真实图像转换的水墨图像绘制模拟

目的：中国水墨风格模拟是非真实感图像模拟的重要研究课题,现有的模拟算法对于边缘绘制的连贯性不足、颜色汇聚不平滑,导致效果生硬、色彩表现力不强。为此本文提出一种真实图像转换的方法来对图像进行水墨风格化处理。方法：首先利用改进的基于流的高斯差分滤波来生成边缘轮廓;接着运用了各向异性Kuwahara滤波实现了墨色的汇聚以及自然过渡;最后引入Perlin噪声模拟背景宣纸的褶皱感。结果：实验表明,本文方法能够实现真实图像输入到水墨画风格图像输出的转换,处理速度快。结论：本文提出一种真实图像转换的水墨图像风格化处理方法,实验结果表明,该方法可以在不破坏原图像结构的基础上获得很好的水墨模拟效果。     

Painterly rendering with content-dependent natural paint strokes

We present a new painterly rendering method that simulates artists’ content-dependent painting process and the natural variation of hand-painted strokes. First, a new stroke layout strategy is proposed to enhance the contrast between large and small paint strokes, which is an important characteristic of hand-painted paintings. Specifically, the input image is partitioned into nonuniform grids according to its importance map, and determined by the grid size, an individually constructed paint stroke is applied in each grid. Second, an anisotropic digital brush is designed to simulate a real paint brush. In particular, each bristle of the digital brush has an individual color, so that strokes rendered by the new brush can have multiple colors and naturally varied textures. Finally, we present a novel method to add lighting effects to the canvas. This lighting imitation method is robust and very easy to implement, and it can significantly improve the quality of rendering. Comparing with traditional painterly rendering approaches, the new method simulates more closely the real painting procedure, and our experimental results show that it can produce vivid paintings with fewer artifacts.     

基于图像语义分割的真实毛笔笔触实时生成技术

书法在文化传承中占据重要地位,书法书写笔迹的生成也一直是计算机图形学的研究重点和难点.现存基于模型和经验的方法,由于建模难度大,大都将笔触表述为简单的几何图形并且缺少变化,难以真实还原毛笔书写的笔触和笔迹.使得现存书法笔迹生成软件仅仅用于娱乐,而难以上升到数字化书法教育层面.文中从计算机视觉的角度出发,通过4个相机获取毛笔的实时书写图像;针对Deeplabv3+语义分割算法无法有效地分割小尺寸类别的缺点进行优化,使用优化的Deeplabv3+算法提取图像中毛笔笔头等关键信息,并通过Hough变换和PnP位姿估计算法计算笔杆相对位姿;基于位姿信息矫正和融合各相机笔触图像,提出一种未知区域估计方法估计相机无法拍摄到的笔触区域.按照不同条件提取400多幅书写图像作为数据集并进行实验结果表明,优化后的Deeplabv3+算法平均交并比(mean intersection-over-union,mIOU)达到0.849,与优化前相比提升了0.117;在小尺寸类别上交并比(intersection-over-union,IOU)达到0.59,提升了0.473.在保证实时性的前提下,最终生成的笔触与传统基于模型和经验的方法相比,可以更加真实地还原书写时的笔触,并避免对毛笔进行复杂的建模,为笔迹生成研究提供一种新的思路.     

Color juxtaposition for pointillism based on an artistic color model and a statistical analysis

We analyze characteristics and patterns of color juxtaposition and the color theory used by pointillist painters and employ them to create rendering algorithm that generates images in a pointillist style. We determine the distribution of colors in several paintings by Seurat and quantify a number of the theory that he employs. Using an RYB color wheel and a hierarchical point generation technique, we convert an input image into a set of colored dots, which is again converted into brush strokes with appropriate shapes and directions. We present images which illustrate the extent to which we have managed to simulate Seurat’s technique.     

