Realistic paint simulation based on fluidity, diffusion, and absorption

Abstract

We present a new method to create realistic paint simulation, utilizing the characteristics of paint, such as fluidity, diffusion, and absorption. We treat the painting elements separately as pigment, binder, solvent, and paper. Adopting smoothedparticle hydrodynamics including a consideration of viscoelastic movement, we simulate the fluid motion of the paint and the solvent. To handle the diffusion of the pigment in the solvent, we utilize the mass transfer method. Following Fick's law, the concentration of pigment changes and each pigment particle is diffused to the neighborhood accordingly. As time elapses, the binder and the solvent are absorbed, and for the most part, the pigment remains on the paper. The LucasWashburn equation determines the distance of absorption. The examples show that our approach can effectively generate various types of painting.

Simulation of Dendritic Painting

“…Physical simulation of the painting media and techniques enables realistic reproduction of the physical creative processes, while automatic digitization of the painting result endows the artist with editing and control operations simply not possible in a physical medium. Digital painting simulation has been applied to diverse creative processes supporting highly viscous media such as acrylic or oil paint [YJC∗13, CKIW15], as well as highly dispersive media such as watercolor or eastern inks [CAS∗97, CT05, DKMI13]. Unfortunately, the simulation methods proposed to date for the various forms of digital painting fail to support the creative techniques of dendritic painting.…”

Brushwork master: Chinese ink painting synthesis for animating brushwork process

“…Liu et al simulated the process of sketching a given 3D model 9 . Moreover, based on the characteristics of watercolor paints, some paint simulation work was proposed 10,11 . Like our motivation, the stroke‐based animation system supports to reproduce the creating process of Chinese ink painting or calligraphy 12‐14 .…”

Edge- and substrate-based effects for watercolor stylization

“…To replicate (usually a subset of) those effects, a large variety of approaches have been proposed, going from simple image filters [Bousseau et al 2006;Johan et al 2004] to physical simulations [Curtis et al 1997;Small 1991]. In this paper we focus on the interactive stylization of 3D animations, for which an artist cannot draw each image manually neither with traditional techniques nor using physical [Chu and Tai 2005;Van Laerhoven and Van Reeth 2005;You et al 2013] or procedural Lu et al 2013] simulations. In this context, two families of approaches have been proposed: those working in image-space and those working in object-space.…”