基于二维纹理样本的方向场引导的体纹理合成

提出一种考虑方向场的体纹理合成新方法.在二维纹理样本中搜索邻域,采用优化的邻域匹配算法逐个合成体素;在匹配二维纹理样本像素邻域和体素邻域时,考虑各体素上的方向,生成各向异性体纹理,并允许采用各向异性的二维纹理样本获得满意的合成结果.方向场可由过程式方法生成,也可由三维医学数据处理而得.实验结果表明,从动物的弥散张量图像得到的方向场能有效地合成真实的动物肌肉纹理,为计算机图形学提供了一种新的肌肉建模手段.     

Generation of 3D Texture Using Multiple 2D Models Analysis

Solid (30) texturing is commonly used in computer graphics for producing more realistic images. It is often more attractive than the conventional 20 texture mapping but remains more complex on some points. Its major difficulty concerns the generation of 30 texture in a general and efficient way. The well-known traditional procedural methods use generally a simplified mathematical model of a natural texture. No reliable way for the choice of the mathematical model parameters, which characterise directly the produced 30 texture, is given. Therefore, 30 texture generation becomes a more or less experimental process with these methods. Our recently published methodfor an automatic 30 texture generation avoids this problem by the use of the spectral analysis of one 2D model texture. The resulting 30 texture is of good quality but one open problem remains: the aspect of the produced texture cannot be fully controlled over the entire 30 space by only one 20 spectral analysis. This may be considered as a serious limitation for some kinds of textures representing important variations in any direction. In this paper we present a new and more powerful analytical approach for an automatic 30 texture generation. Contrarily to our previous method, this new approach is not exclusively based on the spectral analysis of only one 20 model. It uses two or three 2D models corresponding to different slices of a 30 texture block, so, the aspect of the produced 3D texture can be controlled more efficiently over the entire 30 space. In addition, a more efficient 30 texture antialiasing, well adapted to this new method is presented.     

基于纹理延伸和三角块拼接的快速曲面纹理合成

对相邻的已合成三角形个数为1的待合成三角形使用"纹理延伸"的方法进行纹理合成;对相邻的已合成三角形个数大于1的待合成三角形采用梯形模板匹配的三角块拼接方法进行纹理合成.实验结果与理论分析表明,该算法合成质量较高,合成速度较现有方法提高了1/3.     

Capture and Synthesis of 3D Surface Texture

We present and compare five approaches for capturing, synthesising and relighting real 3D surface textures. Unlike 2D texture synthesis techniques they allow the captured textures to be relit using illumination conditions that differ from those of the original. We adapted a texture quilting method due to Efros and combined this with five different relighting representations, comprising: a set of three photometric images; surface gradient and albedo maps; polynomial texture maps; and two eigen based representations using 3 and 6 base images.We used twelve real textures to perform quantitative tests on the relighting methods in isolation. We developed a qualitative test for the assessment of the complete synthesis systems. Ten observers were asked to rank the images obtained from the five methods using five real textures. Statistical tests were applied to the rankings.The six-base-image eigen method produced the best quantitative relighting results and in particular was better able to cope with specular surfaces. However, in the qualitative tests there were no significant performance differences detected between it and the other two top performers. Our conclusion is therefore that the cheaper gradient and three-base-image eigen methods should be used in preference, especially where the surfaces are Lambertian or near Lambertian.     

Composite Texture Synthesis

Many textures require complex models to describe their intricate structures. Their modeling can be simplified if they are considered composites of simpler subtextures. After an initial, unsupervised segmentation of the composite texture into the subtextures, it can be described at two levels. One is a label map texture, which captures the layout of the different subtextures. The other consists of the different subtextures. This scheme has to be refined to also include mutual influences between textures, mainly found near their boundaries. The proposed composite texture model also includes these. The paper describes an improved implementation of this idea. Whereas in a previous implementation subtextures and their interactions were synthesized sequentially, this paper proposes a parallel implementation, which yields results of higher quality.     

自由多视角恢复表面纹理的三维重建

针对从轮廓恢复形状获得的几何模型,为使其具有真实感,提出了一种基于自由多视角的图像序列为几何模型添加表面纹理的新方法,解决了以往二维图像和三维几何模型配准方法中需人工干预、低精度,速度慢的问题。本文通过设计一个配准模板,实现了全自动、高精度的配准,并利用透视投影变换一次性获得纹理坐标,实现了快速的纹理恢复。实验结果表明,采用这种方法的纹理绘制效果理想,生成的模型真实感强。     

应用PSO的快速纹理合成算法

应用PSO的快速纹理合成算法是一种高效的纹理合成算法,应用粒子群优化(PSO)算法对基于块采样的纹理合成算法的搜索匹配过程进行了改进,改变了原算法的全遍历搜索过程,在不影响合成质量的前提下加快了合成速度．本算法对于按序和随机的各种应用都能在一台中等的PC机上几秒内合成高质量的纹理．并对算法执行中的粒子数、迭代次数对合成速度和合成效果的影响进行了详细的分析．     

Texture Particles

This paper presents an analytical extension of texture synthesis techniques based on the distribution of elementary texture components. Our approach is similar to the bombing, cellular, macrostructured and lapped textures techniques, but provides the user with more control on both the texture analysis and synthesis phases. Therefore, high quality results can be obtained for a large number of structured or stochastic textures (bricks, marble, lawn, etc.). The analysis consists in decomposing textures into elementary components — that we call ``texture particles'' — and for which we analyze their specific spatial arrangements. The synthesis then consists in recomposing similar textures directly on arbitrary surfaces by taking into account the previously computed arrangements, extended to 3D surfaces. Compared to ``pixel‐based'' analysis and synthesis methods, which have been recently generalized to arbitrary surfaces, our approach has three major advantages: (1) it is fast, which allows the user to interactively control the synthesis process. This further allows us to propose a large number of tools, granting a high degree of artistic freedom to the user. (2) It avoids the visual deterioration of the texture components by preserving their shapes as well as their spatial arrangements. (3) The texture particles can be not only images, but also 3D geometric elements, which extends significantly the domain of application.     

