Virtual brush: a model-based synthesis of Chinese calligraphy

Wong, Hiu Tung; Ip, Horace H. S.

doi:10.1016/s0097-8493(99)00141-7

Cited by 115 publications

(66 citation statements)

References 6 publications

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“…The behavior of the virtual hairy brush is an aggregation of the behavior of all its writing primitives. This is in sharp contrast with the approach used by Wong and Ip [26], where every hair is operated on; it is also different from the DAB system [47], where the whole brush head is modeled as one subdivision surface. The use of writing primitives does not diminish in any way the power of the virtual hairy brush in satisfactorily simulating all possible behavior of a real hairy brush including the branching out behavior.…”

Section: Writing Primitivesmentioning

confidence: 85%

“…The paper by Strassmann [25] presents a detailed analysis of the effects a virtual hairy brush can produce. Wong and Ip devised a virtual brush model for synthesizing Chinese calligraphic writings [26], in which the main working units are the cone and some ellipses. There exist many software approaches to modeling the brush [27][28][29][30][31][32], of which most are physically based solutions.…”

Section: Overview Of E-brush and Related Researchmentioning

confidence: 99%

“…In the following, we make a detailed comparison with two projects that in many ways are closest among all related work to our work-the first one is the DAB system by Baxter et al [47], a painting system based on a deformable 3D brush model and with an intuitive haptic interface; the second work is the ''virtual brush'' by Wong and Ip [26], a model-based approach to synthesizing realistic Chinese calligraphic writings. We also survey briefly several other e-brush systems.…”

Section: Related Workmentioning

confidence: 99%

“…The virtual brush model by Wong and Ip [26] also offers a feasible means for artists to produce Chinese calligraphic characters electronically. Their method, however, is inconvenient to use because of an intricate set of interrelated parameters for controlling the shape, density, and opacity of the current drawing mark.…”

Section: Virtual Brush By Wong and Ipmentioning

confidence: 99%

See 3 more Smart Citations

Virtual hairy brush for painterly rendering

Li¹,

Tang²,

Lau³

et al. 2004

Graphical Models

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We propose a novel ''e-brush'' for calligraphy and painting, which meets all the criteria for a good e-brush. We use only four attributes to capture the essential features of the brush, and a suitably powerful modeling metaphor for its behavior. The e-brushÕs geometry, dynamic motions, and pigment changes are all dealt with in a single model. A single model simplifies the synchronization between the various system modules, thus giving rise to a more stable system, and lower costs. By a careful tradeoff between the complexity of the model and computation efficiency, more elaborate simulation of the e-brushÕs deformation and its recovery for interactive painterly rendering is made possible. We also propose a novel paper-ink model to complement the brushÕs model, and a machine intelligence module to empower the user to easily create beautiful calligraphy and painting. Despite the complexity of the modeling behind the scene, the high-level user interface has a simplistic and friendly design. The final results created by our e-brush can rival the real artwork.

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Section: Writing Primitivesmentioning

confidence: 85%

Section: Overview Of E-brush and Related Researchmentioning

confidence: 99%

Section: Related Workmentioning

confidence: 99%

Section: Virtual Brush By Wong and Ipmentioning

confidence: 99%

See 2 more Smart Citations

Virtual hairy brush for painterly rendering

Li¹,

Tang²,

Lau³

et al. 2004

Graphical Models

View full text Add to dashboard Cite

show abstract

“…This is especially true where sparse brush strokes are used, as in Chinese painting, and different kinds of objects are drawn with different styles of stroke. Rendering in the style of Chinese paintings has mainly focused on physical simulations of water, ink, paper and Chinese brushes, leading to methods which can render various simple objects, such as rocks, leaves, and trees [3,4,5,6,7].…”

Section: Introductionmentioning

confidence: 99%

Video-based running water animation in Chinese painting style

Zhang

Chen

Zhang

et al. 2009

Sci. China Ser. F-Inf. Sci.

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This paper presents a novel algorithm for synthesizing animations of running water, such as waterfalls and rivers, in the style of Chinese paintings, for applications such as cartoon making. All video frames are first registered in a common coordinate system, simultaneously segmenting the water from background and computing optical flow of the water. Taking artists' advice into account, we produce a painting structure to guide painting of brush strokes. Flow lines are placed in the water following an analysis of variance of optical flow, to cause strokes to be drawn where the water is flowing smoothly, rather than in turbulent areas: this allows a few moving strokes to depict the trends of the water flows. A variety of brush strokes is then drawn using a template determined from real Chinese paintings. The novel contributions of this paper are: a method for painting structure generation for flows in videos, and a method for stroke placement, with the necessary temporal coherence.

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User-Guided 3D Su-Muk Painting

Lee

Kim

et al. 2005

Computational Science and Its Applications – ICCSA 2005

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Virtual brush: a model-based synthesis of Chinese calligraphy

Cited by 115 publications

References 6 publications

Virtual hairy brush for painterly rendering

Virtual hairy brush for painterly rendering

Video-based running water animation in Chinese painting style

User-Guided 3D Su-Muk Painting

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