Non-photorealistic rendering (NPR) is an area of computer graphics that focuses on enabling a wide variety of expressive styles for digital art, in contrast to traditional computer graphics, which focuses on photorealism. NPR is inspired by other artistic modes such as painting, drawing, technical illustration, and animated cartoons. NPR has appeared in movies and video games in the form of cel-shaded animation (also known as "toon" shading) as well as in scientific visualization, architectural illustration and experimental animation. == History and criticism of the term == The term non-photorealistic rendering is believed to have been coined by the SIGGRAPH 1990 papers committee, who held a session entitled "Non Photo Realistic Rendering". The term has received some criticism: The term "photorealism" has different meanings for graphics researchers (see "photorealistic rendering") and artists. For artists—who are the target consumers of NPR techniques—it refers to a school of painting that focuses on reproducing the effect of a camera lens, with all the distortion and hyper-reflections that it creates. For graphics researchers, however, it refers to an image that is visually indistinguishable from reality. In fact, graphics researchers lump the kinds of visual distortions that are used by photorealist painters into "non-photorealism". Describing something by what it is not is problematic. Equivalent (made-up) comparisons might be "non-elephant biology" or "non-geometric mathematics". NPR researchers have stated that they expect the term will disappear eventually and be replaced by the now more general term "computer graphics", with "photorealistic graphics" being the term used to describe "traditional" computer graphics. Many techniques that are used to create 'non-photorealistic' images are not rendering techniques. They are modelling techniques, or post-processing techniques. While the latter are coming to be known as 'image-based rendering', sketch-based modelling techniques, cannot technically be included under this heading, which is very inconvenient for conference organisers. The first conference on non-photorealistic animation and rendering included a discussion of possible alternative names. Among those suggested were "expressive graphics", "artistic rendering", "non-realistic graphics", "art-based rendering", and "psychographics". All of these terms have been used in various research papers on the topic, but the "non-photorealistic" term seems to have nonetheless taken hold. The first technical meeting dedicated to NPR was the ACM-sponsored Symposium on Non-Photorealistic Rendering and Animation(NPAR) in 2000. NPAR is traditionally co-located with the Annecy Animated Film Festival, running on even numbered years. From 2007 onward, NPAR began to also run on odd-numbered years, co-located with ACM SIGGRAPH. == 3D == Three-dimensional NPR is the style that is most commonly seen in video games and movies. The output from this technique is almost always a 3D model that has been modified from the original input model to portray a new artistic style. In many cases, the geometry of the model is identical to the original geometry, and only the material applied to the surface is modified. With increased availability of programmable GPU's, shaders have allowed NPR effects to be applied to the rasterised image that is to be displayed to the screen. The majority of NPR techniques applied to 3D geometry are intended to make the scene appear two-dimensional. NPR techniques for 3D images include cel shading and Gooch shading. Many methods can be used to draw stylized outlines and strokes from 3D models, including occluding contours and Suggestive contours. For enhanced legibility, the most useful technical illustrations for technical communication are not necessarily photorealistic. Non-photorealistic renderings, such as exploded view diagrams, greatly assist in showing placement of parts in a complex system. Cartoon rendering, also called cel shading or toon shading, is a non-photorealistic rendering technique used to give 3D computer graphics a flat, cartoon-like appearance. Its defining feature is the use of distinct shading colors rather than smooth gradients, producing a look reminiscent of comic books or animated films. This technique is often used to blend 3D objects and environments with 2D hand-animated elements while maintaining a consistent look. Treasure Planet movie by Disney is an example of blending these techniques. == 2D == The input to a two dimensional NPR system is typically an image or video. The output is a typically an artistic rendering of that input imagery (for example in a watercolor, painterly or sketched style) although some 2D NPR serves non-artistic purposes e.g. data visualization. The artistic rendering of images and video (often referred to as image stylization) traditionally focused upon heuristic algorithms that seek to simulate the placement of brush strokes on a digital canvas. Arguably, the earliest example of 2D NPR is Paul Haeberli's 'Paint by Numbers' at SIGGRAPH 1990. This (and similar interactive techniques) provide the user with a canvas that they can "paint" on using the cursor — as the user paints, a stylized version of the image is revealed on the canvas. This is especially useful for people who want to simulate different sizes of brush strokes according to different areas of the image. Subsequently, basic image processing operations using gradient operators or statistical moments were used to automate this process and minimize user interaction in the late nineties (although artistic control remains with the user via setting parameters of the algorithms). This automation enabled practical application of 2D NPR to video, for the first time in the living paintings of the movie What Dreams May Come (1998). More sophisticated image abstractions techniques were developed in the early 2000s harnessing computer vision operators e.g. image salience, or segmentation operators to drive stroke placement. Around this time, machine learning began to influence image stylization algorithms notably image analogy that could learn to mimic the style of an existing artwork. The advent of deep learning has re-kindled activity in image stylization, notably with neural style transfer (NST) algorithms that can mimic a wide gamut of artistic styles from single visual examples. These algorithms underpin mobile apps capable of the same e.g. Prisma In addition to the above