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

Visual-based decision for iterative quality enhancement in robot drawing.

Kwok, Ka Wai.Thesis (M.Phil.)--Chinese University of Hong Kong, 2005.Includes bibliographical references (leaves 113-116).Abstracts in English and Chinese.ABSTRACT --- p.iChapter 1. --- INTRODUCTION --- p.1Chapter 1.1 --- Artistic robot in western art --- p.1Chapter 1.2 --- Chinese calligraphy robot --- p.2Chapter 1.3 --- Our robot drawing system --- p.3Chapter 1.4 --- Thesis outline --- p.3Chapter 2. --- ROBOT DRAWING SYSTEM --- p.5Chapter 2.1 --- Robot drawing manipulation --- p.5Chapter 2.2 --- Input modes --- p.6Chapter 2.3 --- Visual-feedback system --- p.8Chapter 2.4 --- Footprint study setup --- p.8Chapter 2.5 --- Chapter summary --- p.10Chapter 3. --- LINE STROKE EXTRACTION AND ORDER ASSIGNMENT --- p.11Chapter 3.1 --- Skeleton-based line trajectory generation --- p.12Chapter 3.2 --- Line stroke vectorization --- p.15Chapter 3.3 --- Skeleton tangential slope evaluation using MIC --- p.16Chapter 3.4 --- Skeleton-based vectorization using Bezier curve interpolation --- p.21Chapter 3.5 --- Line stroke extraction --- p.25Chapter 3.6 --- Line stroke order assignment --- p.30Chapter 3.7 --- Chapter summary --- p.33Chapter 4. --- PROJECTIVE RECTIFICATION AND VISION-BASED CORRECTION --- p.34Chapter 4.1 --- Projective rectification --- p.34Chapter 4.2 --- Homography transformation by selected correspondences --- p.35Chapter 4.3 --- Homography transformation using GA --- p.39Chapter 4.4 --- Visual-based iterative correction example --- p.45Chapter 4.5 --- Chapter summary --- p.49Chapter 5. --- ITERATIVE ENHANCEMENT ON OFFSET EFFECT AND BRUSH THICKNESS --- p.52Chapter 5.1 --- Offset painting effect by Chinese brush pen --- p.52Chapter 5.2 --- Iterative robot drawing process --- p.53Chapter 5.3 --- Iterative line drawing experimental results --- p.56Chapter 5.4 --- Chapter summary --- p.67Chapter 6. --- GA-BASED BRUSH STROKE GENERATION --- p.68Chapter 6.1 --- Brush trajectory representation --- p.69Chapter 6.2 --- Brush stroke modeling --- p.70Chapter 6.3 --- Stroke simulation using GA --- p.72Chapter 6.4 --- Evolutionary computing results --- p.77Chapter 6.5 --- Chapter summary --- p.95Chapter 7. --- BRUSH STROKE FOOTPRINT CHARACTERIZATION --- p.96Chapter 7.1 --- Footprint video capturing --- p.97Chapter 7.2 --- Footprint image property --- p.98Chapter 7.3 --- Experimental results --- p.102Chapter 7.4 --- Chapter summary --- p.109Chapter 8. --- CONCLUSIONS AND FUTURE WORKS --- p.111BIBLIOGRAPHY --- p.11

A 2D CELLULAR AUTOMATON MODEL OF LIQUID ABSORPTION INTO PAPER FIBERS WITH HYDROPHOBIC TREATMENT

In this work, the issue of applying water or a homogeneous aqueous suspension with a uniform size of (nano)particles (e.g., ink) to the surface of SBSK (southern bleached softwood kraft) paper with randomly arranged local hydrophobic treatment is investigated and then simulated. Based on the two investigated models, various simulation approaches were compared, an own simulation model was created, and its validity was subsequently demonstrated on the experiments performed

The adoption and impact of computer integrated prepress systems in the printing and publishing industries of Kuwait

