Cloud Where Each Point has Size
Range Crop the Scalar Value:
Original Data:
16
Cropping the Volume
Solar Wind
Turbulent Flow
17
Underground Rock Layers
Bone Structure
Setting Colors
glColor3f( r, g, b );
Red+Green=YellowGreen+Blue=Cyan
Red+Blue=MagentaRed+Green+Blue=White
Known as “Additive Color”, or “RGB”
18
Color Rules: Your Eye
Rods:Rods: Provide perception of light intensity, or luminance. Lots of these, mostly concentrated in the periphery of your field of vision.
Cones:Cones: Provide perception of colors. Much fewer of these, mostly concentrated in the center of your field of vision.
Color Rules
• Remember the Luminance Equation:
L = .30R + .59G + .11B
Use it to decide what makes a good contrast and what doesn’t
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Black
White
Red
Yellow
Green
Blue
Black
White
Red
Yellow
Green
Blue
Black
White
Red
Yellow
Green
Blue
Black
White
Red
Yellow
Green
Blue
Black
White
Red
Yellow
Green
Blue
Black
White
Red
Yellow
Green
Blue
Black
White
Red
Yellow
Green
Blue
Black
White
Red
Yellow
Green
Blue
Black
White
Red
Yellow
Green
Blue
Color Rules
• Do not use Reds and Blues directly together
20
Reds and Blues are on opposite ends of the color spectrum. It is hard for your eyes to focus on both.
Color Rules
• The best colors for fine detail are black-grey-white. This is especially true if you are going to be videotaping this display.
21
Color Rules
• Surround contrasting color areas with a white or black line
22
Color Rules
Be aware that our perception of color changes with:
• The surrounding color
• The size of the object
• How close two objects are
• The ambient light
• The age of the viewer
23
24
25
Color Rules
Watch out for afterimage effects !
+
26
Color Rules
Watch out for afterimage effects !
+
Beware of Mach Banding
27
ActualIntensity
PerceivedIntensity
Beware of Mach Banding
Beware of Mach Banding
ActualIntensity
PerceivedIntensity
28
Beware of Lots of Other Stuff
Visualization Hardcopy
• Film recording
• Color printing
• Videotaping
• Manufacturing
29
NTSC Videotaping forVisualization Hardcopy
• Resolution is 640x480, at best
• Interlaced
• Color bandwidth is given to, in order:1. Luminance 267 cycles/scanline2. Blue-Orange 96 cycles/scanline3. Purple-Green 35 cycles/scanline
• Saturated (bright) colors don’t come out well
Fabrication forVisualization Hardcopy
Black Beetle Virus
30
Oregon
Willamette Valley Geology
31
Example: Model of Southern California Fire Smoke
CAT scan slices from the UCSD Medical School
Interaction inOSU vx
(Volume Explorer)Tesselated by
OSU vs(Volume Solid)
Fabricated at OSU Center for Visualization
Prototypes
Example: Modeling Anabolic Aortic Aneurysms
32
Summary
Scientific Visualization has “no rules”.
Anything that turns data in the computer into information and insight in your brain is fair game.
• Subjective Rendering grows–New opportunities–More personal
Image by
Tomek Baginski
The future 2
• Desktop animation–Sophisticated support–Standards and architectures–Rendering one piece among many
• “You did what, Grandpa?”
Where The Fun Is
• Non-Realistic rendering• Shaders• The fuzzy space
Image by Jorge Seva & Sergio Miruri
Image Credits
• Discontinuity Meshing: Dani Lischinski, Filippo Tampieri, Donald P. Greenberg• Opera Lighting: Julie O'B. Dorsey, Francois X. Sillion, Donald P. Greenberg • Radiosity Factory and Museum: Michael F. Cohen, Shenchang Eric Chen, John R.
