Observational Models of Graphite Pencil Materials

This paper presents models for graphite pencil, drawing paper, blenders, and kneaded eraser that produce realistic looking pencil marks, textures, and tones. Our models are based on an observation of how lead pencils interact with drawing paper, and on the absorptive and dispersive properties of blenders and erasers interacting with lead material deposited over drawing paper. The models consider parameters such as the particle composition of the lead, the texture of the paper, the position and shape of the pencil materials, and the pressure applied to them. We demonstrate the capabilities of our approach with a variety of images and compare them to digitized pencil drawings. We also present image-based rendering results implementing traditional graphite pencil tone rendering methods.     

PencilArt: A Chromatic Penciling Style Generation Framework

Non‐photorealistic rendering has been an active area of research for decades whereas few of them concentrate on rendering chromatic penciling style. In this paper, we present a framework named as PencilArt for the chromatic penciling style generation from wild photographs. The structural outline and textured map for composing the chromatic pencil drawing are generated, respectively. First, we take advantage of deep neural network to produce the structural outline with proper intensity variation and conciseness. Next, for the textured map, we follow the painting process of artists to adjust the tone of input images to match the luminance histogram and pencil textures of real drawings. Eventually, we evaluate PencilArt via a series of comparisons to previous work, showing that our results better capture the main features of real chromatic pencil drawings and have an improved visual appearance.     

基于纹理和草图的图像铅笔画绘制

针对目前铅笔画生成方法中的线条不够灵活、纹理缺少方向感的问题,提出了一种基于带方向的纹理和线条草图将一幅图像转换为铅笔画风格的方法。首先,对输入图像进行直方图匹配得到图像的色调图,并将图像分割为多个区域,对每个区域,根据其颜色和形状计算其色调和方向,以此决定铅笔纹理的色调和方向;然后,通过可调整的线性卷积方法得到铅笔画的线条草图;最后,将纹理和草图结合得到铅笔画效果。运用提出的方法对不同类型的自然图像进行了铅笔画的转换,并与已有的线卷积积分方法和基于色调的方法进行了对比。实验结果表明带方向的区域纹理能更好地模拟手工铅笔画纹理的方向,可调整的线条能够更好地模拟手工铅笔画的线条的随意性和灵活性。     

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.     

Text extraction in complex color documents

Text extraction in mixed-type documents is a pre-processing and necessary stage for many document applications. In mixed-type color documents, text, drawings and graphics appear with millions of different colors. In many cases, text regions are overlaid onto drawings or graphics. In this paper, a new method to automatically detect and extract text in mixed-type color documents is presented. The proposed method is based on a combination of an adaptive color reduction (ACR) technique and a page layout analysis (PLA) approach. The ACR technique is used to obtain the optimal number of colors and to convert the document into the principal of them. Then, using the principal colors, the document image is split into the separable color plains. Thus, binary images are obtained, each one corresponding to a principal color. The PLA technique is applied independently to each of the color plains and identifies the text regions. A merging procedure is applied in the final stage to merge the text regions derived from the color plains and to produce the final document. Several experimental and comparative results, exhibiting the performance of the proposed technique, are also presented.     

基于格式塔的建筑物图画抽象

格式塔(Gestalt)理论总结了人类认知规则、模式和语义的若干规律,已有大量的研究针对独立的格式塔规则建立计算模型,但建立多个格式塔规则相互作用的耦合模型仍然是一个挑战.基于格式塔理论的若干主要规则建立了一个针对多个格式塔规则耦合的计算模型,并将该模型用于建筑物线画图的抽象;通过减少图画中重复结构元素的数目,或者将复杂的结构用简单结构替换的方式对建筑物结构进行概括和抽象.实验结果表明,该方法可以应用于风格各异的建筑物线画图,并可以扩展到其他类型的图画以及三维模型.     

Painterly rendering techniques: a state‐of‐the‐art review of current approaches

In this publication we will look at the different methods presented over the past few decades which attempt to recreate digital paintings. While previous surveys concentrate on the broader subject of non‐photorealistic rendering, the focus of this paper is firmly placed on painterly rendering techniques. We compare different methods used to produce different output painting styles such as abstract, colour pencil, watercolour, oriental, oil and pastel. Whereas some methods demand a high level of interaction using a skilled artist, others require simple parameters provided by a user with little or no artistic experience. Many methods attempt to provide more automation with the use of varying forms of reference data. This reference data can range from still photographs, video, 3D polygonal meshes or even 3D point clouds. The techniques presented here endeavour to provide tools and styles that are not traditionally available to an artist. Copyright © 2012 John Wiley & Sons, Ltd.     

