利用GPU实时绘制水墨画效果

系统可实时绘制中国山水画中常见的物体并生成视频输出，它包括5个模块：多通道技术和新型国画山光照模型的山峦绘制模块、基于位移映射的云层模拟、基于纹理运动的瀑布绘制模块、基于广告牌技术的树木绘制模块和实时视频输出模块．前面4个模块利用GPU可编程特性控制其流水线，对任意三维场景，可实时绘制水墨画效果；用户可根据需要对系统中的各个绘制模块进行配置并实时漫游．     

混合漫游系统

提出一种新颖的场景绘制方法,首先对图像进行处理,用交互的方法区分场景的背景和前景;然后分别建立背景和前景的3D几何模型,采用一种分片绘制的策略,进一步提高了绘制质量．通过将动态网格叠加到几何模型中,在静态图像中产生动态纹理,丰富场景内容,从而建立了一种混合场景表示,实现逼真的场景实时漫游．实验证明,该算法具有较好的普适性,可以处理包含灭点或灭线的不同类型照片、绘画和全景图．     

复杂几何模型的混合绘制算法研究

基于几何与图像的混合建模与绘制是解决复杂几何模型快速绘制的一个有效途径。提出一种复杂几何模型的混合绘制方法，首先给出基于风何投影的Warp变换公式，然后对几何模型进行预绘制，得到具有深度的图像；依据图像分辩率的对该图像进行几何重构，得到具有几何拓真诚关系的图像模型，并对该模型进行进一步修正；最后解决了模型的冗余检测问题。实验结果表明，该方法可以在保证较高逼真度的前提下实现复杂模型的快速绘制。     

基于GPU的三维医学图像混合可视化系统

研究并实现了一个基于GPU的医学图像混合可视化系统，该系统采用三维纹理映射的方法实现直接体绘制，利用GPU的可编程特性完成体绘制方法中的插值后分类算法和传输函数的传递及实时修改，采用OpenGL技术实现表面的绘制，并基于场景图结构实现时表面数据的管理。面绘制和体绘制部分都采用OpenGL实现，运用OpenGL的融合机制，系统实现了面绘制和体绘制的混合显示。本系统大大提高了体绘制的速度，有效地保留了面绘制和体绘制的优势，在保证绘制速度的基础上丰富了图像信息。     

条纹理映射

提出一种新的基于图像绘制的方法，能高效地利用图形硬件进行加速，避免成像过程中烦人的空洞填补计算,高质量地反映物体表面的三雏凹凸细节及视差变化．该方法首先为源深度图像中每个像素生成一个条状的纹理(条纹理)，即根据一个像素及其邻近像素的深度值，沿着深度方向为该像素插值生成多个具有不同深度值的点，它们一起构成谊像素的条纹理；然后，绘制时利用图形硬件的纹理映射直接处理这些条纹理.由于各个像素的条纹理的集合可以构成源场景的近似连续三维表示,从而大大增强了源深度图像表达三维模型细节的能力，而且成像时不必进行空洞填补的计算.与已有的同类方法相比，新方法的空间需求小，成像速度快，并且成像质量很高．     

基于高斯混合模型的纹理图像分割

纹理图像分割是图像处理的一个基本问题。由于基于高斯混合模型的纹理图像分割方法．大多采用单像素的方法，因此分割精度和效率都较低。为了更好地进行纹理图像分割，在子空间思想的基础上，提出了一个基于图像块的分割算法及其改进算法，即先取图像块的均值、标准差、最大值、最小值以及中间像素的像素值等5个特征作为纹理特征，再利用高斯混合模型进行纹理图像分割，实验结果表明，该新算法的分割精度和分割效率较原分割算法都有较大提高。     

运用层次纹理映射的基于图像绘制算法

提出一种基于图像绘制(image-basedrendering,简称IBR)的算法,以发挥图形卡的纹理映射功能,并能表现物体表面的三维凹凸细节.首先将深度图像的像素按其相关深度分为多层纹理图像,然后利用纹理映射的硬件支持,将这些层次纹理图像依次投影到与视点相关的成像面上,以得到所需目标图像.为了避免目标图像上出现空洞,在生成时,将纹素在深度层次上进行扩展.由于层次纹理图像需要较大的存储空间,并且在装入纹理缓冲时要花费大量时间,为此还提出一种基于压缩层次纹理图像的目标图像生成算法.实验表明新算法是有效的,尤其适于处理与整个物体大小相比深度层次不太多的三维景物,如有表面凹凸纹理(浮雕、门窗等)的建筑物表面等.     

