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

Perception-based painterly rendering: funcionality and interface design

Painterly rendering (non-photorealistic rendering or NPR) aims at translating photographs into paintings with discrete brush strokes, simulating certain techniques (im- or expressionism) and media (oil or watercolour). Recently, our research into visual perception and models of processes in the visual cortex resulted in a new rendering scheme, in which detected lines and edges at different scales are translated into brush strokes of different sizes. In order to prepare a version which is suitable for many users, including children, the design of the interface in terms of window and menu system is very important. Discussions with artists and non-artists led to three design criteria: (1) the interface must reflect the procedures and possibilities that real painters follow and use, (2) it must be based on only one window, and (3) the menu system must be very simple, avoiding a jungle of menus and sub-menus. This paper explains the interface that has been developed

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

A framework for digital watercolor

This research develops an extendible framework for reproducing watercolor in a digital environment, with a focus on interactivity using the GPU. The framework uses the lattice Boltzmann method, a relatively new approach to fluid dynamics, and the Kubelka-Munk reflectance model to capture the optical properties of watercolor. The work is demonstrated through several paintings produced using the system

Designing interactive technology for cross-cultural appreciation of intangible cultural heritage: Chinese traditional painting and puppetry

Ph. D. ThesisDigital heritage is becoming a significant component of cultural heritage, and cultural organisations are increasingly using interactive technologies to showcase and safeguard heritage assets. However, few studies focus on using interactive technology to enhance the appreciation of Intangible Cultural Heritage (ICH) amongst cross-cultural audiences. This dissertation explores the design of interactive technologies to support the cultural appreciation, learning, and experience of Chinese ICH. In addition, the research seeks to explore the value of Human-Computer Interaction (HCI) design strategies in supporting the appreciation of ICH. The research uses HCI design strategies to specifically explore how interactive technology might be effectively utilised in two case-study contexts, supporting traditional Chinese painting and traditional Chinese puppetry. To this end, in stage one of the research, a qualitative study involving interviews, workshops, and fieldwork for design was undertaken with potential cross-cultural audiences and both Chinese and international painting and puppetry practitioners. Based on the results of these studies, several suggestions were developed for safeguarding ICH across cultural boundaries. In the next stage of the research, two interactive applications were designed and deployed that supported cross-cultural audiences’ appreciation of traditional of ICH. One application explored Chinese painting, the other Chinese puppetry. Using both qualitative and quantitative methods, studies were conducted that examined the efficacy of both applications and offered suggestions for a holistic approach to cross-cultural appreciation through the use of interactive applications. The analysis focuses on the use of element-based archiving to increase aesthetic appreciation, gestural/tangible interfaces for cultural engagement, and the use of interactive access to inspire self-expression and collaborative appreciation. Finally, this research relies on practical methods to deconstruct cultural elements from the HCI perspective and enhance the cross-cultural appreciation of Chinese ICH. It thus provides a framework for assisting non-Chinese people to better understand the cultural significance of Chinese ICH. The findings have design implications for both HCI researchers and digital heritage researchers

数字书法研究综述

数字书法将传统书法的创作工具、视觉艺术效果、书写技巧和创作等用数字化的方式再现.本文首先在回顾数字书法研究历史和研究特点的基础上,给出数字书法的主要研究内容和研究方向,包括:书法工具的数字化建模、书法图像的分析与处理、书法字形的合成与美化等;然后阐述数字书法每一类问题的具体研究目标、研究现状和研究趋势;最后,探讨数字书法进一步发展需要予以关注的重要问题和研究方向.国家自然科学基金(批准号:61772440);;航空科学基金(批准号:20165168007)资助项