一种有效的基于区域的铅笔画方法

提出了一种新的基于线性卷积积分（Line Integral Convolution）自动铅笔画生成方法。已有的基于LIC的铅笔画方法通过图像的分割和纹理方向的检测技术来获得图像的合理区域划分和各个区域笔画的方向。铅笔画的结果很大程度上依赖于纹理的方向和区域的白噪声。如果分析得到的纹理方向和白噪声和输入的图像不相一致,生成铅笔画的效果就很差。本文提出的方法改进了已有的铅笔画生成方法,首先利用基于图的图像分割方法实现快速有效的区域分割,其次提出一种新的基于区域的白噪声和纹理方向生成方法。实验表明提出的方法更接近于真实的铅笔画效果。     

基于形状演化的线条画风格转换与变形

根据线条画和线条画中笔画的形状特征,运用平面形状演化理论对线条画和笔画的形状进行平滑或增强,并对宽度进行相应的调整,最后得到不同风格的线条画．该风格转换水需要任何样本,而且能够控制转换的程度,提高了线条画风格转换的自由度．     

Style Transfer Functions for Illustrative Volume Rendering

Illustrative volume visualization frequently employs non-photorealistic rendering techniques to enhance important features or to suppress unwanted details. However, it is difficult to integrate multiple non-photorealistic rendering approaches into a single framework due to great differences in the individual methods and their parameters. In this paper, we present the concept of style transfer functions. Our approach enables flexible data-driven illumination which goes beyond using the transfer function to just assign colors and opacities. An image-based lighting model uses sphere maps to represent non-photorealistic rendering styles. Style transfer functions allow us to combine a multitude of different shading styles in a single rendering. We extend this concept with a technique for curvature-controlled style contours and an illustrative transparency model. Our implementation of the presented methods allows interactive generation of high-quality volumetric illustrations.     

一种快速的扫描铅笔稿图细化算法

二维动画计算机输助制作系统中,在对扫描铅笔稿图进行矢量化后,可以大大提高描线上色的效率,并且能够提取线条和闭包,对便于自动上色和中间帧生成等更高级功能的实现。扫描铅笔搞图的细化是矢量化的第一步,在比较了大量现存的图象细化算法后,提出了一种非迭代线跟踪细化算法,该算法效率较高,只需对图象进行一遍扫描加两遍轮廓跟踪,就能较好地满足二维动画计算机辅助制作系统对细化效率的要求。该文还对算法的时间复杂性进行     

交互式着色的彩色铅笔画生成方法

提出了一种基于卷积算子的铅笔滤镜生成算法,能够方便快速地产生用户所需要的各种类型的铅笔滤镜;在此基础上,设计了一种新的基于局部色彩扩散原理的交互式彩色铅笔画生成算法。实验证明,该算法在保持铅笔纹理的物理特性及绘画特征的同时,能够快速将输入图像转化为彩色铅笔画效果,取得了较满意的效果。     

Artistic minimal rendering with lines and blocks

Many non-photorealistic rendering techniques exist to produce artistic effects from given images. Inspired by various artists, interesting effects can be produced by using a minimal rendering, where the minimum refers to the number of tones as well as the number and complexity of the primitives used for rendering. Our method is based on various computer vision techniques, and uses a combination of refined lines and blocks (potentially simplified), as well as a small number of tones, to produce abstracted artistic rendering with sufficient elements from the original image. We also considered a variety of methods to produce different artistic styles, such as colour and 2-tone drawings, and use semantic information to improve renderings for faces. By changing some intuitive parameters a wide range of visually pleasing results can be produced. Our method is fully automatic. We demonstrate the effectiveness of our method with extensive experiments and a user study.     

Enhancing pencil drawing patterns via using semantic information

Multimedia Tools and Applications - Pencil drawing is recognized as a typical non-photorealistic visual art form. It is attractive to automatically generate high-quality pencil drawings from...     