stylization methods, a related class of techniques in 2D NPR address the simulation of artistic media. These methods include simulating the diffusion of ink through different kinds of paper, and also of pigments through water for simulation of watercolor. == Artistic rendering == Artistic rendering is the application of visual art styles to rendering. For photorealistic rendering styles, the emphasis is on accurate reproduction of light-and-shadow and the surface properties of the depicted objects, composition, or other more generic qualities. When the emphasis is on unique interpretive rendering styles, visual information is interpreted by the artist and displayed accordingly using the chosen art medium and level of abstraction in abstract art. In computer graphics, interpretive rendering styles are known as non-photorealistic rendering styles, but may be used to simplify technical illustrations. Rendering styles that combine photorealism with non-photorealism are known as hyperrealistic rendering styles. == Notable films and games == This section lists some seminal uses of NPR techniques in films, games and software. See cel-shaded animation for a list of uses of toon-shading in games and movies.
Order-independent transparency
Order-independent transparency (OIT) is a class of techniques in rasterisational computer graphics for rendering transparency in a 3D scene, which do not require rendering geometry in sorted order for alpha compositing. == Description == Commonly, 3D geometry with transparency is rendered by blending (using alpha compositing) all surfaces into a single buffer (think of this as a canvas). Each surface occludes existing color and adds some of its own color depending on its alpha value, a ratio of light transmittance. The order in which surfaces are blended affects the total occlusion or visibility of each surface. For a correct result, surfaces must be blended from farthest to nearest or nearest to farthest, depending on the alpha compositing operation, over or under. Ordering may be achieved by rendering the geometry in sorted order, for example sorting triangles by depth, but can take a significant amount of time, not always produce a solution (in the case of intersecting or circularly overlapping geometry) and the implementation is complex. Instead, order-independent transparency sorts geometry per-pixel, after rasterisation. For exact results this requires storing all fragments before sorting and compositing. == History == The A-buffer is a computer graphics technique introduced in 1984 which stores per-pixel lists of fragment data (including micro-polygon information) in a software rasteriser, REYES, originally designed for anti-aliasing but also supporting transparency. More recently, depth peeling in 2001 described a hardware accelerated OIT technique. With limitations in graphics hardware the scene's geometry had to be rendered many times. A number of techniques have followed, to improve on the performance of depth peeling, still with the many-pass rendering limitation. For example, Dual Depth Peeling (2008). In 2009, two significant features were introduced in GPU hardware/drivers/Graphics APIs that allowed capturing and storing fragment data in a single rendering pass of the scene, something not previously possible. These are, the ability to write to arbitrary GPU memory from shaders and atomic operations. With these features a new class of OIT techniques became possible that do not require many rendering passes of the scene's geometry. The first was storing the fragment data in a 3D array, where fragments are stored along the z dimension for each pixel x/y. In practice, most of the 3D array is unused or overflows, as a scene's depth complexity is typically uneven. To avoid overflow the 3D array requires large amounts of memory, which in many cases is impractical. Two approaches to reducing this memory overhead exist. Packing the 3D array with a prefix sum scan, or linearizing, removed the unused memory issue but requires an additional depth complexity computation rendering pass of the geometry. The "Sparsity-aware" S-Buffer, Dynamic Fragment Buffer, "deque" D-Buffer, Linearized Layered Fragment Buffer all pack fragment data with a prefix sum scan and are demonstrated with OIT. Storing fragments in per-pixel linked lists provides tight packing of this data and in late 2011, driver improvements reduced the atomic operation contention overhead making the technique very competitive. == Exact OIT == Exact, as opposed to approximate, OIT accurately computes the final color, for which all fragments must be sorted. For high depth complexity scenes, sorting becomes the bottleneck. One issue with the sorting stage is local memory limited occupancy, in this case a SIMT attribute relating to the throughput and operation latency hiding of GPUs. Backwards memory allocation (BMA) groups pixels by their depth complexity and sorts them in batches to improve the occupancy and hence performance of low depth complexity pixels in the context of a potentially high depth complexity scene. Up to a 3× overall OIT performance increase is reported. Sorting is typically performed in a local array, however performance can be improved further by making use of the GPU's memory hierarchy and sorting in registers, similarly to an external merge sort, especially in conjunction with BMA. == Approximate OIT == Approximate OIT techniques relax the constraint of exact rendering to provide faster results. Higher performance can be gained from not having to store all fragments or only partially sorting the geometry. A number of techniques also compress, or reduce, the fragment data. These include: Stochastic Transparency: draw in a higher resolution in full opacity but discard some fragments. Downsampling will then yield transparency. Adaptive Transparency, a two-pass technique where the first constructs a visibility function which compresses on the fly (this compression avoids having to fully sort the fragments) and the second uses this data to composite unordered fragments. Intel's pixel synchronization avoids the need to store all fragments, removing the unbounded memory requirement of many other OIT techniques. Weighted Blended Order-Independent Transparency replaced the over operator with a commutative approximation. Feeding depth information into the weight produces visually-acceptable occlusion. == OIT in Hardware == The Sega Dreamcast games console included hardware support for automatic OIT.
