Motion based Painterly Rendering

Previous painterly rendering techniques normally use image gradients for deciding stroke orientations. Image gradients are good for expressing object shapes, but difficult to express the flow or movements of objects. In real painting, the use of brush strokes corresponding to the actual movement of objects allows viewers to recognize objects' motion better and thus to have an impression of the dynamic. In this paper, we propose a novel painterly rendering algorithm to express dynamic objects based on their motion information. We first extract motion information (magnitude, direction, standard deviation) of a scene from a set of consecutive image sequences from the same view. Then the motion directions are used for determining stroke orientations in the regions with significant motions, and image gradients determine stroke orientations where little motion is observed. Our algorithm is useful for realistically and dynamically representing moving objects. We have applied our algorithm for rendering landscapes. We could segment a scene into dynamic and static regions, and express the actual movement of dynamic objects using motion based strokes.     

Stroke Style Analysis for Painterly Rendering

We propose a novel method that automatically analyzes stroke-related artistic styles of paintings.A set of adaptive interfaces are also developed to connect the style analysis with existing painterly rendering systems, so that the specific artistic style of a template painting can be effectively transferred to the input photo with minimal effort.Different from conventional texture-synthesis based rendering techniques that focus mainly on texture features, this work extracts, analyzes and simulates high-level style features expressed by artists’ brush stroke techniques.Through experiments, user studies and comparisons with ground truth, we demonstrate that the proposed style-orientated painting framework can significantly reduce tedious parameter adjustment, and it allows amateur users to efficiently create desired artistic styles simply by specifying a template painting.     

Pointillist video stylization based on particle tracing

We present an algorithm that stylizes an input video into a painterly animation without user intervention. In particular, we focus on pointillist animation with stable temporal coherence. Temporal coherence is an important problem in non-photorealistic rendering for videos. To realize pointillist animation, the various characters of pointillism should be considered in painting process to maintain temporal coherence. For this, weused the particle video algorithm which is a new approach to long-range motion estimation in video. Based on this method, we introduce a method to control the density of particles considering the features of frames and importance maps. Finally, the propagation methods of stroke to minimize flickering effects of brush strokes are introduced.     

AniPaint: interactive painterly animation from video

This paper presents an interactive system for creating painterly animation from video sequences. Previous approaches to painterly animation typically emphasize either purely automatic stroke synthesis or purely manual stroke key framing. Our system supports a spectrum of interaction between these two approaches which allows the user more direct control over stroke synthesis. We introduce an approach for controlling the results of painterly animation: keyframed Control Strokes can affect automatic stroke's placement, orientation, movement, and color. Furthermore, we introduce a new automatic synthesis algorithm that traces strokes through a video sequence in a greedy manner, but, instead of a vector field, uses an objective function to guide placement. This allows the method to capture fine details, respect region boundaries, and achieve greater temporal coherence than previous methods. All editing is performed with a WYSIWYG interface where the user can directly refine the animation. We demonstrate a variety of examples using both automatic and user-guided results, with a variety of styles and source videos.     

Image and Video Abstraction by Anisotropic Kuwahara Filtering

We present a non‐photorealistic rendering technique to transform color images and videos into painterly abstractions. It is based on a generalization of the Kuwahara filter that is adapted to the local shape of features, derived from the smoothed structure tensor. Contrary to conventional edge‐preserving filters, our filter generates a painting‐like flattening effect along the local feature directions while preserving shape boundaries. As opposed to conventional painting algorithms, it produces temporally coherent video abstraction without extra processing. The GPU implementation of our method processes video in real‐time. The results have the clearness of cartoon illustrations but also exhibit directional information as found in oil paintings.     

非真实感绘制技术研究现状与展望

非真实感绘制技术（non-photorealistic rendering, NPR）主要用于模拟艺术风格、表现艺术特质和传达用户情感等,是计算机图形学的重要组成部分,其研究对象逐渐丰富,研究方法不断创新。本文从基于图像建模的绘制方法、基于深度学习的绘制方法、中国特有艺术作品的数字化模拟、非真实感情感特征识别以及非真实感视频场景绘制等5个方面概述目前研究进展,然后从扩展非真实感研究对象、增强视频绘制帧间连贯性、提取艺术风格情感特征以及评价非真实感绘制结果等4个角度讨论需要进一步研究的问题。针对需要深入研究的问题,指出提高算法的通用性和绘制效率,以及提高深度学习网络的泛化性,有助于扩展研究对象,模拟艺术风格的多样性,同时减小视频场景的帧间跳变;对艺术风格作品具有的情感特征、内在机理特征进行模拟,有助于提高绘制结果与艺术风格图像的相似度;结合主观和客观评价模型,可以更准确地对绘制结果进行评价,同时有利于优化网络模型参数,提高绘制效率。非真实感绘制在计算机视觉、文化遗产保护等领域具有重要的应用前景,但其研究对象、绘制算法、绘制效率仍然存在很多亟待解决的问题,随着硬件设备的不断改进,综合运用学科交叉知识、扩展应用领域将进一步推动非真实感绘制技术的发展。     

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.     