Lazy Solid Texture Synthesis

Existing solid texture synthesis algorithms generate a full volume of color content from a set of 2D example images. We introduce a new algorithm with the unique ability to restrict synthesis to a subset of the voxels, while enforcing spatial determinism. This is especially useful when texturing objects, since only a thick layer around the surface needs to be synthesized. A major difficulty lies in reducing the dependency chain of neighborhood matching, so that each voxel only depends on a small number of other voxels. Our key idea is to synthesize a volume from a set of pre‐computed 3D candidates, each being a triple of interleaved 2D neighborhoods. We present an efficient algorithm to carefully select in a pre‐process only those candidates forming consistent triples. This significantly reduces the search space during subsequent synthesis. The result is a new parallel, spatially deterministic solid texture synthesis algorithm which runs efficiently on the GPU. Our approach generates high resolution solid textures on surfaces within seconds. Memory usage and synthesis time only depend on the output textured surface area. The GPU implementation of our method rapidly synthesizes new textures for the surfaces appearing when interactively breaking or cutting objects.     

基于粒子和纹理绘制的火焰合成

现有的火焰合成算法多数都是基于粒子系统,其主要缺点是运算量大。本文先用少量粒子勾勒火焰的外轮廓线,再用纹理绘制的方法填充火焰纹理。这样既利用了粒子系统形成轮廓线的真实感,又避免大量的粒子状态运算,并能体现动态火焰纹理的一致性和连续性。     

Texture evolution: 3D texture synthesis from single 2D growable texture pattern

An efficient model-independent 3D texture synthesis algorithm based on texture growing and texture turbulence is presented to create vivid 3D solid texture from a single 2D growable texture pattern. Given a 2D texture pattern of some growable material, our technique is able to create an anisotropic 3D volumetric texture cube to simulate the evolution of the material in 3D. An effective tiling scheme is designed to save computation and storage costs. Target objects are directly dipped into the synthesized 3D texture volume to generate creative, sculpture-like models that can be visualized with interactive speed. Our method is conceptually intuitive, computationally fast, and storage efficient compared with other solid texturing methods. As opposed to conventional 2D texture mapping work on polygonal surfaces, our approach is capable of decorating 3D point-rendering systems seamlessly. Furthermore, our combination of texture turbulence and texture growing techniques provides an attractive way to synthesize and tile natural 2D texture patterns, or generate simple but interesting motion textures.     

采用向量化运算进行图像融合的真实感纹理映射

提出一种基于向量运算体现纹理形变要求的映射对应点获取方法,根据场景表面纹理走势特点划分表面形变控制网格,以网格边界为形变控制向量,通过对控制向量的合成取得映射点;同时,根据对应点亮度进行图像融合达到纹理真实感融入．对于场景表面纹理走势细节性变化给出了网格调整方法,进一步使用三次参数样条曲线拟合映射区域,基于曲率半径进行边界多边形化以实现对映射区域的精确判断．该方法能产生高度真实感的虚拟实景效果．     

一种基于概周期性的纹理图象分析及合成方法

文章对纹理合成中存在的合成时间过长、合成质量不理想的情况进行分析,发现了对一类具有视觉重复性的纹理,可以利用其本身的性质,加快纹理合成的速度,提高纹理合成的质量。通过对这类纹理特征的研究,引入了概周期纹理的概念,利用固定尺度滑动窗口的灰度距离对其概周期性进行度量,继而采用零搜索技术进行合成。实验证明,对于概周期性纹理,该文提出的算法使得纹理合成速度大大提高,合成质量同于甚至优于传统方法。     

Cutting and Pasting Irregularly Shaped Patches for Texture Synthesis

This paper proposes a patch‐based texture synthesis approach that cuts and stitches irregularly shaped texture patches to generate new texture images with minimized visual discontinuity. It works well on a wide range of textures. A semiautomatic algorithm is developed to obtain the irregularly shaped patches. To synthesize strictly structured textures, a regular pasting method is proposed to identify the texture structures and subsequently position the irregularly shaped patches according to the identified structures. The results and comparisons with related work are given.     

A Survey of Procedural Noise Functions

Procedural noise functions are widely used in computer graphics, from off‐line rendering in movie production to interactive video games. The ability to add complex and intricate details at low memory and authoring cost is one of its main attractions. This survey is motivated by the inherent importance of noise in graphics, the widespread use of noise in industry and the fact that many recent research developments justify the need for an up‐to‐date survey. Our goal is to provide both a valuable entry point into the field of procedural noise functions, as well as a comprehensive view of the field to the informed reader. In this report, we cover procedural noise functions in all their aspects. We outline recent advances in research on this topic, discussing and comparing recent and well‐established methods. We first formally define procedural noise functions based on stochastic processes and then classify and review existing procedural noise functions. We discuss how procedural noise functions are used for modelling and how they are applied to surfaces. We then introduce analysis tools and apply them to evaluate and compare the major approaches to noise generation. We finally identify several directions for future work.