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Margin (machine learning)
In machine learning, the margin of a single data point is defined to be the distance from the data point to a decision boundary. Note that there are many distances and decision boundaries that may be appropriate for certain datasets and goals. A margin classifier is a classification model that utilizes the margin of each example to learn such classification. There are theoretical justifications (based on the VC dimension) as to why maximizing the margin (under some suitable constraints) may be beneficial for machine learning and statistical inference algorithms. For a given dataset, there may be many hyperplanes that could classify it. One reasonable choice as the best hyperplane is the one that represents the largest separation, or margin, between the classes. Hence, one should choose the hyperplane such that the distance from it to the nearest data point on each side is maximized. If such a hyperplane exists, it is known as the maximum-margin hyperplane, and the linear classifier it defines is known as a maximum margin classifier (or, equivalently, the perceptron of optimal stability).
Separating words problem
In theoretical computer science, the separating words problem is the problem of finding the smallest deterministic finite automaton that behaves differently on two given strings, meaning that it accepts one of the two strings and rejects the other string. It is an open problem how large such an automaton must be, in the worst case, as a function of the length of the input strings. == Example == The two strings 0010 and 1000 may be distinguished from each other by a three-state automaton in which the transitions from the start state go to two different states, both of which are terminal in the sense that subsequent transitions from these two states always return to the same state. The state of this automaton records the first symbol of the input string. If one of the two terminal states is accepting and the other is rejecting, then the automaton will accept only one of the strings 0010 and 1000. However, these two strings cannot be distinguished by any automaton with fewer than three states. == Simplifying assumptions == For proving bounds on this problem, it may be assumed without loss of generality that the inputs are strings over a two-letter alphabet. For, if two strings over a larger alphabet differ then there exists a string homomorphism that maps them to binary strings of the same length that also differ. Any automaton that distinguishes the binary strings can be translated into an automaton that distinguishes the original strings, without any increase in the number of states. It may also be assumed that the two strings have equal length. For strings of unequal length, there always exists a prime number p whose value is logarithmic in the smaller of the two input lengths, such that the two lengths are different modulo p. An automaton that counts the length of its input modulo p can be used to distinguish the two strings from each other in this case. Therefore, strings of unequal lengths can always be distinguished from each other by automata with few states. == History and bounds == The problem of bounding the size of an automaton that distinguishes two given strings was first formulated by Goralčík & Koubek (1986), who showed that the automaton size is always sublinear. Later, Robson (1989) proved the upper bound O(n2/5(log n)3/5) on the automaton size that may be required. This was improved by Chase (2020) to O(n1/3(log n)7). There exist pairs of inputs that are both binary strings of length n for which any automaton that distinguishes the inputs must have size Ω(log n). Closing the gap between this lower bound and Chase's upper bound remains an open problem. Jeffrey Shallit has offered a prize of 100 British pounds for any improvement to Robson's upper bound. == Special cases == Several special cases of the separating words problem are known to be solvable using few states: If two binary words have differing numbers of zeros or ones, then they can be distinguished from each other by counting their Hamming weights modulo a prime of logarithmic size, using a logarithmic number of states. More generally, if a pattern of length k appears a different number of times in the two words, they can be distinguished from each other using O(k log n) states. If two binary words differ from each other within their first or last k positions, they can be distinguished from each other using k + O(1) states. This implies that almost all pairs of binary words can be distinguished from each other with a logarithmic number of states, because only a polynomially small fraction of pairs have no difference in their initial O(log n) positions. If two binary words have Hamming distance d, then there exists a prime p with p = O(d log n) and a position i at which the two strings differ, such that i is not equal modulo p to the position of any other difference. By computing the parity of the input symbols at positions congruent to i modulo p, it is possible to distinguish the words using an automaton with O(d log n) states.