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。     

视频实时自适应去雾算法

在雾天环境下,户外视频的可视性将受到极大损害,需要通过视频实时去雾来恢复视频的可视性。视频实时去雾对于单帧图像处理的速度有很高的要求,现有的图像去雾算法或是速度上达不到要求,或是速度虽快但去雾效果不理想。另外,视频还会面临拍摄场景中雾气浓度不断变化的问题,现有图像去雾算法中需要手动设置参数且参数固定,无法在雾气浓度变化的条件下始终达到理想的去雾效果。提出了一种实时的视频自适应去雾算法,该算法对视频中单帧图像进行去雾时,会基于暗原色值来区分图像区域,并对不同区域进行不同程度的去雾,在满足实时性的同时得到了很好的去雾效果。此外,该算法还基于暗通道先验设计了评价去雾结果的方法,并使用迭代的方式根据雾气浓度自动调整去雾参数,从而在视频中雾气浓度变化的情况下,始终能达到理想的去雾效果。     

一种用于图形设备接口的笔画模型方法

视频监控的在屏交互过程中,需要快速地对交互控件、感兴趣区域、活动标记等图形和图像进行绘制,为避免画面的停滞感,要求图形设备接口能快速进行绘制.为此,提出了一种笔画模型方法.利用 DirectX的原始绘制能力,该方法将绘制任务转换成笔画对象,使视频系统在实时运行过程中,只需将已转换的笔画对象的绘制数据提交给 DirectX 进行渲染和显示即可,降低重复绘制时间,满足系统的快速绘制要求.基于笔画模型方法,开发了一种可快速绘制的图形设备接口.     

Movie Scene Recognition Using Panoramic Frame and Representative Feature Patches简

Recognizing scene information in images or has attracted much attention in computer vision or videos, such as locating the objects and answering ＂Where am research field. Many existing scene recognition methods focus on static images, and cannot achieve satisfactory results on videos which contain more complex scenes features than images. In this paper, we propose a robust movie scene recognition approach based on panoramic frame and representative feature patch. More specifically, the movie is first efficiently segmented into video shots and scenes. Secondly, we introduce a novel key-frame extraction method using panoramic frame and also a local feature extraction process is applied to get the representative feature patches （RFPs） in each video shot. Thirdly, a Latent Dirichlet Allocation （LDA） based recognition model is trained to recognize the scene within each individual video scene clip. The correlations between video clips are considered to enhance the recognition performance. When our proposed approach is implemented to recognize the scene in realistic movies, the experimental results shows that it can achieve satisfactory performance.     

Interactive Videos: Plausible Video Editing using Sparse Structure Points

Video remains the method of choice for capturing temporal events. However, without access to the underlying 3D scene models, it remains difficult to make object level edits in a single video or across multiple videos. While it may be possible to explicitly reconstruct the 3D geometries to facilitate these edits, such a workflow is cumbersome, expensive, and tedious. In this work, we present a much simpler workflow to create plausible editing and mixing of raw video footage using only sparse structure points (SSP) directly recovered from the raw sequences. First, we utilize user‐scribbles to structure the point representations obtained using structure‐from‐motion on the input videos. The resultant structure points, even when noisy and sparse, are then used to enable various video edits in 3D, including view perturbation, keyframe animation, object duplication and transfer across videos, etc. Specifically, we describe how to synthesize object images from new views adopting a novel image‐based rendering technique using the SSPs as proxy for the missing 3D scene information. We propose a structure‐preserving image warping on multiple input frames adaptively selected from object video, followed by a spatio‐temporally coherent image stitching to compose the final object image. Simple planar shadows and depth maps are synthesized for objects to generate plausible video sequence mimicking real‐world interactions. We demonstrate our system on a variety of input videos to produce complex edits, which are otherwise difficult to achieve.     

Cubist style rendering from photographs

The contribution of the paper is a novel nonphotorealistic rendering (NPR) technique, influenced by the style of Cubist art. Specifically, we are motivated by artists such as Picasso and Braque, who produced art work by composing elements of a scene taken from multiple points of view; paradoxically, such compositions convey a sense of motion without assuming temporal dependence between views. Our method accepts a set of two-dimensional images as input and produces a Cubist style painting with minimal user interaction. We use salient features identified within the image set, such as eyes, noses, and mouths, as compositional elements; we believe the use of such features to be a unique contribution to NPR. Before composing features into a final image, we geometrically distort them to produce the more angular forms common in Cubist art. Finally, we render the composition to give a painterly effect, using an automatic algorithm. This paper describes our method, illustrating the application of our algorithm with a gallery of images. We conclude with a critical appraisal and suggest the use of "high-level" features is of interest to NPR.     

RenderBots—Multi-Agent Systems for Direct Image Generation

The term stroke‐based rendering collectively describes techniques where images are generated from elements that are usually larger than a pixel. These techniques lend themselves well for rendering artistic styles such as stippling and hatching. This paper presents a novel approach for stroke‐based rendering that exploits multi‐agent systems. RenderBots are individual agents each of which in general represents one stroke. They form a multi‐agent system and undergo a simulation to distribute themselves in the environment. The environment consists of a source image and possibly additional G‐buffers. The final image is created when the simulation is finished by having each RenderBot execute its painting function. RenderBot classes differ in their physical behavior as well as their way of painting so that different styles can be created in a very flexible way.     