Wallace, Donald P. Greenberg • Two Pass Rendering: John R. Wallace, Michael F. Cohen,Donald P. Greenberg • 3 teapots, Caustic Pool: Eric Veach• Summer Lake: Matt Pharr, Craig Kolb, Reid Gershbein, Pat Hanrahan• Color Head: Philippe Lacroute, Marc Levoy• Material Vases: Rob Cook, Kenneth Torrance • 1984: Tom Porter, Rob Cook, Loren Carpenter• The Compleat Angler: Turner Whitted• Still Life: Cassidy Curtis• Focused Caustics: Paul Heckbert• TV Room: Bob Zeleznik, Andy Forsberg, Loring Holden• Big Cloud: David Ebert• Interior: Michael Fowler• Sphereflake, Counter, Camshaft, Liberty Set, Ronchamps: Eric Haines
39
Thanks
• Michael F. Cohen• Peter-Pike Sloan• Jonathan Shade • Paul Debevec• Marc Levoy
40
41
42
Image by
Steven Blackmon
1
An Introduction ToComputer Animation
Andrew GlassnerCoyote Wind Studios
2
Why Animation Works
• Many still images• Rapid succession• Persistence of vision
Where to Find More Information about Computer Graphics and Scientific Visualization
Mike Bailey
Oregon State University 1. References 1.1 General
SIGGRAPH Online Bibliography Database:
http://www.siggraph.org/publications/bibliography F. S. Hill, Computer Graphics Using OpenGL, Prentice Hall, 2001. Edward Angel, Interactive Computer Graphics: A Top-down Approach with OpenGL, Addison-
Wesley, 2003. Alan Watt, 3D Computer Graphics, 3rd Edition, Addison-Wesley, 2000. Peter Shirley, Fundamentals of Computer Graphics, AK Peters, 2005. Donald Hearn and Polly Baker, Computer Graphics with OpenGL, Pearson/Prentice-Hall, 2004. Olin Lathrop, The Way Computer Graphics Works, John Wiley & Sons, 1997. Andrew Glassner, Graphics Gems, Academic Press, 1990. James Arvo, Graphics Gems 2, Academic Press, 1991. David Kirk, Graphics Gems 3, Academic Press, 1992. Paul Heckbert, Graphics Gems 4, Academic Press, 1994. Alan Paeth, Graphics Gems 5, Academic Press, 1995. Jim Blinn, A Trip Down the Graphics Pipeline, Morgan Kaufmann, 1996. Jim Blinn, Dirty Pixels, Morgan Kaufmann, 1998. David Rogers, Procedural Elements for Computer Graphics, McGraw-Hill, 1997. SIGGRAPH Conference Final program.
1.2 Math and Geometry
Eric Lengyel, Mathematics for 3D Game Programming and Computer Graphics, Charles River
Media, 2002. Jean Gallier, Curves and Surfaces in Geometric Modeling, Morgan Kaufmann, 2000.
April 20, 2007 2
Walter Taylor, The Geometry of Computer Graphics, Wadsworth & Brooks/Cole, 1992. Gerald Farin, Curves and Surfaces for Computer Aided Geometric Design, 3rd Edition, Academic
Press, 2000. Gerald Farin and Dianne Hansford, The Geometry Toolbox for Graphics and Modeling, AK
Peters, 1998. Joe Warren and Henrik Weimer, Subdivision Methods for Geometric Design: A Constructive
Approach, Morgan Kaufmann, 2001. Barrett O’Neil, Elementary Differential Geometry, Academic Press, 1997. Joseph O’Rourke, Computational Geometry in C, Cambridge University Press, 1996. Christopher Hoffman, Geometric & Solid Modeling, Morgan Kaufmann, 1989. Michael Mortenson, Geometric Modeling, John Wiley & Sons, 1985. I.D. Faux and M.J. Pratt, Computational Geometry for Design and Manufacture, Ellis-Horwood,
1979. Eric Stollnitz, Tony DeRose, and David Salesin, Wavelets for Computer Graphics, Morgan-
Kaufmann, 1996. Ronen Barzel, Physically-Based Modeling for Computer Graphics, Academic Press, 1992. David Rogers and J. Alan Adams, Mathematical Elements for Computer Graphics, McGraw-Hill,
1989. John Snyder, Generative Modeling for Computer Graphics and Computer Aided Design,
Klaus Engel, Markus Hadwiger, Joe Kniss, Christof Rezk-Salama, and Daniel Weiskopf, Real-
Time Volume Graphics, A.K. Peters, 2006. Christopher Johnson and Charles Hansen, The Visualization Handbook, Elsevier Academic Press,
2005. David Thompson, Jeff Braun, and Ray Ford, OpenDX: Paths to Visualization, Visualization and
Imagery Solutions, Inc., 2001. Chandrajit Bajaj, Data Visualization Techniques, John Wiley & Sons, 1999. Min Chen, Arie Kaufman, and Roni Yagel, Volume Graphics, Springer-Verlag, 2000. William Schroeder, Ken Martin, and Bill Lorensen, The Visualization Toolkit, 3rd Edition,
Prentice-Hall, 2004.
April 20, 2007 3
Luis Ibanez and William Schroeder, The ITK Software Guide: The Insight Segmentation and Registration Toolkit (version 1.4), Prentice-Hall, 2003.