结合纹理特征的模型简化误差度量算子

模型的细节层次化表示是图形学中的重要研究方向，可以加速虚拟漫游中的成像速度而不降低成像质量，目前的简化技术大都是基于模型的几何特征进行的，难以很好地处理带有纹理图像的模型，该文提出一种结合纹理特征的模型简化误差度量算子，能高效度量简化过程中与纹理图像相关的视觉信息的变化，并与关于几何特征的度量进行结合，使简化模型能更好地保持重要的视觉信息，提高简化模型的成像质量，新的度量算子能与高效的简化方法相结合，并支持保持重要语义信息的用户主导简化方法。     

虚拟手术中肝脏体实时切割系统

在检测二维医学图像的过程中利用医学图像的三维可视化技术有利于医生更加全面地分析图像数据,从而对病情做出准确的应对措施.以肝脏为例,首先提取可视人体数据集中连续横断面图像,采用区域生长的图像分割算法从连续的横断面图像中提取出肝脏轮廓的区域.然后对肝脏轮廓进行层间插值,利用VTK工具包结合面绘制方法构建出肝脏的三维模型.接着对初始模型进行一定程度的网格削减,降低数据冗余度,完成虚拟肝脏体的三维重建.采用CUDA架构进行肝脏体纹理的合成与映射工作,兼顾了体纹理的真实感和虚拟手术系统的实时性,对虚拟肝脏手术的发展有着重要的促进作用.     

结合活动轮廓模型的无监督纹理图像分割

定义了清晰度参数、细节信号能量参数和边缘信号能量参数3个纹理参数，对图像的纹理特征进行分析，以获取原图像的特征能量图；再利用基于简化Mumford-Shah的活动轮廓模型对图像进行纹理分割，该分割模型能较好地处理模糊、缺省的边界，同时具有去噪的功能．利用水平集方法求解该模型，解决了演化曲线拓扑可变的问题．与传统的纹理分析方法相比，文中方法能更好地表达图像中复杂纹理的信号特征．通过对合成纹理图与自然纹理图进行分割及大量实验结果表明：该方法能有效、快速地分割纹理图像．     

基于纹理合成的水墨山水画自动绘制

通过分析中国山水画的一般创作技法,提出了基于纹理合成的水墨山水画绘制方法.将一幅图像作为控制图像,用于控制要绘制的区域轮廓和明暗色调;采集画家的手稿作为样本图像,通过纹理合成绘制出国画绘画中的各种皴、染笔触;在传统的纹理合成方法上,提出了一种目标控制的多级纹理合成算法,该算法能利用控制图像有效地控制纹理合成的结果.从而可以将一幅数字照片或简单的手绘图自动地转换成各种中国水墨画效果的图像.仿真结果证明了该方法对于各种山水画的绘制具有良好的效果.     

Computer-Generated Graphite Pencil Rendering of 3D Polygonal Models

Researchers in non-photorealistic rendering have investigated the display of three-dimensional worlds using various display models. In particular, recent work has focused on the modeling of traditional artistic media and styles such as pen-and-ink illustration and watercolor painting. By providing 3D rendering systems that use these alternative display models users can generate traditional illustration renderings of their three-dimensional worlds. In this paper we present our graphite pencil 3D renderer. We have broken the problem of simulating pencil drawing down into four fundamental parts: (1) simulating the drawing materials (graphite pencil and drawing paper, blenders and kneaded eraser), (2) modeling the drawing primitives (individual pencil strokes and mark-making to create tones and textures), (3) simulating the basic rendering techniques used by artists and illustrators familiar with pencil rendering, and (4) modeling the control of the drawing composition. Each part builds upon the others and is essential to developing the framework for higher-level rendering methods and tools. In this paper we present parts 2, 3, and 4 of our research. We present non-photorealistic graphite pencil rendering methods for outlining and shading. We also present the control of drawing steps from preparatory sketches to finished rendering results. We demonstrate the capabilities of our approach with a variety of images generated from 3D models.     

Image palette: painting style transfer via brushstroke control synthesis

As one kind of technology of style transfer, painting style transfer can be used to render the sample images with a specific art style. With this technology, we can render the target images in the same style as the samples after some computation. We present a new approach of painting style transfer in which such a style transfer artwork is done by simulating the process of creation. We take the sample as a palette where users can select arbitrary contours or textures as the input brush strokes. We then analyze the style feature of the brush strokes and use this feature for synthesis and style transfer along the stroke curves learned from the specified area in target images or target 3D models to get the same painting style as the samples. Based on this approach, we also design and realize the corresponding painting system. The results show that the users can get a style-transferred personalized target image just by using the given sample images with the least interactions.     

Video-based running water animation in Chinese painting style

This paper presents a novel algorithm for synthesizing animations of running water,such as water-falls 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.     

