以颜料为基础的水彩画重着色

Elad Aharoni-Mack, Yakov Shambik, Dani Lischinski
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引用次数: 27

摘要

艺术家在创作绘画时使用的调色板是表达情感、引导注意力等的重要工具。然而,选择调色板是一项复杂的任务,需要相当的技能和经验。在这项工作中,我们介绍了一个新的工具,旨在让艺术家尝试现有的水彩画的替代调色板。这对于为现有绘画生成替代再现或帮助为与现有绘画相关的新绘画选择调色板可能很有用。我们的工具首先估计用于创建绘画的原始基于颜料的调色板,然后将绘画分解为颜料通道的集合,每个通道对应于单个调色板颜色。在这两项任务中,我们采用了库贝尔卡-蒙克模型的一个版本,该模型预测了给定颜料混合物的反射率。分解中的每个通道都是一个分段平滑映射,它指定调色板中一种颜色在图像上的浓度。另一个估计地图指定了整个图像上颜料的总厚度。这些颜料通道的混合,也根据库别卡-蒙克模型,重建了原画。然后,艺术家能够操纵单个调色板的颜色,通过以交互速率重新混合颜料通道获得结果。
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Pigment-based recoloring of watercolor paintings
The color palette used by an artist when creating a painting is an important tool for expressing emotion, directing attention, and more. However, choosing a palette is an intricate task that requires considerable skill and experience. In this work, we introduce a new tool designed to allow artists to experiment with alternative color palettes for existing watercolor paintings. This could be useful for generating alternative renditions for an existing painting, or for aiding in the selection of a palette for a new painting, related to an existing one. Our tool first estimates the original pigment-based color palette used to create the painting, and then decomposes the painting into a collection of pigment channels, each corresponding to a single palette color. In both of these tasks, we employ a version of the Kubelka-Munk model, which predicts the reflectance of a given mixture of pigments. Each channel in the decomposition is a piecewise-smooth map that specifies the concentration of one of the colors in the palette across the image. Another estimated map specifies the total thickness of the pigments across the image. The mixture of these pigment channels, also according to the Kubelka-Munk model, reconstructs the original painting. The artist is then able to manipulate the individual palette colors, obtaining results by remixing the pigment channels at interactive rates.
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