Line-based sunken relief generation from a 3D mesh

Sunken relief is an art form made by cutting the relief sculpture itself into a flat surface with a shallow overall depth. This paper focuses on the problem of direct generation of line-based sunken relief from a 3D mesh. We show how to extract, post-process and organize the messy feature lines in regular forms, applicable for lines engraving on the sculpture surfaces. We further describe how to construct a smooth height field from the input object, and derive a continuous pitting corrosion method to generate the cutting paths. The whole framework is conducted in object-space, making it flexible for stroke stylization and depth control of the engraving lines. We demonstrate the results with several impressive renderings and photographs used to illustrate the paper itself.     

基于3维模型的数字浮雕生成技术

目的 浮雕是雕塑艺术的一种,根据其空间结构和用途的不同分为高浮雕、浅浮雕和凹浮雕3类。随着数字化技术和3D打印技术的发展,数字化浮雕的生成技术已经成为近年来计算机图形学领域的研究热点之一,从3维模型生成浮雕以其真实自然的效果成为浮雕生成的主要方法之一。为了使即将进入该领域的学者尽快了解该方法的现状和发展趋势,本文对3种类型的浮雕生成技术进行了系统的综述。方法 介绍了3种类型的浮雕生成技术,着重比较分析了基于3维网格模型的数字浅浮雕生成过程中的关键技术,存在问题及解决方案。针对复杂3维网格模型在生成数字凹浮雕过程中存在的部分细节信息丢失、特征线类型体现形式不完善、线条与形体间的过渡尚未解决、生成浮雕效果不自然等具体问题,提出了适用于3维复杂网格模型生成数字凹浮雕的研究方案。同时,从角色动画序列出发,对最优浮雕的生成技术进行了探讨,探讨结合信息熵理论计算选择最佳动作及观察视角的场景,还原艺术家的创作过程,为适用于面向3维打印的用户浮雕产品定制服务提供了可行的解决方案。结果 基于3维模型的浮雕生成方法是生成数字浮雕的一种重要方法,如何通过压缩和细节保持相关算法得到效果自然的浮雕模型一直是研究者们研究的热点问题。结论 虽然由3维模型生成数字浮雕是一种行之有效的方法,但是仍存在细节信息丢失、线条过渡不自然、特征线类型不完善等几个值得继续研究的问题,另外一个值得研究的问题就是如何智能地从3维动画序列生成浮雕。     

Region-based bas-relief generation from a single image

Bas-relief is an art form part way between sculpture and drawing. In this paper, we present an algorithm for generating a bas-relief from a single image, inspired by the process that artists use to create reliefs. We do not aim to recover exact depth values for objects in the image, which is a tricky computer vision problem, requiring assumptions that are rarely satisfied. Instead, we determine layers based on relative depth ordering of objects (and their parts) in the image, and use this information to construct surfaces in the 3D relief model. Feature lines are extracted and used to build a new region-based representation of the input image. During surface construction, a base surface is first generated; it is then augmented using both intensity and gradient information from the original image. To prevent depth errors arising due to augmentation, a feedback process is used to refine the output. Our experimental results show the generated bas-reliefs have smooth boundaries with appropriate height relationships, a key property of bas-reliefs created by artists. We demonstrate that our algorithm works well for a range of input images, including human faces, flowers and animals.     

Adaptive Bas‐relief Generation from 3D Object under Illumination

Bas‐relief is designed to provide 3D perception for the viewers under illumination. For the problem of bas‐relief generation from 3D object, most existing methods ignore the influence of illumination on bas‐relief appearance. In this paper, we propose a novel method that adaptively generate bas‐reliefs with respect to illumination conditions. Given a 3D object and its target appearance, our method finds an adaptive surface that preserves the appearance of the input. We validate our approach through a variety of applications. Experimental results indicate that the proposed approach is effective in producing bas‐reliefs with desired appearance under illumination.     

