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		    CS 99D - Wrapup lecture, March 13, 2001

				  Marc Levoy
			      Stanford University
				   (c) 2001

		      (with corrections, March 14, 2003)

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			*** Uses of science in art ***

	o teaches us to be keener observers of nature
		o What effects characterize aerial perspective?
		o How does it change with changes in humidity, elevation, etc?

	o teaches us how to invent appearance of hypothetical objects
		o Would an object's color tinge its shadow?
		o Or would its shadow only appear colored if the occluder's
		back were colored and the occluder and receiver were
		sufficiently close together?

		o Should a shadow get darkest near its boundary with the light?
		o Or is this a perceptual effect, perceived equally strongly
		on a painted version and therefore not to be drawn explicitly?

	o teaches us how to represent specific effects in a painting
	  (planar, static, monocular, media of limited tone and color)
		o How to paint an object in correct planar perspective?

		o How to paint a dazzlingly bright scene?
		o Or a moonlit scene?

		o Why and how to paint the complementary colors due to the
		after-images that arise in the shadows of objects seen under
		strong illumination?

	o teaches us what stylistic elements were important in various epochs
		o correct perspective
			= rationality in the Renaissance
		o complex light and shadow
			= virtuosity in the Rococco
		o rough brushwork, shimmering light, prismatic colors
			= romanticism in Impressionism

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			*** Uses of art in science ***

	o applications to photorealistic computer graphics rendering
		o tone and color reproduction operators
			--> Greg Ward-Larsen's ultra-bright display,
			    forces pupil accommodation
			--> fluorescent ink / UV light drawings
			    of buildings at night, forces scotopic viewing

	o other (nonphotorealistic) applications in computer graphics
		o multi-point perspective visualization of environments

		o automatic artistic effects
			-> Computer-generated pen-and-ink illustration
			    2D, Siggraph '97, p. 403 (and front cover)
			-> Computer-generated pen-and-ink illustration
			    3D, Siggraph '94, p. 97 (and frontispiece)
			-> Computer-generated watercolor,
			    Siggraph '97, p. 429
			-> Furry bunny,
			    Gooch & Gooch, pl. XIV

		o automatic data visualization
			-> Non-photorealistic mechanical drawing,
			    Gooch & Gooch, pl. XLII
			-> Image-based relighting

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		       *** Questions for discussion ***

Within the context of European art from the Renaissance through 1900:

	o What drives changes in artistic style?
		o scientific discoveries in optics or perception?
		o "discoveries" (or inventions) by specific artists?
		o societal / cultural pressures?
		o painting technology?

	o What killed illusionistic painting?  (not really covered in course)
		o political / economic / industrial revolutions?
		o photography?
		o specific painters?

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