1DayLater
1DayLater was a free, web-based software that was focused on professional invoicing. The company was formed in 2009 and closed in October 2013. The main function of 1DayLater was to help users create invoices for clients. It could also be used to track time and other expenses, work to budgets, and to track projects. Multiple users could simultaneously work on the same projects together. PC Magazine (PCMag) voted 1DayLater as one of the 'Best Free Software of 2010'. == History == The software was developed by two brothers, Paul and David King; after they experienced similar frustrations while working freelance, the brothers wanted to create a product that would let them track time, expenses and business miles in a single online location. == Media coverage == 1DayLater had the following press coverage: BBC Webscape (July 2010) - Kate Russell gives her latest selection of the best sites on the World Wide Web PCMag (March 2010) - The best free software of 2010 Lifehacker (February 2010) - "A worthy addition to our 'Top Ten Tips and Tools for Freelancers'" Gigaom (February 2010) - Taking a closer look with 1DayLater The Journal (May 2009) - "Top Ten Brands of the North East" (UK) Techcrunch (January 2009) - "A 'feisty time tracking solution from the North East of England'"
Robert Wilensky
Robert Wilensky (26 March 1951 – 15 March 2013) was an American computer scientist and professor at the UC Berkeley School of Information, with his main focus of research in artificial intelligence. == Academic career == In 1971, Wilensky received his bachelor's degree in mathematics from Yale University, and in 1978, a Ph.D. in computer science from the same institution. After finishing his thesis, "Understanding Goal-Based Stories", Wilensky joined the faculty from the EECS Department of UC Berkeley. In 1986, he worked as the doctoral advisor of Peter Norvig, who then later published the standard textbook of the field: Artificial Intelligence: A Modern Approach. From 1993 to 1997, Wilensky was the Berkeley Computer Science Division Chair. During this time, he also served as director of the Berkeley Cognitive Science Program, director of the Berkeley Artificial Intelligence Research Project, and board member of the International Computer Science Institute. In 1997, he became a fellow of the Association for Computing Machinery "for research contributions to the areas of natural language processing and digital libraries as well as outstanding leadership in Computer Science." Furthermore, he also was a Fellow of the Association for the Advancement of Artificial Intelligence. He retired from faculty in 2007 and died on Friday, March 15, 2013, of a bacterial infection at the Alta Bates Summit Medical Center. Wilensky was married to Ann Danforth and he is survived by her and their two children, Avi and Eli Wilensky == Research == Throughout his career, Wilensky authored and co-authored over 60 scholarly articles and technical reports on AI, natural language processing, and information dissemination. In addition to his numerous technical publications, Wilensky also published two books on the programming language LISP, LISPcraft and Common LISPcraft, and had almost completed another book manuscript when he suffered a cardiac arrest and stopped writing. Among his publications are: R. Wilensky, (1986-09-17). Common LISPcraft. W. W. Norton & Company. ISBN 9780393955446. T. A. Phelps and R. Wilensky, "Toward active, extensible, networked documents: Multivalent architecture and applications," in Proc. 1st ACM Intl. Conf. on Digital Libraries, E. A. Fox and G. Marchionini, Eds., New York, NY: ACM Press, 1996, pp. 100–108. J. Traupman and R. Wilensky, "Experiments in Improving Unsupervised Word Sense Disambiguation," University of California, Berkeley, Department of EECS, Computer Science Division, Tech. Rep. 03–1227, Feb. 2003. R. Wilensky, Planning and Understanding: A Computational Approach to Human Reasoning, Advanced Book Program, Reading, MA: Addison-Wesley Publishing Co., 1983. R. Wilensky, "Understanding Goal-Based Stories," Yale University, Sep. 1978. B. Kahn and R. Wilensky, "A Framework for Distributed Digital Object Services", May 1995.