Image-based color ink diffusion rendering

This paper proposes an image-based painterly rendering algorithm for automatically synthesizing an image with color ink diffusion. We suggest a mathematical model with a physical base to simulate the phenomenon of color colloidal ink diffusing into absorbent paper. Our algorithm contains three main parts: a feature extraction phase, a Kubelka-Munk (KM) color mixing phase, and a color ink diffusion synthesis phase. In the feature extraction phase, the information of the reference image is simplified by luminance division and color segmentation. In the color mixing phase, the KM theory is employed to approximate the result when one pigment is painted upon another pigment layer. Then, in the color ink diffusion synthesis phase, the physically-based model that we propose is employed to simulate the result of color ink diffusion in absorbent paper using a texture synthesis technique. Our image-based ink diffusing rendering (IBCIDR) algorithm eliminates the drawback of conventional Chinese ink simulations, which are limited to the black ink domain, and our approach demonstrates that, without using any strokes, a color image can be automatically converted to the diffused ink style with a visually pleasing appearance     

An improved contour-based thinning method for character images

Digital skeleton of character images, generated by thinning method, has a wide range of applications for shape analysis and classification. But thinning of character images is a big challenge. Removal of spurious strokes or deformities in thinning is a difficult problem. In this paper, we propose a contour-based thinning method used for performing skeletonization of printed noisy isolated character images. In this method, we use shape characteristics of text to get skeleton of nearly same as the true character shape. This approach helps to preserve the local features and true shapes of the character images. As a by-product of our thinning approach, the skeleton also gets segmented into strokes in vector form. Hence further stroke segmentation is not required. Experiment is done on printed English, Bengali, Hindi, and Tamil characters and we obtain much better results comparing with other thinning methods without any post-processing.     

Highly stylised animation

In this paper we argue for our NPAR system as an effective 2D alternative to most NPR research, which is focused on frame coherent stylised rendering of 3D models. Our approach gives a highly stylised look to images without the support of 3D models. Nevertheless, they still behave as though they are animated by drawing, which they are. First, a stylised brush tool is used to freely draw extreme poses of characters. Each character is built of 2D drawn brush strokes which are manually grouped into layers. Each layer is assigned its place in a drawing hierarchy called a hierarchical display model (HDM). Next, multiple HDMs are created for the same character, each corresponding to a specific view. A collection of HDMs essentially reintroduces some correspondence information to the 2D drawings needed for inbetweening and, in effect, eliminates the need for a true 3D model. Once the models are composed the animator starts by defining keyframes from extreme poses in time. Next, brush stroke trajectories defined by the keyframe HDMs are inbetweened automatically across intermediate frames. Finally, each HDM of each generated inbetween frame is traversed and all elements are drawn one on another from back to front. Our techniques support highly rendered styles which are particularly difficult to animate by traditional means including the ‘airbrushed’, scraperboard, watercolour, Gouache, ‘ink-wash’, pastel, and the ‘crayon’ styles. In addition, we describe the data path to be followed to create highly stylised animations by incorporating real footage. We believe our system offers a new fresh perspective on computer-aided animation production and associated tools.     

Volume cutout

We present a novel method for cutting out 3D volumetric structures based on simple strokes that are drawn directly on volume rendered images. The freehand strokes roughly mark out objects of interest and background. Our system then automatically segments the regions of interest and refines their boundaries in the rendered image. These 2D segmentation results provide constraints for 3D segmentation in the volume dataset. The objects of interest are then efficiently cut out from the volume via a combination of our novel two-pass graph cuts algorithm and the pre-computed over-segmentation. Our method improves traditional, fully automatic segmentation by involving human users in the process, yet minimizing user input and providing timely feedback. Our experiments show that our method extracts volumetric structures precisely and efficiently while requiring little skill or effort from the user.     