Greg Nielson, Hans Hagen, and Heinrich Müller, Scientific Visualization: Overviews,
Methodologies, Techniques, IEEE Computer Society Press, 1997. Lenny Lipton, The CrystalEyes Handbook, StereoGraphics Corporation, 1991. Brand Fortner, The Data Handbook: A Guide to Understanding the Organization and
Visualization of Technical Data, Spyglass, 1992. William Kaufmann and Larry Smarr, Supercomputing and the Transformation of Science,
Scientific American Library, 1993. Robert Wolff and Larry Yaeger, Visualization of Natural Phenomena, Springer-Verlag, 1993. David McAllister, Stereo Computer Graphics and Other True 3D Technologies, Princeton
University Press, 1993. Peter Keller and Mary Keller, Visual Cues: Practical Data Visualization, IEEE Press, 1993.
1.4 Color and Perception
Maureen Stone, A Field Guide to Digital Color, AK Peters, 2003. Roy Hall, Illumination and Color in Computer Generated Imagery, Springer-Verlag, 1989. David Travis, Effective Color Displays, Academic Press, 1991. L.G. Thorell and W.J. Smith, Using Computer Color Effectively, Prentice Hall, 1990. Edward Tufte, The Visual Display of Quantitative Information, Graphics Press, 1983. Edward Tufte, Envisioning Information, Graphics Press, 1990. Edward Tufte, Visual Explanations, Graphics Press, 1997. Edward Tufte, Beautiful Evidence, Graphics Press, 2006. Howard Resnikoff, The Illusion of Reality, Springer-Verlag, 1989.
1.5 Rendering
Andrew Glassner, Principles of Digital Image Synthesis, Morgan Kaufmann, 1995. Michael Cohen and John Wallace, Radiosity and Realistic Image Synthesis, Morgan-Kaufmann,
1993. Andrew Glassner, An Introduction to Ray Tracing, Academic Press, 1989. Rosalee Wolfe, 3D Graphics: A Visual Approach, Oxford Press.
April 20, 2007 4
Ken Joy et al, Image Synthesis, IEEE Computer Society Press, 1988. 1.6 Images
David Ebert et al, Texturing and Modeling, 2nd Edition, Academic Press, 1998. Alan Watt and Fabio Policarpo, The Computer Image, Addison-Wesley, 1998. Ron Brinkman, The Art and Science of Digital Compositing, Morgan Kaufmann, 1999. John Miano, Compressed Image File Formats, Addison-Wesley, 1999.
1.7 Animation
Alan Watt and Mark Watt, Advanced Animation and Rendering Techniques, Addison-Wesley,
1998. Nadia Magnenat Thalmann and Daniel Thalmann, Interactive Computer Animation, Prentice-
Hall, 1996. Philip Hayward and Tana Wollen, Future Visions: New Technologies of the Screen, Indiana
University Press, 1993. 1.8 Games
Alan Watt and Fabio Policarpo, Advanced Game Development with Programmable Graphics
Hardware, AK Peters, 2005. David Eberly, 3D Game Engine Design: A Practical Approach to Real-Time Computer Graphics,
Morgan Kaufmann, 2006. Alan Watt and Fabio Policarpo, 3D Games: Real-time Rendering and Software Technology,
Addison-Wesley, 2001. Eric Lengyel, Mathematics for 3D Game Programming and Computer Graphics, Charles River
Media, 2002. David Bourg, Physics for Game Developers, O’Reilly and Associates, 2002. Munlo Coutinho, Dynamic Simulations of Multibody Systems, Springer Verlag, 2001. Mark DeLoura, Game Programming Gems, Charles River Media, 2000. Mark DeLoura, Game Programming Gems 2, Charles River Media, 2001. Mark DeLoura, Game Programming Gems 3, Charles River Media, 2002. http://www.gamedev.net http://www.gamasutra.net
April 20, 2007 5
1.9 Virtual Reality John Vince, Virtual Reality Systems, Addison-Wesley, 1995.
1.10 The Web
Gene Davis, Learning Java Bindings For OpenGL (JOGL), AuthorHouse, 2004. Andrea Ames, David Nadeau, John Moreland, The VRML 2.0 Sourcebook, John Wiley & Sons,
1997. Bruce Eckel, Thinking in Java, Prentice-Hall, 1998. David Flanagan, Java in a Nutshell, O’Reilly & Associates, 5th edition, 2005. David Flanagan, Java Examples in a Nutshell, O’Reilly & Associates, 3rd edition, 2004. Henry Sowizral, Kevin Rushforth, and Michael Deering, The Java 3D API Specification,
Addison-Wesley, 1998. Rasmus Lerdorf and Kevin Tatroe, Programming PHP, O’Reilly, 2002. Yukihiro Matsumoto, Ruby in a Nutshell, O’Reilly, 2003.
