Stylized Vector Art from 3D Models with Region Support

Eisemann, Elmar; Winnemöller, Holger; Hart, John C.; Salesin, David

doi:10.1111/j.1467-8659.2008.01258.x

Cited by 23 publications

(33 citation statements)

References 48 publications

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“…Snaxels also provide a simple and quick mechanism for achieving other state-of-the-art results, such as coherent stylized silhouettes [Kalnins et al 2003] (Fig. 13) and the mesh-based stylized vector art of Eisemann et al [2008] (Fig. 15).…”

Section: Resultsmentioning

confidence: 99%

“…While finding the elements of a visual contour from a meshed surface can be straightforward, continuing them into region-bounding closed loops and forming their planar map can require intricate geometric operations for correctness and robustness, c.f. [Gangnet et al 1989;Asente et al 2007;Stroila et al 2008;Eisemann et al 2008;Eisemann et al 2009].…”

Section: Introductionmentioning

confidence: 99%

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Snaxels on a plane

Karsch

Hart

2011

Proceedings of the ACM SIGGRAPH/Eurographics Symposium on Non-Photorealistic Animation and Rendering

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Figure 1: This cartoon was generated by projecting snaxel fronts onto the view plane. The snaxel fronts find and track the visual, shadow and shading contours, and also form the planar map of the regions they bound, to simplify vector art construction, stylization and animation. AbstractWhile many algorithms exist for tracing various contours for illustrating a meshed object, few algorithms organize these contours into region-bounding closed loops. Tracing closed-loop boundaries on a mesh can be problematic due to switchbacks caused by subtle surface variation, and the organization of these regions into a planar map can lead to many small region components due to imprecision and noise. This paper adapts "snaxels," an energy minimizing active contour method designed for robust mesh processing, and repurposes it to generate visual, shadow and shading contours, and a simplified visual-surface planar map, useful for stylized vector art illustration of the mesh. The snaxel active contours can also track contours as the mesh animates, and frame-to-frame correspondences between snaxels lead to a new method to convert the moving contours on a 3-D animated mesh into 2-D SVG curve animations for efficient embedding in Flash, PowerPoint and other dynamic vector art platforms.

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Section: Resultsmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

Snaxels on a plane

Karsch

Hart

2011

Proceedings of the ACM SIGGRAPH/Eurographics Symposium on Non-Photorealistic Animation and Rendering

Self Cite

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“…Since these are essentially texture filters, most methods can be efficiently implemented on a GPU [42,44]. Line drawings [10,32,15,18,19] similarly preserve edges, but eliminate color information and render the result as a pen and ink or pencil-style sketch (sometimes with shading represented as hatching [36]). Painterly rendering techniques try to mimic a particular style, such as pixelation [17], oil or watercolors [24,27,43,31] and comic-style [33].…”

Section: Video Manipulation Techniquesmentioning

confidence: 99%

Video Manipulation Techniques for the Protection of Privacy in Remote Presence Systems

Hubers

Andrulis

Smart

et al. 2015

Proceedings of the Tenth Annual ACM/IEEE International Conference on Human-Robot Interaction Extended Abstracts

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Systems that give control of a mobile robot to a remote user raise privacy concerns about what the remote user can see and do through the robot. We aim to preserve some of that privacy by manipulating the video data that the remote user sees. Through two user studies, we explore the effectiveness of different video manipulation techniques at providing different types of privacy. We simultaneously examine task performance in the presence of privacy protection. In the first study, participants were asked to watch a video captured by a robot exploring an office environment and to complete a series of observational tasks under differing video manipulation conditions. Our results show that using manipulations of the video stream can lead to fewer privacy violations for different privacy types. Through a second user study, it was demonstrated that these privacy-protecting techniques were effective without diminishing the task performance of the remote user.

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“…Reflection-separation methods handle semi-transparent layers by estimating colour channels pre-multiplied by the alpha channel, reducing the image formation model to a sum of two layers LB14]. While this approach linearises the problem and facilitates its resolution, it prevents the subsequent independent manipulation of colour and transparency as is common in vector graphics applications.…”

Section: Image Decompositionmentioning

confidence: 99%

Vectorising Bitmaps into Semi‐Transparent Gradient Layers

Richardt

López‐Moreno

Bousseau

et al. 2014

Computer Graphics Forum

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(c) Editing result (b) Multi-layer vector representation (a) Input photographFigure 1: Our interactive vectorisation technique lets users vectorise an input bitmap (a) into a stack of opaque and semi-transparent vector layers composed of linear or radial colour gradients (b). Users can manipulate the resulting layers using standard tools to quickly produce new looks (c). We outline semi-transparent layers for visualisation; these edges are not part of our result. We rasterised figures to avoid problems with transparency in some PDF viewers. See supplemental material for vector graphics. AbstractWe present an interactive approach for decompositing bitmap drawings and studio photographs into opaque and semi-transparent vector layers. Semi-transparent layers are especially challenging to extract, since they require the inversion of the non-linear compositing equation. We make this problem tractable by exploiting the parametric nature of vector gradients, jointly separating and vectorising semi-transparent regions. Specifically, we constrain the foreground colours to vary according to linear or radial parametric gradients, restricting the number of unknowns and allowing our system to efficiently solve for an editable semi-transparent foreground. We propose a progressive workflow, where the user successively selects a semi-transparent or opaque region in the bitmap, which our algorithm separates as a foreground vector gradient and a background bitmap layer. The user can choose to decompose the background further or vectorise it as an opaque layer. The resulting layered vector representation allows a variety of edits, such as modifying the shape of highlights, adding texture to an object or changing its diffuse colour.

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Stylized Vector Art from 3D Models with Region Support

Cited by 23 publications

References 48 publications

Snaxels on a plane

Snaxels on a plane

Video Manipulation Techniques for the Protection of Privacy in Remote Presence Systems

Vectorising Bitmaps into Semi‐Transparent Gradient Layers

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