Image manipulation takes many forms. A powerful approach involves image adjustment by example. To make color edits more intuitive, the intelligent transfer of a user-specified target image's color palette can achieve a multitude of creative effects, provided the user is supplied with a small set of straightforward parameters. We present a novel histogram reshaping technique which allows significantly more control than previous methods. Given that the user is free to chose any image as the target, the process of steering the algorithm becomes artistic. Moreover, we show for the first time that creative tone reproduction can be achieved by matching a high dynamic range image against a low dynamic range target.
{"title":"Progressive histogram reshaping for creative color transfer and tone reproduction","authors":"T. Pouli, E. Reinhard","doi":"10.1145/1809939.1809949","DOIUrl":"https://doi.org/10.1145/1809939.1809949","url":null,"abstract":"Image manipulation takes many forms. A powerful approach involves image adjustment by example. To make color edits more intuitive, the intelligent transfer of a user-specified target image's color palette can achieve a multitude of creative effects, provided the user is supplied with a small set of straightforward parameters. We present a novel histogram reshaping technique which allows significantly more control than previous methods. Given that the user is free to chose any image as the target, the process of steering the algorithm becomes artistic. Moreover, we show for the first time that creative tone reproduction can be achieved by matching a high dynamic range image against a low dynamic range target.","PeriodicalId":204343,"journal":{"name":"International Symposium on Non-Photorealistic Animation and Rendering","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2010-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128844129","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
We present a simple technique for creating fluid silhouettes described with vector graphics, which we call "Vector Fluid." In our system, a solid region in the fluid is represented as a closed contour and advected by fluid flow to form a curly and clear shape similar to marbling or sumi-nagashi (See Figure 1). The fundamental principle behind our method is that contours of solid regions should not collide. This means that if the initial shape of the region is a concave polygon, that shape should maintain its topology so that it can be rendered as a regular concave polygon, no matter how irregularly the contour is distorted by advection. In contrast to other techniques, our approach explicitly neglects topology changes to track surfaces in a trade off of computational cost and complexity. We also introduce an adaptive contour sampling technique to reduce this extra cost. We explore specific examples in 2D for art oriented usage and show applications and robustness of our method to exhibit organic fluid components. We also demonstrate how to port our entire algorithm onto a GPU to boost interactive performance for complex scenes.
{"title":"Vector fluid: a vector graphics depiction of surface flow","authors":"R. Ando, R. Tsuruno","doi":"10.1145/1809939.1809954","DOIUrl":"https://doi.org/10.1145/1809939.1809954","url":null,"abstract":"We present a simple technique for creating fluid silhouettes described with vector graphics, which we call \"Vector Fluid.\" In our system, a solid region in the fluid is represented as a closed contour and advected by fluid flow to form a curly and clear shape similar to marbling or sumi-nagashi (See Figure 1). The fundamental principle behind our method is that contours of solid regions should not collide. This means that if the initial shape of the region is a concave polygon, that shape should maintain its topology so that it can be rendered as a regular concave polygon, no matter how irregularly the contour is distorted by advection. In contrast to other techniques, our approach explicitly neglects topology changes to track surfaces in a trade off of computational cost and complexity. We also introduce an adaptive contour sampling technique to reduce this extra cost. We explore specific examples in 2D for art oriented usage and show applications and robustness of our method to exhibit organic fluid components. We also demonstrate how to port our entire algorithm onto a GPU to boost interactive performance for complex scenes.","PeriodicalId":204343,"journal":{"name":"International Symposium on Non-Photorealistic Animation and Rendering","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2010-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115154245","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
E. V. Brazil, Ives Macêdo, M. Sousa, L. Velho, L. H. Figueiredo
We present techniques for rendering Hermite Radial Basis Function (HRBF) Implicits in different pen-and-ink styles. HRBF Implicits is a simple and compact representation, providing three fundamental qualities: a small number of point-normal samples as input for surface reconstruction, good projection of points near the surface, and smoothness of the gradient field. Our approach uses these qualities of HRBF implicits to generate a robust distribution of points to position the drawing primitives. The resulting implicit model is then rendered using point-based primitives to depict shape and tone using silhouettes with hidden-line attenuation, drawing directions, and stippling. We present sample renderings obtained for a variety of models.
