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Graphics Programming: Shaders
Vertex Shader Tesselation |
Implementing Fur in Deferred Shading |
Shader Based Water Effects |
Shader Amortization using Pixel Quad Message Passing |
Optimised Shaders for Advanced Graphical User Interfaces |
GLSL Shader Debugging with GLIntercept |
Adaptive Tessellation of Subdivision Surfaces with Displacement Mapping |
Per-Pixel Displacement Mapping with Distance Functions |
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William Donnelly (University of Waterloo)
GPU Gems 2 |
Deferred Shading in STALKER |
Implementing the Mental Images Phenomena Renderer on the GPU |
Blueprint Rendering and "Sketchy Drawings" |
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Marc Nienhaus and J�rgen D�llner (University of Potsdam)
GPU Gems 2 |
Efficient Soft-Edged Shadows Using Pixel Shader Branching |
Pipeline Integration with FX Composer |
Creating Real Shaders with FX Composer |
Depth of Field: A Survey of Techniques |
The Design of FX Composer |
An Introduction to Shader Interfaces |
Converting Production RenderMan Shaders to Real-Time |
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Steve Marshall (Sony Pictures Imageworks)
GPU Gems |
Leveraging High-Quality Software Rendering Effects in Real-Time Applications |
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Alexandre Jean Claude and Marc Stevens (Softimage)
GPU Gems |
Integrating Shaders into Applications |
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John O�Rorke (Monolith Productions)
GPU Gems |
Real-Time Halftoning: Fast and Simple Stylized Shading |
Fast Sepia Tone Conversion |
Deforming of Mesh Objects Using HLSL |
Morphing Between Two Different Objects |
Silhouette Geometry Shaders |
GLSL Real-Time Shader Development |
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Natalya Tatarchuk and Bill Licea-Kane
ShaderX3 |
Detail Texture Motion Blur |
Animation and Display of Water |
A Practical Analytic Model for Daylight with Shaders |
RenderMonkey: An Effective Environment for Shader Prototyping and Development |
Procedural Shaders: A Feature Animation Perspective |
Direct3D Shader Models (GDC2004 D3D Tutorial) |
Deferred Shading (GDC2004 D3D Tutorial) |
Half-Life 2 / Valve Source Shading (GDC2004 D3D Tutorial) |
Shader Development using RenderMonkey |
Tips for Creating Shader-Friendly 3D Models |
Vertex Decompression using Vertex Shaders Part 2 |
Using lookup tables in vertex shaders |
Terrain Geomorphing in the Vertex Shader |
Cloth Animation with Pixel and Vertex Shader 3.0 |
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Chris Oat, Natalya Tatarchuk, John Isidoro
ShaderX2 |
Motion Blur Using Geometry and Shading Distortion |
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Natalya Tatarchuk, Chris Brennan, John Isidoro, Alex Vlachos
ShaderX2 |
Stereoscopic Rendering in Hardware using Shaders |
Software Vertex Shader Processing |
x86 Shaders - ps_2_0 Shaders in Software |
SoftD3D - A software only implementation of Microsoft's Direct3D API |
Named Constants in Shader Development |
Advanced Image Processing with DirectX 9 Pixel Shaders |
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Jason L. Mitchell, Marwan Y. Ansari and Evan Hart
ShaderX2 |
Shaders under Control (Codecreatures Engine) |
Shader Integration in the Gamebryo Graphics Engine |
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Scott Sherman, Dan Amerson, Shaun Kime, and Tim Preston
ShaderX2 |
Antialiasing for Bump Maps and a Fast Normalization Trick |
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Tony Barrera (Barrera Kristiansen AB), Anders Hast (Creative Media Lab, University of G�vle), and Ewert Bengtsson (Center for Image Analysis, Uppsala University)
Graphics Programming Methods |
Pixel Shader Optimizations for Terrain Rendering |
Implementing A Fixed Function Shader in HLSL |
A Programmable Vertex Shader Compiler |
Abstract: This article discusses the implementation of a compiler for programmable vertex shaders. Provided with the article is a full implementation of a simple vertex shader compiler. It also contains documentation on how to create a workspace for building compilers and an example that compiles the OpenGL lighting equation into a DirectX vertex shader. To give a practical foundation for this article, we are focusing on the vertex shader implementation in DirectX8. Future implementations might vary, but the framework and infrastructure we provide should still be applicable.
Rendering with Handcrafted Shading Models |
Abstract: This article proposes a simple technique called normal distribution function (NDF) shading. It allows an artist to handcraft shading models, with the shape and color of highlights simply stored in bitmaps. The technique uses per-pixel shading, and can also be used in conjunction with bump mapping. Anisotropic shading models can also be created.
Introduction to Vertex and Pixel Shader Programming |
Basic Shader Development with Shader Studio |
Vertex Decompression using Vertex Shaders |
Shadow Volume Extrusion using a Vertex Shader |
Character Animation with Direct3D Vertex Shaders |
Optimizing Software Vertex Shaders |
Compendium of Vertex Shader Tricks |
Perlin Noise and Returning Results from Shader Programs |
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Steven Riddle and Oliver C. Zecha
ShaderX |
Image Processing with Pixel Shaders in Direct3D |
Hello World - Font Smoothing with Pixel Shaders |
Disc or Sphere - Emulate Geometry with Shaders - Impostors |
Smooth Lighting with ps.1.4 |
Photo Realistic Faces with Vertex and Pixel Shaders |
Non-Photorealistic Rendering with Pixel and Vertex Shaders |
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Drew Card and Jason L. Mitchell
ShaderX |
Animated Grass with Pixel and Vertex Shaders |
A Non-Integer Power Function on the Pixel Shader |
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Philippe Beaudoin and Juan Guardado
ShaderX |
Cartoon Rendering: Real-time Silhouette Edge Detection and Rendering |
Abstract: Silhouette detection and rendering is a key component for adding a stylized look to 3D cartoon rendering. The basic concept of silhouette edge detection is to find the important edges that depict the outline of a model. Many cartoon animators illustrate these silhouettes by tracing a black outline around the borders of a model. This cartoon rendering article describes several silhouette edge detection techniques: an edge-based detection method, a programmable vertex shader technique, and an advanced texturing technique. The advantages and disadvantages of each technique are highlighted.
Cartoon Rendering Using Texture Mapping and Programmable Vertex Shaders |
Abstract: The techniques described in this article take advantage of modern real-time graphics capabilities, including texture mapping and programmable vertex shading. The basic idea is to simulate a limited color palette using textures. To do this, we modify the standard diffuse shading equation to create a highlight and shadow color, and use these colors to create a small texture map for each material to be used as a lookup table at runtime. Additionaly, these techniques require no additional markup information from the artist - this article describes the creation of the texture maps and texture coordinates for each material.
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