Artistic Multiprojection Rendering

  • Maneesh Agrawala
  • Denis Zorin
  • Tamara Munzner
Part of the Eurographics book series (EUROGRAPH)


In composing hand-drawn images of 3D scenes, artists often alter the projection for each object in the scene independently, thereby generating multiprojection images. We present a tool for creating such multiprojection images and animations, consisting of two parts: a multiprojection rendering algorithm and an interactive interface for attaching local cameras to the scene geometry. We describe a new set of techniques for resolving visibility between geometry rendered with different local cameras. We also develop several camera constraints that are useful when initially setting local camera parameters and when animating the scene. We demonstrate applications of our methods for generating a variety of artistic effects in still images and in animations.


Perspective Projection Oblique Projection Single Projection Multiple Projection Image Layer 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.


Unable to display preview. Download preview PDF.

Unable to display preview. Download preview PDF.


  1. [1]
    J. O. Dorsey, F. X. Sillion, and D. P. Greenberg. Design and simulation of opera lighting and projection effects. In Computer Graphics (SIGGRAPH ’91 Proceedings), volume 25, pages 41–50, July 1991.Google Scholar
  2. [2]
    F. Dubery and J. Willats. Perspective and Other Drawing Systems. Van Nostrand, 1983.Google Scholar
  3. [3]
    G. Glaeser and E. Gröller. Fast generation of curved perspectives for ultra-wide-angle lenses in VR applications. The Visual Computer, 15:365–376, 1999.CrossRefGoogle Scholar
  4. [4]
    M. Gleicher and A. Witkin. Through-the-lens camera control. In E. E. Catmull, editor, Computer Graphics (SIGGRAPH ’92 Proceedings), volume 26, pages 331–340, July 1992.Google Scholar
  5. [5]
    D. W. Graham. Composing Pictures. Van Nostrand Reinhold Company, 1970.Google Scholar
  6. [6]
    S. Guarnaccia. 53rd Street Map. In N. Holmes, editor, The Best in Diagrammatic Graphics, pages 174–175. Quarto Publishing, 1993.Google Scholar
  7. [7]
    A. Hertzmann. Painterly rendering with curved brush strokes of multiple sizes. In SIGGRAPH 98 Conference Proceedings, pages 453–460. ACM SIGGRAPH, Addison Wesley, July 1998.CrossRefGoogle Scholar
  8. [8]
    G. Humphreys and P. Hanrahan. A distributed graphics system for large tiled displays. IEEE Visualization ’99, pages 215–224, October 1999.Google Scholar
  9. [9]
    M. Inakage. Non-linear perspective projections. In Modeling in Computer Graphics (Proceedings of the IFIG WG 5.10 Working Conference), pages 203–215, Apr. 1991.CrossRefGoogle Scholar
  10. [10]
    M. Kubovy. The Psychology of Perspective and Renaissance Art. Cambridge University Press, 1986.Google Scholar
  11. [11]
    J. Levene. A framework for non-realistic projections. M.eng. thesis, MIT, 1998.Google Scholar
  12. [12]
    H. Löffelmann and E. Gröller. Ray tracing with extended cameras. The Journal of Visualization and Computer Animation, 7(4):211–227, Oct.-Dec. 1996.CrossRefGoogle Scholar
  13. [13]
    E. Loran. Cezanne’s Composition. University of California Press, 1943.Google Scholar
  14. [14]
    N. L. Max. Computer graphics distortion for IMAX and OMNIMAX projection. In Nicograph ’83 Proceedings, pages 137–159, Dec. 1983.Google Scholar
  15. [15]
    P. Rademacher and G. Bishop. Multiple-center-of-projection images. In SIGGRAPH 98 Conference Proceedings, pages 199–206, July 1998.CrossRefGoogle Scholar
  16. [16]
    R. Raskar, G. Welch, M. Cutts, A. Lake, L. Stesin, and H. Fuchs. The office of the future: A unified approach to image-based modeling and spatially immersive displays. Proceedings of SIGGRAPH98, pages 179–188, July 1998.Google Scholar
  17. [17]
    G. Savransky, D. Dimerman, and C. Gotsman. Modeling and rendering Escher-like impossible scenes. Computer Graphics Forum, 18(2): 173–179, June 1999.CrossRefGoogle Scholar
  18. [18]
    J. Snyder and J. Lengyel. Visibility sorting and compositing without splitting for image layer decomposition. In SIGGRAPH 98 Conference Proceedings, pages 219–230, July 1998.CrossRefGoogle Scholar
  19. [19]
    J. Willats. Art and Representation: New Principles in the Analysis of Pictures. Princeton University Press, 1997.Google Scholar
  20. [20]
    D. N. Wood, A. Finkelstein, J. F. Hughes, C. E. Thayer, and D. H. Salesin. Multiperspective panoramas for cel animation. In SIGGRAPH 97 Conference Proceedings, pages 243–250, Aug. 1997.CrossRefGoogle Scholar
  21. [21]
    D. Zorin and A. H. Barr. Correction of geometric perceptual distortion in pictures. In R. Cook, editor, SIGGRAPH 95 Conference Proceedings, Annual Conference Series, pages 257–264. ACM SIGGRAPH, Addison Wesley, Aug. 1995.CrossRefGoogle Scholar
  22. Editors’ Note: see Appendix, p. 402 for colored figures of this paperGoogle Scholar

Copyright information

© Springer-Verlag Wien 2000

Authors and Affiliations

  • Maneesh Agrawala
    • 1
  • Denis Zorin
    • 2
  • Tamara Munzner
    • 1
  1. 1.Stanford UniversityUSA
  2. 2.New York UniversityUSA

Personalised recommendations