{"title":"A few good samples: shape & tone depiction for Hermite RBF implicits","authors":"E. V. Brazil, Ives Macêdo, M. Sousa, L. Velho, L. H. Figueiredo","doi":"10.1145/1809939.1809941","DOIUrl":"https://doi.org/10.1145/1809939.1809941","url":null,"abstract":"We present techniques for rendering Hermite Radial Basis Function (HRBF) Implicits in different pen-and-ink styles. HRBF Implicits is a simple and compact representation, providing three fundamental qualities: a small number of point-normal samples as input for surface reconstruction, good projection of points near the surface, and smoothness of the gradient field. Our approach uses these qualities of HRBF implicits to generate a robust distribution of points to position the drawing primitives. The resulting implicit model is then rendered using point-based primitives to depict shape and tone using silhouettes with hidden-line attenuation, drawing directions, and stippling. We present sample renderings obtained for a variety of models.","PeriodicalId":204343,"journal":{"name":"International Symposium on Non-Photorealistic Animation and Rendering","volume":"77 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2010-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125366161","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Hedlena Bezerra, E. Eisemann, D. DeCarlo, J. Thollot
The formulation of Diffusion Curves [Orzan et al. 2008] allows for the flexible creation of vector graphics images from a set of curves and colors: a diffusion process fills out the parts of the image that are away from curves. However, this model has limitations in certain situations and does not always seem to agree with how an artist wants to use the software. First, the diffusion itself cannot be controlled, only the colors. Further, the fact that color needs to be defined everywhere along the curve can lead to tedious and nonintuitive interactions. In this paper, we present a number of adaptations to diffusion curves that constrain how color is spread across the image. Specifically, we argue for the utility of controlling the speed and direction of the color diffusion, and the ability to have barriers that can be defined without the need to specify a particular color along these curves. We also describe how this can be implemented by solving a linear system, and demonstrate the effectiveness of our solution on a number of examples.
扩散曲线的公式[Orzan et al. 2008]允许从一组曲线和颜色灵活地创建矢量图形图像:扩散过程填充图像中远离曲线的部分。然而，这种模式在某些情况下有局限性，并且似乎并不总是与艺术家想要使用软件的方式一致。首先，扩散本身无法控制，只能控制颜色。此外，需要在曲线上的任何地方定义颜色的事实可能会导致乏味和不直观的交互。在本文中，我们提出了一些适应扩散曲线，限制颜色如何在图像上传播。具体来说，我们主张控制颜色扩散的速度和方向的效用，以及可以在不需要沿着这些曲线指定特定颜色的情况下定义屏障的能力。我们还描述了如何通过求解线性系统来实现这一点，并在一些例子上证明了我们的解决方案的有效性。
{"title":"Diffusion constraints for vector graphics","authors":"Hedlena Bezerra, E. Eisemann, D. DeCarlo, J. Thollot","doi":"10.1145/1809939.1809944","DOIUrl":"https://doi.org/10.1145/1809939.1809944","url":null,"abstract":"The formulation of Diffusion Curves [Orzan et al. 2008] allows for the flexible creation of vector graphics images from a set of curves and colors: a diffusion process fills out the parts of the image that are away from curves. However, this model has limitations in certain situations and does not always seem to agree with how an artist wants to use the software. First, the diffusion itself cannot be controlled, only the colors. Further, the fact that color needs to be defined everywhere along the curve can lead to tedious and nonintuitive interactions. In this paper, we present a number of adaptations to diffusion curves that constrain how color is spread across the image. Specifically, we argue for the utility of controlling the speed and direction of the color diffusion, and the ability to have barriers that can be defined without the need to specify a particular color along these curves. We also describe how this can be implemented by solving a linear system, and demonstrate the effectiveness of our solution on a number of examples.","PeriodicalId":204343,"journal":{"name":"International Symposium on Non-Photorealistic Animation and Rendering","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2010-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122119276","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Non-photorealistic rendering (NPR) as a field of research is generally described by what it is not and as a result it is often hard to embrace the strengths of non-photorealistic rendering as a discipline beyond digitizing or replicating traditional artistic techniques. Towards generating more discussion within the discipline, this paper provides a simple theory of NPR as a way of mapping perceived changes in a scene to perceived changes in a display. One can think of a photorealistic image as one that preserves a one-to-one mapping, such that parameters such as color, intensity, texture, edges, etc. in a scene are mapped to the same parameters in the display. NPR mappings are not one-to-one. For example edges in a scene may be mapped to black lines to generate a cartoon effect. Within this framework of mappings, a partial listing of previous techniques within the discipline is provided. The aim of this paper is to provide a type of road map to stimulate the future growth of the area of non-photorealistic rendering.