Computer‐assisted Relief Modelling: A Comprehensive Survey

As an art form between drawing and sculpture, relief has been widely used in a variety of media for signs, narratives, decorations and other purposes. Traditional relief creation relies on both professional skills and artistic expertise, which is extremely time‐consuming. Recently, automatic or semi‐automatic relief modelling from a 3D object or a 2D image has been a subject of interest in computer graphics. Various methods have been proposed to generate reliefs with few user interactions or minor human efforts, while preserving or enhancing the appearance of the input. This survey provides a comprehensive review of the advances in computer‐assisted relief modelling during the past decade. First, we provide an overview of relief types and their art characteristics. Then, we introduce the key techniques of object‐space methods and image‐space methods respectively. Advantages and limitations of each category are discussed in details. We conclude the report by discussing directions for possible future research.     

Real‐time Bas‐Relief Generation from Depth‐and‐Normal Maps on GPU

To design a bas‐relief from a 3D scene is an inherently interactive task in many scenarios. The user normally needs to get instant feedback to select a proper viewpoint. However, current methods are too slow to facilitate this interaction. This paper proposes a two‐scale bas‐relief modeling method, which is computationally efficient and easy to produce different styles of bas‐reliefs. The input 3D scene is first rendered into two textures, one recording the depth information and the other recording the normal information. The depth map is then compressed to produce a base surface with level‐of‐depth, and the normal map is used to extract local details with two different schemes. One scheme provides certain freedom to design bas‐reliefs with different visual appearances, and the other provides a control over the level of detail. Finally, the local feature details are added into the base surface to produce the final result. Our approach allows for real‐time computation due to its implementation on graphics hardware. Experiments with a wide range of 3D models and scenes show that our approach can effectively generate digital bas‐reliefs in real time.     

Relief extraction and editing

Bas-reliefs are widely used in the world around us, for example, on coinage, for branding products, and for sculptural decoration. Reverse engineering of reliefs–extracting existing reliefs from input surfaces–makes it possible to apply them to new items; relief editing tools allow modification of reverse-engineered reliefs. This paper presents a novel approach to relief extraction based on differential coordinates, which offers advantages of speed and precise extraction. It also gives the first method in the literature specifically designed for relief editing. The base surface is estimated using normal smoothing and Poisson reconstruction, allowing a relief (which may lie on a smooth or textured input surface) to be automatically extracted by height thresholding. We also provide a range of relief editing tools, also using differential coordinates, permitting both global transformations (translation, rotation, and scaling) of the whole relief, as well as local modifications to the relief. Our relief editing algorithm, unlike generic mesh editing algorithms, is specifically designed to preserve the geometric detail of the relief over the base surface. The effectiveness of our methods is demonstrated on various examples of real industrial interest.     

Generation of cartoon-style bas-reliefs from photographs

This paper describes a new algorithm that generates a cartoon-style bas-relief surface from photographs of general scenes. Most previous methods for bas-relief generation have focused on accurate restoration of input 3D models on a background plane. The generation of bas-reliefs with artistic effects has rarely been studied. Considering that non-photorealistic rendering (NPR) techniques are currently very popular and 3D printing technology is developing rapidly, extending NPR techniques to the generation of a bas-relief surface with artistic effects is natural and valuable. Furthermore, cartoon is a basic non-realistic and artistic style familiar to general users. From this motivation, our method focuses on generating a cartoon-style bas-relief surface. We use the lens blur function of Google Camera, which is a smartphone application, to obtain a photograph and its depth map as inputs. Using coherent line drawing and histogram-based quantization methods, we construct a depth map that contains the salient features of given input scenes in abstract form. Displacement mapping from the depth map onto a thin plane generates a cartoon-style bas-relief. Experimental results show that our method generates bas-relief surfaces that contain the characteristics of cartoons, such as coherent border lines and quantized layers.

     

Clip art rendering of smooth isosurfaces

Clip art is a simplified illustration form consisting of layered filled polygons or closed curves used to convey 3D shape information in a 2D vector graphics format. This paper focuses on the problem of direct conversion of smooth surfaces, ranging from the free-form shapes of art and design to the mathematical structures of geometry and topology, into a clip art form suitable for illustration use in books, papers and presentations.We show how to represent silhouette, shadow, gleam and other surface feature curves as the intersection of implicit surfaces, and derive equations for their efficient interrogation via particle chains. We further describe how to sort, orient, identify and fill the closed regions that overlay to form clip art. We demonstrate the results with numerous renderings used to illustrate the paper itself.     

Subsurface texture mapping.

