A virtual painting knife

Okaichi, Naoto; Johan, Henry; Imagire, Takashi; Nishita, Tomoyuki

doi:10.1007/s00371-008-0257-5

Cited by 8 publications

(11 citation statements)

References 17 publications

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“…Previous researchers [Baxter et al 2001;Baxter et al 2004a;Baxter et al 2004b;Okaichi et al 2008] have used the above pipeline to simulate paint deposition with a smearing effect. However, the smearing of multiple colors in these works displays significantly more color diffusion than in real paint.…”

Section: Sampling and Resampling Issuesmentioning

confidence: 97%

“…In previous 3D brush (or pastel stick or palette knife) models [Baxter et al 2001;Adams et al 2004;Van Haevre et al 2007;Okaichi et al 2008], paint pickup information is mapped to the brush geometry. Specifically, pickup is stored either as textures mapped on to the brush surface [Baxter et al 2001;Van Haevre et al 2007], as vertex data on the brush surface mesh [Okaichi et al 2008], or as samples scattered on the brush surface [Adams et al 2004].…”

Section: Sampling and Resampling Issuesmentioning

confidence: 99%

“…In this work, we focus in particular on oil and pastel, two media in which the interactions of tools and media are critical and give rise to both detail and variability. Researchers have shown that the lack of expressive variability can be addressed by moving from simple 2D bitmap -brushes‖ to more realistic models of realworld tools, such as deformable 3D paint brush models [Baxter et al 2001;Chu and Tai 2002;Adams et al 2004;Okaichi et al 2008;Baxter and Govindaraju 2010]. However, basically none of these previous techniques is able to recreate the fine details seen in real oil or pastel marks due to how the smearing and mixing of paint are implemented.…”

Section: Introductionmentioning

confidence: 97%

“…Recent advances show a trend towards using 3D deformable brushes instead of 2D ones to better capture complex brush deformation to give more varied and controllable brush marks (e.g. [Baxter et al 2001;Chu and Tai 2002;Adams et al 2004;Okaichi et al 2008]). There is also a trend towards physically-based methods to better simulate the organic behavior of real paint (e.g.…”

Section: Introductionmentioning

confidence: 99%

“…Note that none of these three models was capable of preserving fine details. Okaichi et al [2008] also simulated thick oil paint with a two-way transfer model similar to [Baxter et al 2004a] along with a 3D painting knife model.…”

Section: Introductionmentioning

confidence: 99%

See 4 more Smart Citations

Detail-preserving paint modeling for 3D brushes

Chu

Baxter

Wei

et al. 2010

Proceedings of the 8th International Symposium on Non-Photorealistic Animation and Rendering - NPAR 10

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Figure 1: Oil paint simulated by an implementation of the system presented in [Baxter et al. 2001] (left), by our method (middle) and by the commercial package ArtRage 3 (right). Compared with [Baxter et al. 2001], our technique produces more organic color streaks and much less color blurring. Compared with the ArtRage strokes, ours appear more natural since the ArtRage method of sweeping a 1D texture to simulate strokes give less variation and control than the 3D deformable brushes offered by our system. AbstractRecent 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.

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Section: Sampling and Resampling Issuesmentioning

confidence: 97%

Section: Sampling and Resampling Issuesmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 97%

Section: Introductionmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

See 3 more Smart Citations

Detail-preserving paint modeling for 3D brushes

Chu

Baxter

Wei

et al. 2010

Proceedings of the 8th International Symposium on Non-Photorealistic Animation and Rendering - NPAR 10

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Paint‐on‐glass animation: the fellowship of digital paint and artisanal control

Laerhoven

Fiore

Haevre

et al. 2011

Computer Animation & Virtual

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In this paper we deal with paint-on-glass animation, which is a technique for making animated films by pushing slow-drying paints from frame to frame directly under the camera. As artwork is continuously destroyed upon creating new frames, the animator is not able to rehearse or refine the animation afterwards. Furthermore, due to impracticable issues like how to stack up layers containing wet paint or how to overlay masks on the wet medium, one has to take both creative as technical decisions for each shot. Our approach consists of an interactive paint setup that physically simulates paint media. Together with a set of digital tools the artist is relieved from the difficult task of sustaining a constant frame-to-frame coherence while animating and is given the possibility to modify or undo earlier paint modifications. Regarding the interaction part, the artist stays in full control by employing a tangible interface. This allows artists to push pigment with their fingers, use special-purpose digital brushes, or even to employ real life tools like paper tissue. Feedback from artists confirms the real-life behaviour of stretching and smudging the paint as well as interacting with the setup, resulting in a natural and reality-based methodology.

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A GAN-based approach toward architectural line drawing colorization prototyping

et al. 2021

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Line drawing with colorization is a popular art format and tool for architectural illustration. The goal of this research is toward generating a high-quality and natural-looking colorization based on an architectural line drawing. This paper presents a new Generative Adversarial Network (GAN)-based method, named ArchGANs, including ArchColGAN and ArchShdGAN. ArchColGAN is a GAN-based line-feature-aware network for stylized colorization generation. ArchShdGAN is a lighting effects generation network, from which the building depiction in 3D can benefit. In particular, ArchColGAN is able to maintain the important line features and the correlation property of building parts as well as reduce the uneven colorization caused by sparse lines. Moreover, we proposed a color enhancement method to further improve ArchColGAN. Besides the single line drawing images, we also extend our method to handle line drawing image sequences and achieve rotation animation. Experiments and studies demonstrate the effectiveness and usefulness of our proposed method for colorization prototyping.

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A virtual painting knife

Cited by 8 publications

References 17 publications

Detail-preserving paint modeling for 3D brushes

Detail-preserving paint modeling for 3D brushes

Paint‐on‐glass animation: the fellowship of digital paint and artisanal control

A GAN-based approach toward architectural line drawing colorization prototyping

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