线积分卷积与双色调映射相结合的彩色素描模拟方法

目的 目前学者已经设计了很多模拟油画、水彩、水墨等风格的非真实感绘制方法,而能够生成彩色素描的算法还不是很多。针对这一课题,在前人工作的基础上,结合线积分卷积与双色调映射技术,改进了一种彩色素描模拟方法。方法 首先基于K-means聚类对彩色图像进行分割,通过计算色彩差异性为每个区域指定两种基本色,并利用双色调映射技术计算每种颜色的密度。而后利用线积分卷积分别生成两个基本色层的素描纹理,并将两层纹理相融合来生成彩色纹理。与此同时,利用霓虹变换生成素描轮廓线。最后,将轮廓与彩色纹理相融合来得到彩色素描效果。结果 实验结果表明,本文方法能够实现由彩色图像到彩铅画的自动、实时转化。结论 本文方法从轮廓和纹理两个角度模拟了真实的彩铅绘画过程。基于K-means聚类的分割方法得到的结果能够更好地反映彩色图像的颜色分布特性。通过色彩差异性计算指定基本色的策略提高了该环节的效率,满足了实时性要求。由于粉笔、蜡笔等绘画风格的调色与彩铅画类似,本文不同颜色层上下叠加的方式可以扩展到对其他介质绘画的模拟当中。     

A Ray Tracing Approach to Diffusion Curves

Diffusion curves [ [OBW*08] ] provide a flexible tool to create smooth‐shaded images from curves defined with colors. The resulting image is typically computed by solving a Poisson equation that diffuses the curve colors to the interior of the image. In this paper we present a new method for solving diffusion curves by using ray tracing. Our approach is analogous to final gathering in global illumination, where the curves define source radiance whose visible contribution will be integrated at a shading pixel to produce a color using stochastic ray tracing. Compared to previous work, the main benefit of our method is that it provides artists with extended flexibility in achieving desired image effects. Specifically, we introduce generalized curve colors called shaders that allow for the seamless integration of diffusion curves with classic 2D graphics including vector graphics (e.g. gradient fills) and raster graphics (e.g. patterns and textures). We also introduce several extended curve attributes to customize the contribution of each curve. In addition, our method allows any pixel in the image to be independently evaluated, without having to solve the entire image globally (as required by a Poisson‐based approach). Finally, we present a GPU‐based implementation that generates solution images at interactive rates, enabling dynamic curve editing. Results show that our method can easily produce a variety of desirable image effects.     

Solving the infinite-dimensional discrete-time algebraic riccati equation using the extended symplectic pencil

In this paper we present results about the algebraic Riccati equation (ARE) and a weaker version of the ARE, the algebraic Riccati system (ARS), for infinite-dimensional, discrete-time systems. We introduce an operator pencil, associated with these equations, the so-called extended symplectic pencil (ESP). We present a general form for all linear bounded solutions of the ARS in terms of the deflating subspaces of the ESP. This relation is analogous to the results of the Hamiltonian approach for the continuous-time ARE and to the symplectic pencil approach for the finite-dimensional discrete-time ARE. In particular, we show that there is a one-to-one relation between deflating subspaces with a special structure and the solutions of the ARS. Using the relation between the solutions of the ARS and the deflating subspaces of the ESP, we give characterizations of self-adjoint, nonnegative, and stabilizing solutions. In addition we give criteria for the discrete-time, infinite-dimensional ARE to have a maximal self-adjoint solution. Furthermore, we consider under which conditions a solution of the ARS satisfies the ARE as well.     

Energy Aware Color Sets

We present a design technique for colors with the purpose of lowering the energy consumption of the display device. Our approach is based on a screen space variant energy model. The result of our design is a set of distinguishable iso-lightness colors guided by perceptual principles. We present two variations of our approach. One is based on a set of discrete user-named (categorical) colors, which are analyzed according to their energy consumption. The second is based on the constrained continuous optimization of color energy in the perceptually uniform CIELAB color space. We quantitatively compare our two approaches with a traditional choice of colors, demonstrating that we typically save approximately 40 percent of the energy. The color sets are applied to examples from the 2D visualization of nominal data and volume rendering of 3D scalar fields.     

SAR: Stroke Authorship Recognition

Are simple strokes unique to the artist or designer who renders them? If so, can this idea be used to identify authorship or to classify artistic drawings? Also, could training methods be devised to develop particular styles? To answer these questions, we propose the Stroke Authorship Recognition (SAR) approach, a novel method that distinguishes the authorship of 2D digitized drawings. SAR converts a drawing into a histogram of stroke attributes that is discriminative of authorship. We provide extensive classification experiments on a large variety of data sets, which validate SAR's ability to distinguish unique authorship of artists and designers. We also demonstrate the usefulness of SAR in several applications including the detection of fraudulent sketches, the training and monitoring of artists in learning a particular new style and the first quantitative way to measure the quality of automatic sketch synthesis tools.