CS 671 / CogSci 601
Spring 2005
Omission, Distortion, and Exaggeration in Computer Graphics


Schedule
Tue 2:50-5:50 pm, Hill 482

Staff
Instructor:  Prof. Doug DeCarlo
Email: decarlo@cs
Office: CoRE 310
Hours: Wed 2-4 pm

Announcements

Schedule

Readings



Description

Computer graphics is perhaps most often about making effective visual experiences. In these cases, the impression the viewer has of the display is paramount: the goal is to get the viewer to see what the display is designed to show them. It doesn't matter how the display is made - this is where cheating comes in: omission, distortion and exaggeration.

When we see a picture, we understand it, and our specific interpretation highlights particular information. What we see depends on what we're thinking and doing. Suppose you're driving to Times Square, following a map. What you're looking for is the route - the turnpike, to exit 16E, to the Lincoln tunnel. When you understand the map, what you have in your head is that same route. That's your interpretation of the map. We've all used computer systems that show you that route directly (and are accompanied by written instructions):


(Standard map from MapBlast)

The route is labeled but you still need to heavily rely on the accompanying text to follow the route. Here's the fun part: there's no reason not to change the map, so that it highlights the information you need to follow the route. The map can leave out a lot of roads you're not taking. The map doesn't have to preserve relative distances. And as long as viewers will know what you mean, you're free to change things like the angles of turns. Here's an example:


(LineDrive map from MapBlast)

In computer graphics, omission, distortion and exaggeration give you the freedom to design a depiction that's more effective than pictures that exactly reflect reality. Any artist already knows this - but they have their own eyes to judge the effects of their decisions when making a picture. A computer system that makes such pictures doesn't have this luxury, and instead needs to proceed in a way that's compatible with human visual perception and cognition.

This seminar will make a case that we already have enough understanding of human visual perception and cognition to make good progress here. We'll look at work in computer graphics and human visual perception:

I'm open to discussing other displays, animations, interactions, tasks, etc... as well, depending on the makeup of the class.

As for background, you should be comfortable with linear algebra and calculus, and should have taken a course in either computer graphics or computer vision (both aren't necessary).


Work

There will be weekly readings.

You'll be expected to lead the discussion once during the semester, and there will be a course project/paper.

Audits are ok (email me), provided you participate regularly and lead the discussion once.


Announcements

Jan 16 With the SIGGRAPH deadline approaching (Jan 26), I suspect many of you (I know of at least five, not counting myself) strongly prefer to skip the first two classes (Jan 18 and Jan 25). So let's do that.

The first class is Feb 1. Please drop me an email if you're planning on attending but haven't registered.

Note: If you're still deciding on whether you want to take this class, I will be there the first day for a half hour (Jan 18; 2:50-3:20) to give a brief overview and answer questions. Anything said there will be repeated on Feb 1. Thanks for your understanding!


Schedule

Feb 1 Introduction  
Feb 8 1.   Detail modulation and scale space Anthony
Feb 15 2.   Caricature and `face space' Chan-su, Oncel
Feb 22 3.   Map generalization Andre, Nicu
Mar 1 4.   Ambiguity in perception: pictorial space Andre, Smriti
Mar 22 5.    Exaggerated shading Shin, Xiaofeng
Mar 29 6.    Line drawings Tim, Xiaofeng
Apr 5 7.    Perception of materials Smriti, Oncel
Apr 12 8.    Exaggerated Motion Chan-su, Nicu
Apr 19 9.    Faking physics Shin, Tim
Apr 26 Project day  

Notes: I'm away March 8. March 15 is spring break.

The Photorealism exhibit at the Zimmerli.


Readings (most materials only accessible within Rutgers)
  1. Detail modulation and scale-space

  2. Caricature and `face space'

    Optional reading:

  3. Map generalization

    Optional reading:

    ----

  4. Ambiguity in perception: pictorial space

  5. Exaggerated shading

    Optional reading:

  6. Line drawings

    ----

  7. Perception of materials

  8. Exaggerated motion

  9. Faking physics