基于多视频的虚实融合系统

提出了一种基于多视频的虚实融合可视化系统的构建方法,旨在将真实世界中的图像和视频融合到虚拟场景中,用视频图像中的纹理和动态信息去丰富虚拟场景,提高虚拟环境的真实性,得到一种增强的虚拟环境.利用无人机采集图像来重建虚拟场景,并借助图像特征点的匹配来实现视频图像的注册.然后利用投影纹理映射技术,将图像投影到虚拟场景中.视频中的动态物体由于在虚拟环境中缺失对应的三维模型,直接投影,当视点发生变化时会产生畸变.首先检测和追踪这些物体,然后尝试使用多种显示方式来解决畸变问题.此外,系统还考虑有重叠区域的多视频之间的融合.实验结果表明,所构造的虚实融合环境是十分有益的.     

苗绣艺术风格针迹模拟研究

摘 要： 非真实感绘制(NPR)也称艺术化渲染,主要用于模拟艺术化的绘制风格。随着图像 处理技术的不断发展,研究者已经对中国特有的中国水墨画、烙画、云南重彩画等艺术作品进 行了模拟,目前对苗族刺绣的数字化模拟研究还不多见。苗族刺绣也称苗绣,经国务院批准列 入我国第一批国家级非物质文化遗产名录,是我国装饰艺术园地里的一朵奇葩。以苗绣为研究 对象,根据真实苗绣艺术作品特点,提出了一种多角度针迹的苗绣艺术风格绘制方法。首先, 针对苗绣图案构图手法夸张、层次分明的特点,将目标图像灰度处理,采用多阈值处理图像的 方法分割出多幅刺绣图像;然后采用形态学方法消除杂散点、填充空洞点并平滑图案边缘,获 得圆润自然、紧凑饱满的特征图案;接着,使用一种基于图像矩阵空间变换和添加纵向纹理的 针迹生成算法使每一幅刺绣图像生成不同角度的苗绣针迹纹理;再用图像线性组合的方法将多 幅苗绣针迹纹理图像合成为纹理图;最后用 Alpha 透明度混合算法将苗绣纹理图和目标图像叠 加,获得苗绣图案设色对比强烈的艺术特征,产生效果图像。实验证明,该方法能够模拟出真 实苗绣艺术作品的多角度针迹纹理效果。     

一种流体艺术风格的自适应LIC绘制方法

把LIC算法应用到非真实感绘制中,提出一种自适应流体艺术图的LIC绘制方法.对源图像亮度分量计算切矢量场,然后对其进行增强、平滑处理获得结构矢量场;通过随机扰动源图像获得纹理参考图像;根据结构矢量场和纹理参考图像的局部特征产生可变的LIC积分步长和步数,自适应地处理纹理参考图像;最后对绘制效果进行颜色渲染,生成具有丰富颜色特征的流体艺术图.实验表明,该方法能够较好地模拟诸如梵高画的流体艺术风格,呈现生动、灵活的波动感.     

Stylized rendering using samples of a painted image

We introduce a novel technique to generate painterly art map (PAM) for 3D non-photorealistic rendering. Our technique can automatically transfer brush stroke textures and color changes to 3D models from samples of a painted image. Therefore, the generation of stylized images/animation in the style of a given artwork can be achieved. This new approach works particularly well for a rich variety of brush strokes ranging from simple 1D and 2D line-art strokes to very complicated ones with significant variations in stroke characteristics. During the rendering/animation process, the coherence of brush stroke textures and color changes over 3D surfaces can be well maintained. With PAM, we can also easily generate the illusion of flow animation over a 3D surface to convey the shape of a model.     

Algorithmic Painter: a NPR method to generate various styles of painting

This paper proposes Algorithmic Painter, an algorithm that can produce various styles of painting from source photos. Algorithmic Painter is created by enhancing Synergistic Image Creator, a painterly rendering method, so that it is highly expressive but still preserves the essential characteristics of the source photo. To achieve this, our method extracts three types of image segments automatically from a source photo by a newly proposed classification method: edge areas, homogeneous areas, and highly contrastive areas. Next, each obtained image segment is converted into a brushstroke. Finally, the target picture is rendered by assigning a color to each pixel. Furthermore, this method can control the curvy shapes of brushstrokes, so that the obtained image can incorporate not only various artistic touches but also natural touches. As an example, the paper describes the composition technique for three considerably different painting styles.     

基于SIFT特征跟踪匹配的视频拼接方法

针对不同摄像头的监控视频序列,提出了一种基于视频帧SIFT（Scale Invariant Feature Transform,即尺度不变特征变换）特征跟踪的拼接方法。通过SIFT算法提取帧图像的特征,并在跟踪的估计区域搜索匹配特征,从而确定待整合帧之间的变换参数。实验结果表明,该方法较好实现视频快速拼接,且对重叠区域小、形变大、有运动物体遮挡的视频具有较强的鲁棒性。