This article presents a rendering technique for multilayered materials. Unlike existing methods, our technique does not assume that the thickness of these layers is constant. We use relief texture mapping to model a material's interior. Instead of representing the surface details, we use this method to represent the object's inner structure. We describe the material's layers using a simple 2D texture, in which each channel encodes a thickness. Our method supports nonplanar surfaces and falls between subsurface rendering methods based on surfaces and 3D texture-based algorithms. Furthermore, our solution provides a compact way to design translucent objects using a small amount of data.     

实时交互的带浮雕纹理的三维模型构建方法

为了快速生成带浮雕纹理的三维模型,提出一种实时交互的浮雕纹理模型构建方法。方法分两步：第一步,将生成浮雕的源模型或图像转换为初始深度图,并进一步转换为梯度图,再通过梯度域的压缩、过滤,求解线性方程重建出整体连续的浮雕深度图;第二步,借助基于网格求交的浮雕纹理映射算法将浮雕深度图贴在目标模型表面,并通过移动、旋转、缩放等操作实时在目标模型三维空间上修改浮雕效果,最终重建目标模型网格,生成浮雕纹理模型。实验表明,所提方法可快速实现在一个目标模型上生成凹浮雕、凸浮雕、多浮雕等效果,所得模型无需经过其他处理,可直接应用于3D打印,打印效果较好。     

3D reconstruction for featureless scenes with curvature hints

We present a novel interactive framework for improving 3D reconstruction starting from incomplete or noisy results obtained through image-based reconstruction algorithms. The core idea is to enable the user to provide localized hints on the curvature of the surface, which are turned into constraints during an energy minimization reconstruction. To make this task simple, we propose two algorithms. The first is a multi-view segmentation algorithm that allows the user to propagate the foreground selection of one or more images both to all the images of the input set and to the 3D points, to accurately select the part of the scene to be reconstructed. The second is a fast GPU-based algorithm for the reconstruction of smooth surfaces from multiple views, which incorporates the hints provided by the user. We show that our framework can turn a poor-quality reconstruction produced with state of the art image-based reconstruction methods into a high- quality one.     

三维曲面的浮雕细节层提取方法

浮雕是在曲面上雕刻出凹凸起伏物体细节的一种雕塑,近年来受到许多人的关注.人们希望运用电脑技术将三维浮雕呈现在屏幕中,并对其进行再创作.在对浮雕进行分析前,很重要的一个问题是将浮雕细节部分从背景曲面中提取出来.该问题可以被看作曲面分割问题,但是现有的大部分方法都有其局限性,即对于带有细节的浮雕曲面并不能很好地提取出浮雕细节网格.使用迭代求解的手段能够更加准确地估计背景曲面,即基曲面的位置,从而能够更加准确而自动地提取出浮雕细节层网格.通过实验表明,该方法对于基曲面占优的浮雕网格具有很好的提取效果.     

Surface reconstruction with higher-order smoothness

This work proposes a method to reconstruct surfaces with higher-order smoothness from noisy 3D measurements. The reconstructed surface is implicitly represented by the zero-level set of a continuous valued embedding function. The key idea is to find a function whose higher-order derivatives are regularized and whose gradient is best aligned with a vector field defined by the input point set. In contrast to methods based on the first-order variation of the function that are biased toward the constant functions and treat the extraction of the isosurface without aliasing artifacts as an afterthought, we impose a higher-order smoothness directly on the embedding function. After solving a convex optimization problem with a multiscale iterative scheme, a triangulated surface can be extracted using the marching cubes algorithm. We demonstrated the proposed method on several data sets obtained from raw laser-scanners and multiview stereo approaches. Experimental results confirm that our approach allows us to reconstruct smooth surfaces from points in the presence of noise, outliers, large missing parts, and very coarse orientation information.     

Preserving detailed features in digital bas-relief making

This paper presents a novel algorithm for digitally making bas-reliefs. The problem requires visibly retaining fine details present in original 3D objects while greatly compressing their depths to produce an almost planar result. Our approach performs compression on the gradient domain; gradients are first estimated from a height field representing the input scene. A new compression function based on arctangent is introduced to preserve desired details of reliefs, allowing accurate height adjustment via a data-dependent threshold. We explicitly consider how to preserve fine details present in the original objects, which is crucial for producing high-quality bas-reliefs. Laplacian coordinates are used to store detailed features before depth compression and then restore them afterwards. Laplacian sharpening is also used to emphasize detailed features in the relief itself. Prior to depth compression, we process the input height field to reduce gaps in height, and detect the outer silhouette which allows to compute the output relief relative to a planar background or other surface, by solving a Poisson equation. This combination of techniques allows our method to produce bas-reliefs with well-preserved details.     

