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Minimal graphics - Computer Graphics and Applications, IEEE

Photorealistic rendering of graphical models continues to be a topic of considerable research effort in the computer graphics community. However, photorealism isn’t the only criterion for judging an image’s value. In visualization, where rendering is the conduit through which abstract, nonrealistic forms (such as isosurfaces or streamtubes) become perceivable to users, photorealism may neither be the most useful nor appropriate property. This article describes our long-term research vision in an area that, in our view, should gain a lot of importance in the future. Artistic traditions Consider the paintings in Figures 1 and 2. Figure 1 is a reproduction of a painting by Johannes Vermeer, one of the outstanding Dutch painters of the 17th century. His The Little Street is a typical example of Dutch and classical European paintings. Figure 2 is a detail taken from a landscape painting by the Chinese artist Yun Ge, dated to the 17th century. The artistic techniques used in the paintings are quite different. If we consider these paintings as forms of communication, then a natural concern is how the different representation styles affect that communication. A full account of these issues lies in the areas of art theory and visual perception. Here, we simply use the example as an analogy, to observe that computer graphics, which plays a major role in visualization and visual communication within today’s information society, has focused on one particular approach to rendering information—socalled photorealistic rendering. Vermeer tried to represent reality on the canvas by using all the intricate effects of lights, shadows, reflections, and so on. Such minute details as the texture of the brick walls or the people’s garments are also represented with great care, although they’re hardly noticeable to the naked eye. This attempt at realism was one of the main characteristics of European paintings up to the beginning of the 20th century. This approach to art is in sharp contrast to the art of China and Japan. Clearly, Yun Ge, like most traditional Chinese and Japanese painters, didn’t try to reproduce nature. The picture conveys an impression of a landscape—it represents only parts of the contours and main lines of objects (such as the hills, trees, and so on). The whole of the picture is remarkably void of details. Nevertheless, the message— the information content—is there, and the aesthetic beauty of this painting is just as appealing as Vermeer’s. (Note that, in this article, we used Far Eastern painting as a contrast. We could’ve also referred to various schools of modern European art or to cartoon and caricature drawings. Beyond issues of personal taste, a reason why Chinese and Japanese paintings might be an interesting point of departure are the traditions and philosophical background underlying the art, which may help in developing new methods of rendering.) Some European artists (like Albert Dürer or Leonardo da Vinci) and Vermeer conducted life experiments to Ivan Herman