Segmentation of DNA microarray images using an adaptive graph-based method

Microarray is a powerful tool for simultaneous study of the behaviour of thousands of genes through analysis of produced images. The correct segmentation of each `spot` of the microarray image is a critical step in the analysis of the results of an experiment. A graph-based method is proposed which automatically performs the segmentation. The performance of the algorithm is tested both on real and simulated images. The proposed algorithm successfully detected spots of different sizes and shapes under the presence of variable noise levels. The simulation results proved that the suggested approach has high segmentation accuracy.     

三维虚拟环境中的书法创作

为了充分利用数字化技术促进书法艺术的教学和发展,提出并实现了虚拟化书法创作系统.首先构建基于三角网格的毛笔虚拟模型;然后通过常用曲线拟合笔画书写路径,并在笔画路径上指定关键帧,以表现书写时毛笔在相应位置上的节奏快慢和提、按、顿、挫等状态;最后实时绘制书法作品并渲染书写过程.用户可以随意用文中系统进行书法创作,在三维环境中逼真地展示书法创作的全过程.实验结果表明,所构建的毛笔虚拟模型计算量小、实时性强,创作效果与真实毛笔的书写效果非常接近.     

Stylized and abstract painterly rendering system using a multiscale segmented sphere hierarchy

This paper presents a novel system framework for interactive, three-dimensional, stylized, abstract painterly rendering. In this framework, the input models are first represented using 3D point sets and then this point-based representation is used to build a multiresolution bounding sphere hierarchy. From the leaf to root nodes, spheres of various sizes are rendered into multiple-size strokes on the canvas. The proposed sphere hierarchy is developed using multiscale region segmentation. This segmentation task assembles spheres with similar attribute regularities into a meaningful region hierarchy. These attributes include colors, positions, and curvatures. This hierarchy is very useful in the following respects: 1) it ensures the screen-space stroke density, 2) controls different input model abstractions, 3) maintains region structures such as the edges/boundaries at different scales, and 4) renders models interactively. By choosing suitable abstractions, brush stroke, and lighting parameters, we can interactively generate various painterly styles. We also propose a novel scheme that reduces the popping effect in animation sequences. Many different stylized images can be generated using the proposed framework.     

Reconstruction of a Scene with Multiple Linearly Moving Objects

In this paper we describe an algorithm to recover the scene structure, the trajectories of the moving objects and the camera motion simultaneously given a monocular image sequence. The number of the moving objects is automatically detected without prior motion segmentation. Assuming that the objects are moving linearly with constant speeds, we propose a unified geometrical representation of the static scene and the moving objects. This representation enables the embedding of the motion constraints into the scene structure, which leads to a factorization-based algorithm. We also discuss solutions to the degenerate cases which can be automatically detected by the algorithm. Extension of the algorithm to weak perspective projections is presented as well. Experimental results on synthetic and real images show that the algorithm is reliable under noise.     

基于粒子视频的高密度人群主流运动检测

采用粒子视频流获得视频序列中的特征点运动轨迹,并对获得的运动轨迹进行提取,然后利用最长共同子序列LCS(Longest Common Subsequence)聚类轨迹,得到运动的主流方向。该算法可以有效检测实际场景中的主流运动方向。     

一种融合区域笔划和梯度笔划的油画生成方法

基于笔划的油画生成是油画生成中最为重要的技术,它模拟真实画家使用 笔划的创作过程,以达到逼真的手绘作品的效果。分析了基于图像分割的区域笔划生成油画 的优缺点,提出一种融合区域笔划和梯度笔划的油画生成方法,首先通过图像分割生成区域 笔划,然后根据图像分割水平确定梯度阈值筛选出梯度笔划。通过实验可以看出,该方法生 成速度较快,不仅使笔划更加灵活多变,而且可以弥补区域笔划生成所产生的缝隙。     

