A study of how Chinese ink painting features can be applied to 3D scenes and models in real-time rendering

Past research findings addressed mature techniques for non-photorealistic rendering. However, research findings indicate that there is little information dealing with efficient methods to simulate Chinese ink painting features in rendering 3D scenes. Considering that Chinese ink painting has achieved many worldwide awards, the potential to effectively and automatically develop 3D animations and games in this style indicates a need for the development of appropriate technology for the future market. The goal of this research is about rendering 3D meshes in a Chinese ink painting style which is both appealing and realistic. Specifically, how can the output image appear similar to a hand-drawn Chinese ink painting. And how efficient does the rendering pipeline have to be to result in a real-time scene. For this study the researcher designed two rendering pipelines for static objects and moving objects in the final scene. The entire rendering process includes interior shading, silhouette extracting, textures integrating, and background rendering. Methodology involved the use of silhouette detection, multiple rendering passes, Gaussian blur for anti-aliasing, smooth step functions, and noise textures for simulating ink textures. Based on the output of each rendering pipeline, rendering process of the scene with best looking of Chinese ink painting style is illustrated in detail. The speed of the rendering pipeline proposed by this research was tested. The framerate of the final scenes created with this pipeline was higher than 30fps, a level considered to be real-time. One can conclude that the main objective of the research study was met even though other methods for generating Chinese ink painting rendering are available and should be explored

Painterly rendering techniques: A state-of-the-art review of current approaches

In this publication we will look at the different methods presented over the past few decades which attempt to recreate digital paintings. While previous surveys concentrate on the broader subject of non-photorealistic rendering, the focus of this paper is firmly placed on painterly rendering techniques. We compare different methods used to produce different output painting styles such as abstract, colour pencil, watercolour, oriental, oil and pastel. Whereas some methods demand a high level of interaction using a skilled artist, others require simple parameters provided by a user with little or no artistic experience. Many methods attempt to provide more automation with the use of varying forms of reference data. This reference data can range from still photographs, video, 3D polygonal meshes or even 3D point clouds. The techniques presented here endeavour to provide tools and styles that are not traditionally available to an artist. Copyright © 2012 John Wiley & Sons, Ltd

Methods of Nature: Landscapes from the Gettysburg College Collection

Methods of Nature: Landscapes from the Gettysburg College Collection is the third annual exhibition curated by students enrolled in the Art History Methods course. The exhibition is an exciting academic endeavor and incredible opportunity for engaged learning, research, and curatorial experience. The five student curators are Molly Chason ’17, Leah Falk ’18, Shannon Gross ’17, Bailey Harper ’19 and Laura Waters ’19. The selection of artworks in this exhibition includes the depiction of landscape in the nineteenth- and twentieth-century French, American and East Asian cultural traditions in various art forms from traditional media of paintings and prints to utilitarian artifacts of porcelain and a paper folding fan. Landscape paintings in this exhibition are inspired by nature, specific locales and literature. Each object carries a distinctive characteristic, a mood, and an ambience. Collectively, they present a multifaceted view of the landscape in the heart and mind of the artists and intended viewers. [excerpt]https://cupola.gettysburg.edu/artcatalogs/1020/thumbnail.jp

Seasons: A motion graphics depicts activities of ancient Chinese people in four seasons

Seasons is a 2D motion graphics film that aims to visually depict my interpretation of seasons changing and seasonal activities of ancient Chinese people. It is an attempt to reproduce two classical arts on modern media. I mimic and mix the visual effects of Chinese shadow puppets and Chinese ink wash strokes through digital media technologies. Neither Chinese painting nor shadow puppet emphasize on reproducing the appearance of subject. It is more regarded as a form of expressionistic art, which intends to capture the spirit of the subject and illustrate the perception of the scene. My graphics are not planned to fully copy external forms of shadow puppets or old Chinese paintings, instead, I target to show the beauty of Chinese traditional art forms as well as the beauty of Asian aesthetics and philosophy. Seasons represents my imaginary and visual adaptation of my knowledge and memories about cultures, traditions, and mysteries that related to seasons. The intent of project is to seek a different approach to integrate motion graphics with traditional art forms, and, to discuss more possibilities of transplanting classical arts into digital platform

Art Directed Watercolor Shader for Non-photorealistic Rendering with a Focus on Reflections

In this research, I demonstrated that emulating painterly reflections is impossible using existing modeling, compositing and rendering software that does not provide programming capabilities. To obtain painterly reflections, we need to emulate three aspects of painterly reflections: (1) shape of reflections; (2) glossiness of reflections; and (3) colors of reflections. The first two turn out to be relatively easy. However, despite the perceived simplicity of color reproduction, the third one turned out to be hardest without developing our own proprietary tools. To demonstrate the difficulty, I have developed a shader using commercial rendering and shading software that does not provide explicit programming power. I assigned my shader as a surface material to 3D objects. Using my shader, I was able to create computer generated watercolor style renderings without reflections. My shader provide rendering effects such as diffuse, contours, specularity, shadow, and reflections. Although I can faithfully emulate non-reflected regions of given water-color paintings, I demonstrate that my shader cannot produce reflection colors that are faithful to colors of original reflections

Stroke-Based Stylization Learning and Rendering with Inverse Reinforcement Learning

Among various traditional art forms, brush stroke drawing is one of the widely used styles in modern computer graphic tools such as GIMP, Photoshop and Painter. In this paper, we develop an AI-aided art authoring (A4) system of non- photorealistic rendering that allows users to automatically generate brush stroke paintings in a specific artist’s style. Within the reinforcement learning framework of brush stroke generation proposed by Xie et al.[Xie et al., 2012], our contribution in this paper is to learn artists’ drawing styles from video-captured stroke data by inverse reinforcement learning. Through experiments, we demonstrate that our system can successfully learn artists’ styles and render pictures with consistent and smooth brush strokes

Ink Animation Art in the Digital Age

AbstractThe Ink animation is entirely a Chinese-style animation, the ancient art of Oriental ink was used in animation creation, in order to achieve the novel prospect of indifferent and quiet. It can be described as a great creation by the Chinese animation artists. As time went on, the three-dimensional ink animation has became a product of the digital age, which was based on the tradition of bold ink painting and formed a strong artistic trends. The article describes the features of the Ink animation art with the development of the Digital Age

Procedural Generation and Rendering of Ink Bamboo Painting

This thesis describes an algorithm that generates various ink bamboo paintings. First, a completely procedural model is used to generate the geometric shape of bamboos. The model uses a grammar-like approach that recursively generates new parts of the bamboo in a randomized manner. The random parameters are bounded by rules that simulate the natural form of bamboo. The structure of the bamboo is represented line segments with directions. Various ink stroke sprites of stalk, branch, or leaf shapes are mapped to line segments, using reverse mapping and bilinear sampling to eliminate aliasing effects. The sprites are mapped in different degrees of transparency to simulate the effect of various shades of ink produced by changes in forces when using an ink brush. Finally, a seal is applied to sign the work and enhance the visual effect. The algorithm is implemented in Python 3 and can be run on any computer with the imageio library installed. The output of the program is saved in a PNG image file, which can be used for various types of illustrations. This model is able to produce unique images during every run, and would significantly reduce human labor in painting stylistically similar artworks of ink bamboo paintings