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

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 /

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

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

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

Out of Bounds: A Visual Exploration of the Glitch

This practice-led research aims to present a body of artwork that responds to glitches found in contemporary action video games. By utilising the visual capabilities of a virtual reality headset, I have produced a series of artworks that showcase the sensory effects that a glitch has on a player’s game world. The artwork that I have developed translates the materiality of traditional drawing into a digital space to visualise the qualities of glitches

Glass as ink: seeking spontaneity from the casting process

This practice-based research addresses internal form in cast glass. That is, ink- like imagery, which is wholly contained within clear, colourless glass. For the purposes of this project, ‘ink’ refers to liquid ink as is used in Chinese brush painting and calligraphy rather than to ink applications such as those used in print media. The aim is not to use ink itself. Rather, it is to emulate ink, rendered inside glass, while exploring the material similarities between the two media, including their liquid properties and their ability to be worked opaque or translucent. The project examines the interface between control and chance; where the artistic process ends and the unique properties of glass take over and are governed by heat, time and gravity. It also addresses the transformation of two- dimensional line drawing and ink wash into the third dimension. My research question is how the kiln and furnace casting processes can best be exploited to render the fluid, gestural and expressionistic immediacy of brush and ink painting, three-dimensionally, in solid glass. Following 14 years of studying and making art in Korea (1997‒2003) and China (2003‒2010), I have developed an affinity for brush and ink painting and, more specifically, for Chinese Grass script calligraphy and traditional landscape. This project aims to explore various methods of capturing apparent gesture and spontaneity in cast glass, in the form of ‘ink’ abstractions that evoke these styles of Chinese painting. My methodology includes identifying and isolating the elements that characterise Chinese brushwork in calligraphy and landscape painting, which are intimately linked fine art forms in China. Studio tests include manipulating different types of glass to create a dynamic, rhythmic, assured and graceful ink aesthetic, interpreted in the third dimension. I use flameworked inclusions to explore ink-like line and experiment with glass powders to evoke different intensities of ink wash. All tests are recorded in detail and are used to anticipate and loosely control glass movement. My research into Chinese brushwork characteristics is used to identify a framework within which the studio work sits. The variety, order and combination of techniques used to create the work constitute original knowledge in the field of cast glass. My method for reinterpreting the characteristics of Chinese painting, including line quality, ink wash, composition and balance, embedded three-dimensionally within the framework of cast glass, also contributes new knowledge. Based on systematic research and analysis, the terms ‘casting’, ‘moulds’, ‘spontaneity’ and the ‘third dimension’ are examined and defined anew

Exploring Intersemiotic Translation Models -- A Case Study of Ang Lee’s Films

Roman Jakobson’s notion of intersemiotic translation provides an opportunity for translation studies scholars to respond to the broad move from the dominance of writing to the dominance of the medium of the image. Due to the linguistic bias of translation studies, however, intersemiotic translation has yet to receive systematic attention. The present research is thus designed to respond to this under-discussed and yet growing phenomenon in the age of digitalization and aims to contribute an understanding of intersemiotic translation by focusing on the case of film as one of the most notable instances of intersemiotic translation. Though intersemiotic translation enables film to be discussed through the prism of translation studies, past research in this area, which perceives film as a transmission from verbal signs to non-verbal signs, oversimplifies the mechanism of film-making. This comes at a price, however, since the researchers neglect the fact that other parameters of film language, such as cinematography, performance, setting and sound are governed by audio-visual patterns that are included in film’s other prior materials. To remedy this deficiency, a rigorous investigation of these audio-visual patterns has been carried out, and answers are provided for the research question: How do intersemiotic translators translate? In this dissertation, these quality-determining audio-visual patterns are considered as the film-maker’s intersemiotic translation models, which provide translation solutions for verbal text segments in the screenplay. Using elements from Even-Zohar’s polysystem theory and Rey Chow’s theory of cultural translation, a multi-levelled system of intersemiotic translation is proposed, comprised of a hierarchy of two levels: cultural and semiotic. In this system, each intersemiotic translation model is considered to be the result of a cross-level combination that relates to a specific type of semiotic system within a specific cultural system, employed in one or several parameters of film ‘language’. These intersemiotic translation models and their functions are explored through case studies of three of Ang Lee’s films, namely, Crouching Tiger, Hidden Dragon, Lust, Caution, and Life of Pi

The Crisis of Language in Contemporary Japan: Reading, Writing, and New Technology

My dissertation is an ethnographically inspired theoretical exploration of the crises of reading and writing in contemporary Japan. Each of the five chapters examines concrete instances of reading and writing practices that have been problematized in recent decades. By calling attention to underlying moral assumptions, established sociocultural protocols, and socio-technological conditions of the everyday, I theorize the concept of embodied reading and writing thresholds. The scope of analysis is partly informed by popular discourse decrying a perceived decline in reading and writing proficiency among Japanese youth. This alleged failing literacy figures as a national crisis under the assumption that the futurity of children's national language proficiency metonymically correlates with the future well being of its national cultural body. In light of heightened interests in the past, present, and future of books, and a series of recent state interventions on the prospect of "national" text culture, it is my argument that ongoing tensions surrounding the changing media landscape and symbolic relations to the world do not merely reflect changes in styles of language, structures of spatiotemporal awareness, or forms of knowledge production. Rather, they indicate profound transformations and apprehensions among the lives mediated and embodied by the very system of signification that has come under scrutiny in the post-Lost Decade Japan (03/1991-01/2002). My dissertation offers an unique point of critical intervention into 1) various forms of tension arising from the overlapping media technologies and polarized population, 2) formations of reading and writing body (embodiment) at an intersection of heterogeneous elements and everyday disciplining, 3) culturally specific conditions and articulations of the effects of "universal" technologies, 4) prospects of "proper" national reading and writing culture, and 5) questions of cultural transformation and transmission. I hope that the diverse set of events explored in respective chapters provide, as a whole, a broader perspective of the institutional and technological background as well as an intimate understanding of culturally specific circumstances in Japan. Insofar as this is an attempt to conduct a nuanced inquiry into the culturally specific configurations and articulations of a global phenomenon, each ethnographic moment is carefully contextualized to reflect Japan specific conditions while avoiding the pitfall of culturalist assumptions. Understanding how an existing system of representation, technological imperatives and sociohistorical predicaments have coalesced to form a unique constellation is the first step in identifying how the practice of reading and writing becomes a site of heated national debate in Japan. Against theories that problematize the de-corporealizing effects of digital technology within reading and writing, I emphasize the material specificity of contemporary reading and writing practices