{"title":"Towards mapping the field of non-photorealistic rendering","authors":"A. Gooch","doi":"10.1145/1809939.1809958","DOIUrl":"https://doi.org/10.1145/1809939.1809958","url":null,"abstract":"Non-photorealistic rendering (NPR) as a field of research is generally described by what it is not and as a result it is often hard to embrace the strengths of non-photorealistic rendering as a discipline beyond digitizing or replicating traditional artistic techniques. Towards generating more discussion within the discipline, this paper provides a simple theory of NPR as a way of mapping perceived changes in a scene to perceived changes in a display. One can think of a photorealistic image as one that preserves a one-to-one mapping, such that parameters such as color, intensity, texture, edges, etc. in a scene are mapped to the same parameters in the display. NPR mappings are not one-to-one. For example edges in a scene may be mapped to black lines to generate a cartoon effect. Within this framework of mappings, a partial listing of previous techniques within the discipline is provided. The aim of this paper is to provide a type of road map to stimulate the future growth of the area of non-photorealistic rendering.","PeriodicalId":204343,"journal":{"name":"International Symposium on Non-Photorealistic Animation and Rendering","volume":"72 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2010-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126696282","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
N. Chu, William V. Baxter, Li-Yi Wei, N. Govindaraju
Recent years have witnessed significant advances in 3D brush modeling and simulation in digital paint tools. Compared with traditional 2D brushes, a 3D brush can be both more intuitive and more expressive by offering an experience closer to wielding a real, physical brush. To support popular media types such as oil and pastel, most previous 3D brush models have implemented paint smearing and mixing. This is generally accomplished by a simple repeated exchange of paint between the 3D brush and 2D canvas, with the paint picked up by the brush typically mapped directly onto the brush surface. In this paper we demonstrate that both repeated exchanges and direct mapping of paint onto brush surfaces are sub-optimal choices, leading to excessive loss of color detail and computational inefficiencies. We present new techniques to solve both problems, first by using a canvas snapshot buffer to prevent repeated paint exchange, and second by mapping brush paint onto a 2D, resolution-matched pickup map that sits underneath the brush, instead of mapping onto the 3D brush itself. Together, these act to minimize resampling artifacts, helping to preserve fine streaks and color details in strokes, while at the same time yielding improved efficiency by never sampling the brush more densely than necessary. We demonstrate the effectiveness of our method in a real-time paint system implemented on the GPU that simulates pastel and oil paint. Our method is simple and effective, and achieves a level of realism for these two media not attained by any previous work.