Chinese calligraphy: character style recognition based on full-page document

Calligraphy plays a very important role in the history of China. From ancient times to modern times, the beauty of calligraphy has been passed down to the present. Different calligraphy styles and structures have made calligraphy a beauty and embodiment in the field of writing. However, the recognition of calligraphy style and fonts has always been a blank in the computer field. The structural complexity of different calligraphy also brings a lot of challenges to the recognition technology of computers. In my research, I mainly discussed some of the main recognition techniques and some popular machine learning algorithms in this field for more than 20 years, trying to find a new method of Chinese calligraphy styles recognition and exploring its feasibility. In our research, we searched for research papers 20 years ago. Most of the results are about the content recognition of modern Chinese characters. At first, we analyze the development of Chinese characters and the basic Chinese character theory. In the analysis of the current recognition of Chinese characters (including handwriting online and offline) in the computer field, it is more important to analyze various algorithms and results, and to analyze how to use the experimental data, besides how they construct the data set used for their test. The research on the method of image processing based on Chinese calligraphy works is very limited, and the data collection for calligraphy test is very limited also. The test of dataset that used between different recognition technologies is also very different. However, it has far-reaching significance for inheriting and carrying forward the traditional Chinese culture. It is very necessary to develop and promote the recognition of Chinese characters by means of computer tecnchque. In the current application field, the font recognition of Chinese calligraphy can effectively help the library administrators to identify the problem of the classification of the copybook, thus avoiding the recognition of the calligraphy font which is difficult to perform manually only through subjective experience. In the past 10 years of technology, some techniques for the recognition of single Chinese calligraphy fonts have been given. Most of them are the pre-processing of calligraphy characters, the extraction of stroke primitives, the extraction of style features, and the final classification of machine learning. The probability of the classification of the calligraphy works. Such technical requirements are very large for complex Chinese characters, the result of splitting and recognition is very large, and it is difficult to accurately divide many complex font results. As a result, the recognition rate is low, or the accuracy of recognition of a specific word is high, but the overall font recognition accuracy is low. We understand that Chinese calligraphy is a certain research value. In the field of recognition, many research papers on the analysis of Chinese calligraphy are based on the study of calligraphy and stroke. However, we have proposed a new method for dealing with font recognition. The recognition technology is based on the whole page of the document. It is studied in three steps: the first step is to use Fourier transform and some Chinese calligraphy images and analyze the results. The second is that CNN is based on different data sets to get some results. Finally, we made some improvements to the CNN structure. The experimental results of the thesis show that the full-page documents recognition method proposed can achieve high accuracy with the support of CNN technology, and can effectively identify the different styles of Chinese calligraphy in 5 styles. Compared with the traditional analysis methods, our experimental results show that the method based on the full-page document is feasible, avoiding the cumbersome font segmentation problem. This is more efficient and more accurate

Knights! At the Museum

This project for the Worcester Art Museum created a sustainable and modular tablet interactive for visitors to the museum’s Arms and Armor Gallery. The team conducted live surveys in order to gather the visitors’ opinions, as well as quantitatively analyzing prior tablet-based surveys. These surveys showed a desire for more objects and more information. The new application allows for increased content and provides a simulated “virtual-reality” experience. This improved interactive can be updated easily and constantly with an ever-changing exhibit

Mobilizing the Past for a Digital Future : The Potential of Digital Archaeology

Mobilizing the Past is a collection of 20 articles that explore the use and impact of mobile digital technology in archaeological field practice. The detailed case studies present in this volume range from drones in the Andes to iPads at Pompeii, digital workflows in the American Southwest, and examples of how bespoke, DIY, and commercial software provide solutions and craft novel challenges for field archaeologists. The range of projects and contexts ensures that Mobilizing the Past for a Digital Future is far more than a state-of-the-field manual or technical handbook. Instead, the contributors embrace the growing spirit of critique present in digital archaeology. This critical edge, backed by real projects, systems, and experiences, gives the book lasting value as both a glimpse into present practices as well as the anxieties and enthusiasm associated with the most recent generation of mobile digital tools. This book emerged from a workshop funded by the National Endowment for the Humanities held in 2015 at Wentworth Institute of Technology in Boston. The workshop brought together over 20 leading practitioners of digital archaeology in the U.S. for a weekend of conversation. The papers in this volume reflect the discussions at this workshop with significant additional content. Starting with an expansive introduction and concluding with a series of reflective papers, this volume illustrates how tablets, connectivity, sophisticated software, and powerful computers have transformed field practices and offer potential for a radically transformed discipline.https://dc.uwm.edu/arthist_mobilizingthepast/1000/thumbnail.jp

Ancient Manuscripts in Digital Culture

Ancient Manuscripts in Digital Culture presents an overview of the digital turn in Ancient Jewish and Christian manuscripts visualisation, data mining and communication, edited by David Hamidović, Claire Clivaz and Sarah Bowen Savant. Readership: Scholars and PhD and master students in Biblical studies, Early Jewish and Christian studies