This research is aimed at developing a comprehensive picture of the implications of digital technology in the graphic arts industries in Kuwait. The purpose of the study is twofold: (1) to explore the meaning of the outcomes of recent technological change processes for the traditional prepress occupations in Kuwait; and, (2) to examine the impact of technology on Arabic layout and design. The study is based on the assumption that technological change is a chain of interactions among the sociological, cultural, political and economic variables. The prepress area in Kuwait has its own cultural, social, economic, and political structure. When a new technology is introduced it is absorbed and shaped by the existing structure. Based on such a dialectical conceptualisation, four major levels of analysis can be distinguished in this study: (1) technological change in the graphic arts industries; (2) the typographic evolution of the Arabic script; (3) the workers themselves as individuals and occupational collectives; and, (4) technology's impact on Arabic publication design. The methodological approach selected for this study can be defined as a dialectical, interpretive exploration. Given the historical perspective and the multiple levels of analysis, this approach calls for a variety of data gathering methods. Both qualitative and quantitative data were sought. A combination of document analysis, participant observation and interviewing allow to link the historical and current events with individual and collective actions, perceptions and interpretations of reality. The findings presented in this study contradicts the belief that the widespread adoption of new production processes is coincidental with continuous advances in scientific knowledge which provide the basis for the development of new technologies. Instead, the changes have been hindered by the lack of untrained personnel, the Arabic software incompatibility, and the lack of informed decisions to successfully implement the technology. Without any doubt, the new technology has influenced Arabic calligraphy, but this does not mean the decay of Arabic calligraphy as an art. As this study shows, the challenge is not to the art, but to the artist

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

Stylised procedural animation

This thesis develops a stylised procedural paradigm for computer graphics animation. Cartoon effects animations - stylised representations of natural phenomena - have presented a long-standing, difficult challenge to computer animators. We propose a framework for achieving the intricacy of effects motion with minimal animator intervention.Our approach is to construct cartoon effects by simulating the hand-drawing process through synthetic, computational means. We create a system which emulates the stylish appearance, movements of cartoon effects in both 2D and 3D environments. Our computational models achieve this by capturing the essential characteristics common to all cartoon effects: structure modelling, dynamic controlling and stylised rendering.To validate our framework, we have implemented a cartoon effects system for a range of effects including water effects, fire, smoke, rain and snow. Each effect model has its own static structure such as how the different parts are related temporarily. The flexibility of our approach is suggested most evidently by the high-level controls on shape, colour, timing and rendering on the effects. Like their hand-drawn counterparts, they move consistently while retaining the hand-crafted look.Since the movements of cartoon effects are animated procedurally, their detailed motions need not be keyframed. This thesis therefore demonstrates a powerful approach to computer animation in which the animator plays the role of a high level controller, rather than the more conventional hand-drawing slave. Our work not only achieves cartoon effects animation of un-precedented complexity, but it also provides an interesting experimental domain for related research disciplines toward more creative and expressive image synthesis in animation

The Writer's Art: Tao Yuanqing and the Formation of Modern Chinese Design (1900-1930)

The dissertation examines the history of modern design in early 20th-century China. The emergent field of design looked to replace the specific cultural and historical references of visual art with an international language of geometry and abstraction. However, design practices also, encouraged extracting culturally unique visual forms by looking inward at a nation’s constructed past. The challenge of uniting these dual, and seemingly contradictory, goals was met in a collaborative book cover design project between Lu Xun (1881-1936), China’s most influential modern writer, and Tao Yuanqing (1893-1929), a painter who transformed ancient motifs into a transnational vocabulary of modern design. As the title suggests, the dissertation provides a history of modern Chinese design in four chapters, with the Lu Xun-Tao Yuanqing collaboration at its core. The investigation begins with the moment of culmination, wherein Lu Xun and Tao Yuanqing’s intersubjective dynamic allowed for evocative yet inscrutable book cover designs to be created. In the new medium of design, the writer’s anxiety regarding the inadequacy of language converged with the artist’s desire for ambiguity in art. The critical analysis then moves back to earlier instances of design and examines how the history of design in China was inflected by the World Exposition, Japan, art education, and commercial art. The inquiry finally moves forward to the discussion of Tao Yuanqing’s art and design’s relationship with a range of discursive fields in aesthetics and literary criticism, including modern notions of beauty, childlikeness, empathy, the native soil movement, cosmopolitanism, symbolism, and ambiguity in art. This part reveals how Tao Yuanqing’s innovations ironically endorsed while simultaneously subverting contemporary interpretive efforts.History of Art and Architectur