{"title":"Detail-preserving paint modeling for 3D brushes","authors":"N. Chu, William V. Baxter, Li-Yi Wei, N. Govindaraju","doi":"10.1145/1809939.1809943","DOIUrl":"https://doi.org/10.1145/1809939.1809943","url":null,"abstract":"Recent years have witnessed significant advances in 3D brush modeling and simulation in digital paint tools. Compared with traditional 2D brushes, a 3D brush can be both more intuitive and more expressive by offering an experience closer to wielding a real, physical brush. To support popular media types such as oil and pastel, most previous 3D brush models have implemented paint smearing and mixing. This is generally accomplished by a simple repeated exchange of paint between the 3D brush and 2D canvas, with the paint picked up by the brush typically mapped directly onto the brush surface. In this paper we demonstrate that both repeated exchanges and direct mapping of paint onto brush surfaces are sub-optimal choices, leading to excessive loss of color detail and computational inefficiencies. We present new techniques to solve both problems, first by using a canvas snapshot buffer to prevent repeated paint exchange, and second by mapping brush paint onto a 2D, resolution-matched pickup map that sits underneath the brush, instead of mapping onto the 3D brush itself. Together, these act to minimize resampling artifacts, helping to preserve fine streaks and color details in strokes, while at the same time yielding improved efficiency by never sampling the brush more densely than necessary. We demonstrate the effectiveness of our method in a real-time paint system implemented on the GPU that simulates pastel and oil paint. Our method is simple and effective, and achieves a level of realism for these two media not attained by any previous work.","PeriodicalId":204343,"journal":{"name":"International Symposium on Non-Photorealistic Animation and Rendering","volume":"116 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2010-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117271808","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
I argue that Non-Photorealistic Rendering (NPR) research will play a key role in the scientific understanding of visual art and illustration. NPR can contribute to scientific understanding of two kinds of problems: how do artists create imagery, and how do observers respond to artistic imagery? I sketch out some of the open problems, how NPR can help, and what some possible theories might look like. Additionally, I discuss the thorny problem of how to evaluate NPR research and theories.
{"title":"Non-Photorealistic Rendering and the science of art","authors":"Aaron Hertzmann","doi":"10.1145/1809939.1809957","DOIUrl":"https://doi.org/10.1145/1809939.1809957","url":null,"abstract":"I argue that Non-Photorealistic Rendering (NPR) research will play a key role in the scientific understanding of visual art and illustration. NPR can contribute to scientific understanding of two kinds of problems: how do artists create imagery, and how do observers respond to artistic imagery? I sketch out some of the open problems, how NPR can help, and what some possible theories might look like. Additionally, I discuss the thorny problem of how to evaluate NPR research and theories.","PeriodicalId":204343,"journal":{"name":"International Symposium on Non-Photorealistic Animation and Rendering","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2010-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116515614","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The field of non-photorealistic rendering is reaching a mature state. In its infancy, researchers explored the mimicry of methods and tools used by traditional artists to generate works of art, through techniques like watercolor or oil painting simulations. As the field has moved past mimicry, ideas from artists and artistic techniques have been adapted and altered for performance in the media of computer graphics, creating algorithmic aesthetics such as generative art or the automatic composition of objects in a scene, as well as abstraction in rendering and geometry. With these two initial stages of non-photorealistic rendering well established, the field must find new territory to cover. In this paper, we provide a high level overview of the past and current state of non-photorealistic rendering and call to arms the community to create the areas of research that make computation of non-photorealistic rendering generate never before realized results.
{"title":"Viewing progress in non-photorealistic rendering through Heinlein's lens","authors":"A. Gooch, J. Long, Li Ji, A. Estey, B. Gooch","doi":"10.1145/1809939.1809959","DOIUrl":"https://doi.org/10.1145/1809939.1809959","url":null,"abstract":"The field of non-photorealistic rendering is reaching a mature state. In its infancy, researchers explored the mimicry of methods and tools used by traditional artists to generate works of art, through techniques like watercolor or oil painting simulations. As the field has moved past mimicry, ideas from artists and artistic techniques have been adapted and altered for performance in the media of computer graphics, creating algorithmic aesthetics such as generative art or the automatic composition of objects in a scene, as well as abstraction in rendering and geometry. With these two initial stages of non-photorealistic rendering well established, the field must find new territory to cover. In this paper, we provide a high level overview of the past and current state of non-photorealistic rendering and call to arms the community to create the areas of research that make computation of non-photorealistic rendering generate never before realized results.","PeriodicalId":204343,"journal":{"name":"International Symposium on Non-Photorealistic Animation and Rendering","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2010-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133909226","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Many nonphotorealistic rendering techniques exist to produce artistic effects from given images. Inspired by various artistic work such as Warhol's, interesting artistic effects can be produced by using a minimal rendering, where the minimum refers to the number of tones as well as the number and complexity of the primitives used for rendering. To achieve this goal, based on various computer vision techniques, our method uses a combination of refined lines and blocks, as well as a small number of tones, to produce abstracted artistic rendering with sufficient elements from the original image. There is always a trade-off between reducing the amount of information and the ability to represent the shape and details of the original images. Judging the level of abstraction is semantic-based, so we believe that giving users this flexibility is probably a good choice. By changing some intuitive parameters, a wide range of visually pleasing results can be produced. Our method is usually fully automatic, but a small amount of user interaction can optionally be incorporated to obtain selective abstraction.
