Rendering with pen and ink pdf free download

We are republishing this book now in an affordable, high-quality, modern edition complete with a specially commissioned new introduction on drawing and illustration. Its authoritative text and illustrations make it indispensible for students and staff in art colleges and universities everywhere.

It explores basic materials and instruments; fundamental properties of strokes and pen control; key elements of shading; and indispensable techniques for creating vibrant textures. This book is not just written to instruct but also to inspire enthusiasts of pen and ink and drawing as well. Arthur L. Guptill's classic Rendering in Pen and Ink has long been regarded as the most comprehensive book ever published on the subject of ink drawing.

This is a book designed to delight and instruct anyone who draws with pen and ink, from the professional artist to the amateur and hobbyist. And she shares her secrets for turning simple lines and dots into all kinds of lifelike textures, including leaves, glass, hair, fruit, water, clouds, wood grain, grass, fur and feathers.

Easy and fun! Step-by-step projects teach techniques as you draw trees, flowers, barns, animals and other subjects—even people! And demonstrations show you how to put all that you've learned together to create a finished picture.

So go ahead—grab that pen and have fun! Just follow along with Claudia to get the hang of it, and before you know it you'll be making your own, original pen-and-ink drawings! It is appropriate for learners on all levels and is filled with over engaging drills and exercises. The exercises in this comprehensive workbook are thoughtfully designed to take you from the essential elements like pen control, line consistency, basic strokes and variations to more advanced concepts such as, blending values, controlling gradations, shading compound forms, and rendering textures.

In contrast to the above methods here real-world data was obtained by scanning and methods for the abstraction and styl- ization were applied. Silhouette stylization has also been explicitly addressed [Markosian et al.

Mostly, an explicit line description is needed in order to apply a silhouette pattern, which are hard to obtain efficiently for complex landscape scenes.

Kalnins et al. The axes correspond to arc-length parameterization. In [Northrup and Markosian ] sliders in our interactive editor. Right column: several other abstract renditions, from top to bottom: Van Gogh look abstract, elliptical leafs around the HLPs , pointilistic style, minimalistic drawing, combination of different styles.

We use signed depth differences in order to ob- such as spheres. The values are passed to a further filter which removes isolated pixels by checking the 3x3 neighborhood average a contour pixel should have at least 2 neighbors 5. We extend image- based contours with a novel approach to stylization that applies user-defined 2D-textures onto silhouettes and avoids the require- ment of explicit silhouette description. The main difficulty that has to be addressed is finding a parameter- Figure 4: Top: Leaves represented as dots are grouped into spher- ized 2D support for the silhouette textures: one texture coordinate ical HLPs and associated a HLP normal.

Bottom: Different degrees along the contour, u, and the other perpendiculat to it, v. We want of abstraction obtained by displacement of leaves, shading and de- to apply the style texture as a post-rendering step in image-space tail reduction according to higher level primitives, for blending fac- just after silhouettes are computed and rely on the 1-pixel wide tors 0, 0.

We construct an approximate pa- rameterization, using additional information stored in the g-buffers. The algorithm can be regarded as a re-modeling process: we fit higher-level primitives HLP in the tree foliage. We use a greedy clustering algorithm: leaf positions are successively checked against the current HLP set, initially void.

If a leaf can be added to an existing HLP without increasing its size over a user- defined threshold, it is added to that HLP, otherwise a new HLP containing the leaf is created currently, we use spheres as HLPs, defined by a center and a maximum radius r, as Fig. We blend between the original leaf posi- expanded inwards the v coordinate. The parameterization along tion and its projection onto the HLP along the HLP normal, which the silhouette is aproximated with the length of the arc described allows seamless control over the degree of abstraction Fig.

The image plane projection of HLP normal defined in the 5. The v coordinate space approach for contours has been used. The general approach to is then the distance to the contour pixel. If no contour pixel is found image-based contour detection is to render depth, normals and color within a fixed interval p pixels , we skip the contour rendering for g-buffers [Saito and Takahashi ] in a first step, then detect dis- the current pixel - this means that the extent of the search along continuities in these buffers.

We also found color- For the u coordinate along the contours we also use an approxima- derived contours rather visually unpleasing. In Fig. We generate the alpha map by radial the aspect ratio the stretching of the texture along the silhouette. Because u is computed in image space, the texture will not fol- low the rotation of the object shower door effect. Figure 6: Leaf shape variation encoded in the alpha channel of the texture.

From left to right: original leaf texture alpha, radially ex- panded alpha, shapes obtained with alpha thresholds 0. Since u is computed relative to a HLP, the continuity of the contour parame- terization is limited to that HLP - texture discontinuities will appear Real-time hatching techniques have been developed in both object at HLP boundaries.

Due to the path length approximation, the uni- and image space. Given the efficiency requirements, we follow the formity of the parameterization along the contour depends on how tonal art map TAM approach of Praun et al.

These are, however, far less disturbing effects than texture of being rendered individually. Smooth tone transition is achieved sliding. All these effects can be seen in the accompanying video. In order to maintain hatch den- sity and width, several mipmap levels of each tone are used.

For In order to define the style, a 2D texture structure similar to the coherent switching, a nesting property is imposed both among dif- tonal art maps TAM of [Praun et al.

There are two differences compared to The approach of Praun et al. Unfortunately, mip-mapping is no longer needed and 2 each channel of the SAM such parameterizations are ill-suited for highly fragmented objects can contain a different silhouette style, without imposing a nesting like the foliage of a tree, where the spatial coherence of the texture property like for TAMs.

Using multiple channels usually 4 , the is broken, as the example in Fig. Another class of tech- style can be changed along the silhouette, by selecting the desired niques would be image-space hatching, which instead suffers from channel, i.

In contrast to previous image-based techniques that only allow im- plicit stylization of contours like the various drawing primitives of Deussen and Strothotte [] , our approach leverages explicit stylization in form of user-defined textures. Compared to methods that explicitly render strokes like Kowalski et al. First, because the stroke tex- ture are rendered in a single pass on the support given by the 2D- a expanded contours, strokes belonging to different silhouettes can- b not overlap.

A possible extension of the technique would be the use of multiple rendering passes to achieve overlapping strokes. Figure 7: Mappings of a checkerboard texture on a tree surface: a Another limitation is that silhouette art maps cannot be transparent, an object-space spherical mapping - texture coordinates are com- because the post-rendering processing cannot recover the invisible puted using the projection onto a parameterized bounding sphere. We are republishing this book now in an affordable, high-quality, modern edition complete with a specially commissioned new introduction on drawing and illustration.

It explores basic materials and instruments; fundamental properties of strokes and pen control; key elements of shading; and indispensable techniques for creating vibrant textures. Gill Publisher: Van Nostrand Reinhold Company ISBN: UOM Category: Architectural rendering Page: View: "Rendering" is the reproduction or representation of an architect's design in the form of a drawing of the building as it will appear, complete with accessory details such as trees, traffic and people.

It is also much used in preparing drawings for engineers, designers and manufacturers, and in advertising and industry generally. Gill has produced a concise, thorough and copiously illustrated guide to techniques and methods, including sections on perspective, projection, shadow, reflections, and on how to draw cars, ships, aircraft, trees, human figures and so on.

He also describes the very wide range of instruments and equipment that is available from different countries. Guptill's classic Rendering in Pen and Ink has long been regarded as the most comprehensive book ever published on the subject of ink drawing.

This is a book designed to delight and instruct anyone who draws with pen and ink, from the professional artist to the amateur and hobbyist.