The Simulation of the Brush Stroke Based on Force Feedback Technology

A novel simulation method of the brush stroke is proposed by applying force feedback technology to the virtual painting process. The relationship between force and the brush deformation is analyzed, and the spring-mass model is applied to construct the brush model, which can realistically simulate the brush morphological changes according to the force exerted on it. According to the deformation of the brush model at a sampling point, the brush footprint between the brush and the paper is calculated in real time. Then, the brush stroke is obtained by superimposing brush footprints along sampling points, and the dynamic painting of the brush stroke is implemented. The proposed method has been successfully applied to the virtual painting system based on the force feedback technology. In this system, users can implement the painting in real time with a Phantom Desktop haptic device, which can effectively enhance reality to users

Volumetric cloud generation using a Chinese brush calligraphy style

Includes bibliographical references.Clouds are an important feature of any real or simulated environment in which the sky is visible. Their amorphous, ever-changing and illuminated features make the sky vivid and beautiful. However, these features increase both the complexity of real time rendering and modelling. It is difficult to design and build volumetric clouds in an easy and intuitive way, particularly if the interface is intended for artists rather than programmers. We propose a novel modelling system motivated by an ancient painting style, Chinese Landscape Painting, to address this problem. With the use of only one brush and one colour, an artist can paint a vivid and detailed landscape efficiently. In this research, we develop three emulations of a Chinese brush: a skeleton-based brush, a 2D texture footprint and a dynamic 3D footprint, all driven by the motion and pressure of a stylus pen. We propose a hybrid mapping to generate both the body and surface of volumetric clouds from the brush footprints. Our interface integrates these components along with 3D canvas control and GPU-based volumetric rendering into an interactive cloud modelling system. Our cloud modelling system is able to create various types of clouds occurring in nature. User tests indicate that our brush calligraphy approach is preferred to conventional volumetric cloud modelling and that it produces convincing 3D cloud formations in an intuitive and interactive fashion. While traditional modelling systems focus on surface generation of 3D objects, our brush calligraphy technique constructs the interior structure. This forms the basis of a new modelling style for objects with amorphous shape

Haptic handwriting aid for training and rehabilitation

This paper reports a method of controlling a user\u27s hand through the process of writing. Developed predominantly for enabling users to re-learn the skill of writing after a stroke, the process could also be used for teaching children hand/eye coordination, motor skills, movement and position awareness in writing. Utilising low cost haptic technology and custom control software, the system has the potential to increase writing skills in stroke sufferers in the privacy and comfort of their own home. <br /

Applying sensory distortion devices in artistic production : practice-based studies of creating artefacts with perceptual devices which confuse artists' vision and kinesthesis

PhD ThesisWhen I was an art school student, I was trained to pursue the likeness of subjects in all my artworks. This practice-based research explores alternative forms of self-expression in art practice. The exploration starts by questioning the relationship between perceptual devices, artists’ perceptions and artistic production. Most perceptual devices are designed to enhance artists’ sensory capabilities and facilitate the creation of art. Their success is often based on enabling artists to achieve a likeness of the subject drawn or making the creation of artefacts easier. My research focuses on investigating the consequences and artistic potential of applying sensory distortion devices that confuse, mislead and distort artists’ vision and kinesthesis, increasing the difficulty of making art, and exploring the productive potential of such devices to engender new creative forms. In this research three visual distortion devices and two kinaesthetic distortion devices are prototyped and used in experimental calligraphy, painting and drawing exercises. After analysing the artists’ experience of using these devices, the influence and artistic potential of applying them are examined. It is discovered that distorted vision and kinesthesis can greatly influence the making of art by disrupting habitual eye-hand coordination and control over producing artefacts. Besides which, the use of visual and kinaesthetic distortion devices can be a technique for new forms of artistic expression. It can also be an effective technique for creating serendipitous opportunities in the visual arts and a way of exploring and provoking reflection upon artistic methodologies. Consideration of the attributes of visual and kinaesthetic distortion devices and distorted perceptions during the process of prototyping can benefit the generation of ideas, methods of production and the contents of artworks. Some practical implications for creating art with visual and kinaesthetic distortion devices are also explored. They are discussed in relation to theories of human performance, such as flow theory, and attitudes toward the conflict between habitual and unfamiliar perceptual experience. Keeping an open and uncritical mind toward unfamiliarity, chaos and the accidents caused by distorted perceptions and reduced control of drawing instruments is suggested to working artists. Finally, this research contributes to art education by demonstrating a possible way of achieving self-exploration through art making