{"title":"Towards artistic minimal rendering","authors":"Paul L. Rosin, Yu-Kun Lai","doi":"10.1145/1809939.1809953","DOIUrl":"https://doi.org/10.1145/1809939.1809953","url":null,"abstract":"Many nonphotorealistic rendering techniques exist to produce artistic effects from given images. Inspired by various artistic work such as Warhol's, interesting artistic effects can be produced by using a minimal rendering, where the minimum refers to the number of tones as well as the number and complexity of the primitives used for rendering. To achieve this goal, based on various computer vision techniques, our method uses a combination of refined lines and blocks, as well as a small number of tones, to produce abstracted artistic rendering with sufficient elements from the original image. There is always a trade-off between reducing the amount of information and the ability to represent the shape and details of the original images. Judging the level of abstraction is semantic-based, so we believe that giving users this flexibility is probably a good choice. By changing some intuitive parameters, a wide range of visually pleasing results can be produced. Our method is usually fully automatic, but a small amount of user interaction can optionally be incorporated to obtain selective abstraction.","PeriodicalId":204343,"journal":{"name":"International Symposium on Non-Photorealistic Animation and Rendering","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2010-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131338743","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
We propose an interactive sketch-based system for rendering oriental brush strokes on complex shapes. We introduce a contour-driven approach; the user inputs contours to represent complex shapes, the system estimates automatically the optimal trajectory of the brush, and then renders them into oriental ink paintings. Unlike previous work where the brush trajectory is explicitly provided as input, we automatically estimate this trajectory from the outline of the shapes to paint using a three-stages algorithm; first complex shapes are decomposed into elementary shapes that can be rendered with a single brush stroke. Second, we formulate the optimal brush trajectory estimation as the minimization of an energy function that measures the quality of the trajectory constrained by the variation along a stroke of the painting process parameters, such as the footprint position, size, orientation, and angular velocity. Finally, the estimated trajectories are rendered into brush strokes by mapping footprint textures scanned from real images. We combine the proposed framework with an interactive segmentation in order to convert real images into Oriental ink paintings. Experiments on complex shapes show that the proposed contour-based approach produces a large variety of strokes compared to trajectory-based approaches. It is particularly suitable for converting real images into Oriental ink paintings with minimum interaction.
{"title":"IR2s: interactive real photo to Sumi-e","authors":"Ning Xie, Hamid Laga, S. Saito, M. Nakajima","doi":"10.1145/1809939.1809947","DOIUrl":"https://doi.org/10.1145/1809939.1809947","url":null,"abstract":"We propose an interactive sketch-based system for rendering oriental brush strokes on complex shapes. We introduce a contour-driven approach; the user inputs contours to represent complex shapes, the system estimates automatically the optimal trajectory of the brush, and then renders them into oriental ink paintings. Unlike previous work where the brush trajectory is explicitly provided as input, we automatically estimate this trajectory from the outline of the shapes to paint using a three-stages algorithm; first complex shapes are decomposed into elementary shapes that can be rendered with a single brush stroke. Second, we formulate the optimal brush trajectory estimation as the minimization of an energy function that measures the quality of the trajectory constrained by the variation along a stroke of the painting process parameters, such as the footprint position, size, orientation, and angular velocity. Finally, the estimated trajectories are rendered into brush strokes by mapping footprint textures scanned from real images. We combine the proposed framework with an interactive segmentation in order to convert real images into Oriental ink paintings. Experiments on complex shapes show that the proposed contour-based approach produces a large variety of strokes compared to trajectory-based approaches. It is particularly suitable for converting real images into Oriental ink paintings with minimum interaction.","PeriodicalId":204343,"journal":{"name":"International Symposium on Non-Photorealistic Animation and Rendering","volume":"117 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2010-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124605685","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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