High Reliefs from 3D Scenes

We present a method for synthesizing high reliefs, a sculpting technique that attaches 3D objects onto a 2D surface within a limited depth range. The main challenges are the preservation of distinct scene parts by preserving depth discontinuities, the fine details of the shape, and the overall continuity of the scene. Bas relief depth compression methods such as gradient compression and depth range compression are not applicable for high relief production. Instead, our method is based on differential coordinates to bring scene elements to the relief plane while preserving depth discontinuities and surface details of the scene. We select a user‐defined number of attenuation points within the scene, attenuate these points towards the relief plane and recompute the positions of all scene elements by preserving the differential coordinates. Finally, if the desired depth range is not achieved we apply a range compression. High relief synthesis is semi‐automatic and can be controlled by user‐defined parameters to adjust the depth range, as well as the placement of the scene elements with respect to the relief plane.     

From 2D to 2.5D i.e. from painting to tactile model

Commonly used to produce the visual effect of full 3D scene on reduced depth supports, bas relief can be successfully employed to help blind people to access inherently bi-dimensional works of art. Despite a number of methods have been proposed dealing with the issue of recovering 3D or 2.5D surfaces from single images, only a few of them explicitly address the recovery problem from paintings and, more specifically, the needs of visually impaired and blind people.The main aim of the present paper is to provide a systematic method for the semi-automatic generation of 2.5D models from paintings. Consequently, a number of ad hoc procedures are used to solve most of the typical problems arising when dealing with artistic representation of a scene. Feedbacks provided by a panel of end-users demonstrated the effectiveness of the method in providing models reproducing, using a tactile language, works of art otherwise completely inaccessible.     

Generating Color Scribble Images using Multi‐layered Monochromatic Strokes Dithering

Color scribbling is a unique form of illustration where artists use compact, overlapping, and monochromatic scribbles at microscopic scale to create astonishing colorful images at macroscopic scale. The creation process is skill‐demanded and time‐consuming, which typically involves drawing monochromatic scribbles layer‐by‐layer to depict true‐color subjects using a limited color palette delicately. In this work, we present a novel computational framework for automatic generation of color scribble images from arbitrary raster images. The core contribution of our work lies in a novel color dithering model tailor‐made for synthesizing a smooth color appearance using multiple layers of overlapped monochromatic strokes. Specifically, our system reconstructs the appearance of the input image by (i) generating layers of monochromatic scribbles based on a limited color palette derived from input image, and (ii) optimizing the drawing sequence among layers to minimize the visual color dissimilarity between dithered image and original image as well as the color banding artifacts. We demonstrate the effectiveness and robustness of our algorithm with various convincing results synthesized from a variety of input images with different stroke patterns. The experimental study further shows that our approach faithfully captures the scribble style and the color presentation at respectively microscopic and macroscopic scales, which is otherwise difficult for state‐of‐the‐art methods.     

On the shape of a set of points and lines in the plane

Detailed geometric models of the real world are in increasing demand. LiDAR data is appropriate to reconstruct urban models. In urban scenes, the individual surfaces can be reconstructed and connected to form the scene geometry. There are various methods for reconstructing the free‐form shape of a point sample on a single surface. However, these methods do not take the context of the surface into account. We present the guided α‐shape: an extension of the well known α‐shape that uses lines (guides) to indicate preferred locations for the boundary of the shape. The guided α‐shape uses (parts of) these lines as boundary where the points suggest that this is appropriate. We prove that the guided α‐shape can be constructed in O((n + m) log (n + m)) time, from an input of n points and m guides. We apply guided α‐shapes to urban reconstruction from LiDAR, where neighboring surfaces can be connected conveniently along their intersection lines into adjacent surfaces of a 3D model. We analyze guided α‐shapes of both synthetic and real data and show they are consistently better than α‐shapes for this application.