Harmonious Screen Interface Design Principles from Chinese Calligraphy

Harmony is a major theme in Chinese culture. It is reflected in many forms, e.g. painting and garden design. However, calligraphy gives a straight forward insight into harmony in two dimensions. The main hypothesis was that the principles for building a harmonious calligraphic character could be converted from holistic to deductive and computable ones. These could then be applied to the design of harmonious screen interfaces, which would give visual pleasure. The first aim was to investigate and discover the quantifiable features of harmony in Chinese regular script calligraphy. Calligraphy has been associated in China with harmony and elegance for over 1500 years. There are features that are commonly accepted to establish harmony which can be quantified. However, the principles of Chinese calligraphy are embedded within Chinese culture. Direct translation does not convey the meaning. An extensive study was made of the literature on Chinese calligraphy and a practical exploration of characters was made. This resulted in a small number of principles which were needed to be satisfied for the character to appear harmonious. These were tested on several groups of participants. These principles were then converted into a mathematical form for Chinese regular script calligraphy, and for application to harmonious screen interface design. The mathematical forms were then tested on both Chinese regular script calligraphy and also on interface designs with groups of participants. Finally, an application for comparing harmony in Chinese calligraphic characters and interface designs was created. The “Harmony” application can be used to calculate how a Chinese calligraphic character or an interface design satisfies the principles of harmony and it can give an indication of how harmonious they are

Haptic Experience and the Design of Drawing Interfaces

Haptic feedback has the potential to enhance users’ sense of being engaged and creative in their artwork. Current work on providing haptic feedback in computer-based drawing applications has focused mainly on the realism of the haptic sensation rather than the users’ experience of that sensation in the context of their creative work. We present a study that focuses on user experience of three haptic drawing interfaces. These interfaces were based on two different haptic metaphors, one of which mimicked familiar drawing tools (such as pen, pencil or crayon on smooth or rough paper) and the other of which drew on abstract descriptors of haptic experience (roughness, stickiness, scratchiness and smoothness). It was found that users valued having control over the haptic sensation; that each metaphor was preferred by approximately half of the participants; and that the real world metaphor interface was considered more helpful than the abstract one, whereas the abstract interface was considered to better support creativity. This suggests that future interfaces for artistic work should have user-modifiable interaction styles for controlling the haptic sensation

AutoGraff: towards a computational understanding of graffiti writing and related art forms.

The aim of this thesis is to develop a system that generates letters and pictures with a style that is immediately recognizable as graffiti art or calligraphy. The proposed system can be used similarly to, and in tight integration with, conventional computer-aided geometric design tools and can be used to generate synthetic graffiti content for urban environments in games and in movies, and to guide robotic or fabrication systems that can materialise the output of the system with physical drawing media. The thesis is divided into two main parts. The first part describes a set of stroke primitives, building blocks that can be combined to generate different designs that resemble graffiti or calligraphy. These primitives mimic the process typically used to design graffiti letters and exploit well known principles of motor control to model the way in which an artist moves when incrementally tracing stylised letter forms. The second part demonstrates how these stroke primitives can be automatically recovered from input geometry defined in vector form, such as the digitised traces of writing made by a user, or the glyph outlines in a font. This procedure converts the input geometry into a seed that can be transformed into a variety of calligraphic and graffiti stylisations, which depend on parametric variations of the strokes

Storytelling of the Korean traditional dance The Hahoe Mask using interactive multimedia

The project, Storytelling of Korean traditional dance \u27The Hahoe mask\u27 is the cultural collection using interactive multimedia. It provides a way to keep our intangible properties and interpret Korean cultural performances to users who are interested in Korean culture. This thesis is developed in two categories: three stories and one game. The three stories are the Mudong Play, the Monk Play and the Yangban Play and the game is the Butcher\u27s shooting game, referring to the Peakchong Play. This project has presented a way to keep Korean cultural resources in an entertaining and user-friendly way. Through this project, users can participate in storytelling as if facing with real cultural events and can be exposed to creative aspects, not only to develop valuable cultural experiences but to rediscover our hidden cultural values

teamLab Research

teamLab undoubtedly opened a new era of art. It allows professionals in multi-industries to use the latest science and technology to create art, they are all popular for local audiences from Japan to the United States, from Italy to China, wherever they go. As a significant representative form of the trendy show and immersive exhibition, teamLab\u27s works are completely different from the past in terms of creative logic, exhibition experience, and collection methods. By going through the development history of teamLab, this article studies the characteristics of its exhibitions, audience, and the connection with traditional art, in order to explore the development of today\u27s art and look forward to the future of new art