Real-time image-based chinese ink painting rendering

Chinese ink painting, also known as ink and wash painting, is a technically demanding art form. Creating Chinese ink paintings usually requires great skill, concentration, and years of training. This paper presents a novel real-time, automatic framework to convert images into Chinese ink painting style. Given an input image, we first construct its saliency map which captures the visual contents in perceptually salient regions. Next, the image is abstracted and its salient edges are calculated with the help of the saliency map. Then, the abstracted image is diffused by a non-physical ink diffusion process. After that, we combine the diffused image and the salient edges to obtain a composition image. Finally, the composition image is decolorized and texture advected to synthesize the resulting image with Chinese ink painting style. The whole pipeline is implemented on the GPU, enabling a real-time performance. We also propose some optional steps (foreground segmentation and image inversion) to improve the rendering quality. Experimental results show that our model is two to three orders of magnitude faster, while producing results comparable the ones obtained with the current image-based Chinese ink painting rendering method.     

曲线笔触渲染的图像风格迁移

目的 针对GANILLA、Paint Transformer、StrokeNet等已有的风格迁移算法存在生成图像笔触丢失、线条灵活度低以及训练时间长等问题,提出一种基于曲线笔触渲染的图像风格迁移算法。方法 首先按照自定义的超像素数量将图像前景分割为小区域的子图像,保留更多图像细节,背景分割为较大区域的子图像,再对分割后的每个子区域选取控制点,采用Bezier方程对控制点进行多尺度笔触生成,最后采用风格迁移算法将渲染后的图像与风格图像进行风格迁移。结果 与AST （arbitrary style transfer）方法相比,本文方法在欺骗率指标上提升了0.13,测试者欺骗率提升了0.13。与Paint Transformer等基于笔触渲染的算法对比,本文能够在纹理丰富的前景区域生成细粒度笔触,在背景区域生成粗粒度笔触,保存更多的图像细节。结论 与GANILLA、AdaIN （adaptive instance normalization）等风格迁移算法相比,本文采用图像分割算法取点生成笔触参数,无需训练,不仅提高了算法效率,而且生成的多风格图像保留风格化图像的笔触绘制痕迹,图像色彩鲜明。     

Semantic segmentation of trajectories with improved agent models for pedestrian behavior analysis

ABSTRACT

In this paper, we propose a method for semantic segmentation of pedestrian trajectories based on pedestrian behavior models, or agents. The agents model the dynamics of pedestrian movements in two-dimensional space using a linear dynamics model and common start and goal locations of trajectories. First, agent models are estimated from the trajectories obtained from image sequences. Our method is built on top of the Mixture model of Dynamic pedestrian Agents (MDA); however, the MDA's trajectory modeling and estimation are improved. Then, the trajectories are divided into semantically meaningful segments. The subsegments of a trajectory are modeled by applying a hidden Markov model using the estimated agent models. Experimental results with a real trajectory dataset show the effectiveness of the proposed method as compared to the well-known classical Ramer-Douglas-Peucker algorithm and also to the original MDA model.     

Mesh Decomposition with Cross‐Boundary Brushes

We present a new intuitive UI, which we call cross‐boundary brushes, for interactive mesh decomposition. The user roughly draws one or more strokes across a desired cut and our system automatically returns a best cut running through all the strokes. By the different natures of part components (i.e., semantic parts) and patch components (i.e., flatter surface patches) in general models, we design two corresponding brushes: part‐brush and patch‐brush. These two types of brushes share a common user interface, enabling easy switch between them. The part‐brush executes a cut along an isoline of a harmonic field driven by the user‐specified strokes. We show that the inherent smoothness of the harmonic field together with a carefully designed isoline selection scheme lead to segmentation results that are insensitive to noise, pose, tessellation and variation in user's strokes. Our patch‐brush uses a novel facet‐based surface metric that alleviates sensitivity to noise and fine details common in region‐growing algorithms. Extensive experimental results demonstrate that our cutting tools can produce user‐desired segmentations for a wide variety of models even with single strokes. We also show that our tools outperform the state‐of‐art interactive segmentation tools in terms of ease of use and segmentation quality.