1.11 Shaders
Randi Rost, OpenGL Shading Language, Addison-Wesley, 2006 (2nd edition). Steve Upstill, The RenderMan Companion, Addison-Wesley, 1990. Tony Apodaca and Larry Gritz, Advanced RenderMan: Creating CGI for Motion Pictures,
Morgan Kaufmann, 1999. Randima Fernando, GPU Gems, NVIDIA, 2004. Matt Pharr, Randima Fernando, GPU Gems 2, NVIDIA, 2005.
1.12 Miscellaneous
OpenGL 2.0 Reference Manual, Addison-Wesley, 2006. OpenGL 2.0 Programming Guide, Addison-Wesley, 2005 (5th edition). Tom McReynolds and David Blythe, Advanced Graphics Programming Using OpenGL, Morgan
Kaufmann, 2005. Edward Angel, OpenGL: A Primer, Addison-Wesley, 2002. Andrew Glassner, Recreational Computer Graphics, Morgan Kaufmann, 1999.
April 20, 2007 6
Anne Spalter, The Computer in the Visual Arts, Addison-Wesley, 1999. Jef Raskin, The Humane Interface, Addison-Wesley, 2000. Ben Shneiderman, Designing the User Interface, Addison-Wesley, 1997. Clark Dodsworth, Digital Illusion, Addison-Wesley, 1997. Isaac Victor Kerlow, The Art of 3-D: Computer Animation and Imaging, 2000. Isaac Victor Kerlow and Judson Rosebush, Computer Graphics for Designers and Artists, Van
Nostrand Reinhold, 1986. Mehmed Kantardzic, Data Mining: Concepts, Models, Methods, and Algorithms, Wiley, 2003. William Press, Saul Teukolsky, William Vetterling, and Brian Flannery, Numerical Recipes in C,
Second Edition, Cambridge University Press, 1997. James Skakoon and W. J. King, The Unwritten Laws of Engineering, ASME Press, 2001.
2. Periodicals Computer Graphics and Applications: published by IEEE
(http://www.computer.org, 714-821-8380) Computer Graphics World: published by Pennwell
(http://www.cgw.com, 603-891-0123) Journal of Graphics Tools: published by A.K. Peters
(http://www akpeters.com, 617-235-2210) Game Developer: published by CMP Media
(http://www gdmag.com, 415-905-2200) (Once a year publishes the Game Career Guide.)
Computer Graphics Quarterly: published by ACM SIGGRAPH (http://www.siggraph.org, 212-869-7440) Transactions on Visualization and Computer Graphics: published by IEEE
(http://www.computer.org, 714-821-8380) Transactions on Graphics: published by ACM
(http://www.acm.org, 212-869-7440) Cinefex
(http://www.cinefex.com, 951-781-1917)
April 20, 2007 7
3. Professional organizations
ACM................ Association for Computing Machinery http://www.acm.org, 212-869-7440 SIGGRAPH..... ACM Special Interest Group on Computer Graphics http://www.siggraph.org, 212-869-7440 SIGCHI............ ACM Special Interest Group on Computer-Human Interfaces http://www.acm.org/sigchi, 212-869-7440 IEEE ................ Institute of Electrical and Electronic Engineers http://www.computer.org, 202-371-0101 NAB ................ National Association of Broadcasters http://www.nab.org, 800-521-8624 ASME.............. American Society of Mechanical Engineers http://www.asme.org, 800-THE-ASME
4. Conferences
ACM SIGGRAPH: 2008: Los Angeles – August 11-15 http://www.siggraph.org/s2008
IEEE Visualization:
2007: Sacramento, CA – October 27-November 1 http://vis.computer.org
Game Developers Conference:
2008: San Francisco, CA – February 18-22 http://www.gdconf.com
Electronic Entertainment Expo:
2007: Santa Monica, CA – July 11-13 2008: ???, July http://www.e3expo.com
ASME International Design Engineering Technical Conferences (includes the Computers and
Information in Engineering conference):: 2007: Las Vegas, NV – September 4-7 http://www.asmeconferences.org/IDETC07
National Association of Broadcasters (NAB):
2008: Las Vegas, NV – April 12-17 http://www.nab.org