GPU-based rendering for deformable translucent objects

In this paper we introduce an approximate image-space approach for real-time rendering of deformable translucent models by flattening the geometry and lighting information of objects into textures to calculate multi-scattering in texture spaces. We decompose the process into two stages, called the gathering and scattering corresponding to the computations for incident and exident irradiance respectively. We derive a simplified illumination model for the gathering of the incident irradiance, which is amenable for deformable models using two auxiliary textures. In the scattering stage, we adopt two modes for efficient accomplishment of the view-dependent scattering. Our approach is implemented by fully exploiting the capabilities of graphics processing units (GPUs). It achieves visually plausible results and real-time frame rates for deformable models on commodity desktop PCs.     

The Synthesis of Rock Textures in Chinese Landscape Painting

In Chinese landscape painting, rock textures portray the orientation of mountains and contribute to the atmosphere. Many landscape-painting skills are required according to the type of rock. Landscape painting is the major theme of Chinese painting. Over the centuries, masters of Chinese landscape painting developed various texture strokes. Hemp-fiber and axe-cut are two major types of texture strokes. A slightly sinuous and seemingly broken line, the hemp-fiber stroke is used for describing the gentle slopes of rock formations whereas the axe-cut stroke best depicts hard, rocky surfaces. This paper presents a novel method of synthesizing rock textures in Chinese landscape painting, useful not only to artists who want to paint interactively, but also in automated rendering of natural scenes. The method proposed underwrites the complete painting process after users have specified only the contour and parameters.     

基于分段函数的中国画风格渲染新方法

通过结合物理模拟中随机浓度的思想和分段处理方法,对中远距离分段的扩散浓度采取随机处理,从而提出一种新的分段水墨扩散函数,用于模拟水墨扩散效果,根据其实现要点选取适当算法设计了中国画风格绘制的总体算法框图。该算法首先对图像用均值滤波进行平滑预处理;然后应用K means聚类算法进行图像分割,用以模拟中国画用水墨浓淡表达色调层次的效果;接着,算法采用形态学方法检测图像的边缘点,对检测出来的边缘点应用自定义的分段处理函数模拟水墨边缘扩散的效果,得出中国画风格渲染图像;最后,用HTML5实现了该算法。该算法所生成的中国画风格在用墨模拟和水墨扩散上都能够得到较逼真的效果。     

粉笔画艺术风格模拟

目的 对不同艺术风格的模拟和绘制是非真实感绘制技术的主要任务之一,目前非真实感绘制技术已对油画、水彩画、中国书法等国内外艺术风格进行了模拟,然而对粉笔化艺术风格的模拟方法并不多见。本文提出了一种基于滤波扩散和线积分卷积（LIC）的粉笔画艺术风格绘制技术。方法 首先输入2维目标图像,通过对目标图像二值化处理、边缘提取操作,获得连续、光滑的边缘信息,并采用滤波扩散技术对边缘图像进行扩散处理,模拟粉笔画中笔划的毛糙效果,同时通过采用图像增强方法增强了笔划的细节信息;其次,由于真实粉笔画在创作时,粉笔颜料黏附在图像局部区域,形成具有方向的笔刷纹理效果,算法通过在目标图像中添加白噪声,基于线积分卷积LIC产生具有方向的粉笔画笔刷纹理,并通过形态学膨胀处理获得粉笔画的笔划纹理,模拟出粉笔画中笔划的笔触特征。再次,真实的粉笔画艺术效果往往在黑板、木材等材质中创作,算法将产生的笔刷纹理图像、色彩信息以及边缘图像通过图层映射方法,映射到黑板材质等输入背景图像中,产生最终的粉笔画艺术效果图像。结果 通过对输入2维图像进行实验,模拟出具有粉笔画艺术效果的结果图像,突出了粉笔画的线条细节信息和笔划艺术特征。结论 提出了一种粉笔画艺术效果模拟算法,非真实感绘制领域的有效补充,算法简单有效,能模拟出真实的粉笔画艺术效果,增强了艺术表现力。     

Physically Based Real-Time Rendering of Teeth and Partial Restorations

Visually accurate real-time rendering of teeth has many applications ranging from computer games to dental computer aided design (CAD). Similar to skin, the realistic and physically correct appearance of teeth cannot be achieved by simply using opaque diffuse textures, mainly because of the subsurface scattering behaviours of both. While both have a layered structure in common, the scattering characteristics of the teeth layers are drastically different from those of the skin, making rendering much more complicated. We present an approach which uses the Henyey–Greenstein scattering to achieve a near realistic real-time rendering of human teeth. To simulate the multi-layered geometry of teeth, we use standardized teeth models with dentin cores and fit them to real scanned teeth or dental restorations. By using a proxy geometry to compute the scattering, we can also render partial restorations as they would look like when attached to the remaining teeth. Finally, we compare our results to the VITA shade systems and human teeth to evaluate the visual fidelity of our approach.