Papers
Topics
Authors
Recent
Gemini 2.5 Flash
Gemini 2.5 Flash
133 tokens/sec
GPT-4o
7 tokens/sec
Gemini 2.5 Pro Pro
46 tokens/sec
o3 Pro
4 tokens/sec
GPT-4.1 Pro
38 tokens/sec
DeepSeek R1 via Azure Pro
28 tokens/sec
2000 character limit reached

A Digital Compositing Approach to obtain Animated Chinese Still-life Paintings with Global Effects (2312.05401v1)

Published 8 Dec 2023 in cs.GR

Abstract: In this work, we present a method for turning Chinese still-life paintings with global illumination effects into dynamic paintings with moving lights. Our goal is to preserve the original look and feel of still-life paintings with moving lights and objects. We have developed a deceptively simple method that can be computed as a composite of two animated texture images using an animated rendering. The compositing process can be implemented directly in an animation system such as AfterEffect, which allows for the basic compositing operation over animations. It is also possible to control the colors by changing the material colors in animated rendering. We have provided a proof-of-concept based on an original digital Still-Life painting that is in realist Chinese style. This approach can be used to turn almost any still-life painting into a dynamic painting.

Definition Search Book Streamline Icon: https://streamlinehq.com
References (52)
  1. Art directed rendering & shading using control images. In ACM SIGGRAPH 2015 Posters. ACM, ACM SIGGRAPH, New York, NY, 43.
  2. Barycentric shaders: Art directed shading using control images. In Proceedings of Expressive’2016. Eurographics Association, Lizbon, Portugal, 39–49.
  3. Dynamic Paintings: Real-Time Interactive Artworks in Web. https://isea2022.isea-international.org/event/full-paper-dynamic-paintings-real-time-interactive-artworks-in-web/. In Proceedings of International Society of Electronic Arts 2022 (ISEA’2022). International Society of Electronic Arts, Amsterdam, Netherlands, 1–12.
  4. Web-Based Dynamic Paintings: Real-Time Interactive Artworks in Web Using a 2.5D Pipeline. arXiv:2311.15354 [cs.GR]
  5. Anthony A Apodaca and Larry Gritz. 1999. Advanced RenderMan: Creating CGI for motion pictures. Morgan Kaufmann, San Fransisco, CA.
  6. Saif Castaneda and Ergun Akleman. 2017. Shading with painterly filtered layers: a technique to obtain painterly portrait animations. In Proceedings of the Symposium on Non-Photorealistic Animation and Rendering. ACM, New York City, NW, 8.
  7. Two Methods for Creating Chinese Painting.. In Pacific Conference on Computer Graphics and Applications. IEEE, New York, NW, 403–412.
  8. VR-based line drawing methods in Chinese painting. In 2023 9th International Conference on Virtual Reality (ICVR). IEEE, IEEE, New York, NW, 604–610.
  9. Humanistic Oriental art created using automated computer processing and non-photorealistic rendering. Computers & Graphics 31, 2 (2007), 280–291.
  10. Renderman: An advanced path-tracing architecture for movie rendering. ACM Transactions on Graphics (TOG) 37, 3 (2018), 1–21.
  11. Michael F Cohen and John R Wallace. 1993. Radiosity and realistic image synthesis. Morgan Kaufmann, San Fransisco, CA.
  12. Distributed ray tracing. In Proceedings of the 11th annual conference on Computer graphics and interactive techniques. ACM SIGGRAPH, New York, NY, USA, 137–145.
  13. Yuxiao Du and Ergun Akleman. 2016. Charcoal Rendering and Shading with Reflections. In ACM SIGGRAPH 2016 Posters (Anaheim, California) (SIGGRAPH ’16). ACM, New York City, NW, Article 32, 2 pages.
  14. Yuxiao Du and Ergun Akleman. 2017. Designing look-and-feel using generalized crosshatching. In ACM SIGGRAPH 2017 Talks. ACM, New York City, NW, 40.
  15. Sarah Eisinger and Ergun Akleman. 2012. Teaching art and science of rendering and shading. In ACM SIGGRAPH 2012 Dailies. ACM SIGGRAPH, New York, NY, 3.
  16. Metanalysis: A connected-wall video installation based on the movement of traditional Chinese ink painting. In 2022 Third International Conference on Digital Creation in Arts, Media and Technology (ARTeFACTo). IEEE, IEEE, New York, NW, 1–6.
  17. Arnold: A brute-force production path tracer. ACM Transactions on Graphics (TOG) 37, 3 (2018), 1–12.
  18. Andrew S Glassner. 1989. An introduction to ray tracing. Morgan Kaufmann, San Fransisco, CA.
  19. Research progress on and prospects for virtual brush modeling in digital calligraphy and painting. Frontiers of Information Technology & Electronic Engineering 20, 10 (2019), 1307–1321.
  20. Henrik Wann Jensen. 2001. Realistic image synthesis using photon mapping. Vol. 364. AK Peters, Natick.
  21. Kyu-Man Jeong and Seung-Yong Lee. 2009. Oriental Black Ink Rendering System. Journal of the Korea Computer Graphics Society 15, 2 (2009), 19–34.
  22. Matthew Justice and Ergun Akleman. 2018. A process to create dynamic landscape paintings using barycentric shading with control paintings. In ACM SIGGRAPH 2018 Posters. ACM, New York City, NW, 30.
  23. The path tracing revolution in the movie industry. In ACM SIGGRAPH 2015 Courses. ACM SIGGRAPH, New York, NY, USA, 1–7.
  24. Sony pictures imageworks Arnold. ACM Transactions on Graphics (TOG) 37, 3 (2018), 1–18.
  25. Fengjiao Li and Shaobin Li. 2020. real-time rendering of 3D animal models in Chinese ink painting style. In 2020 International Conference on Culture-oriented Science & Technology (ICCST). IEEE, IEEE, New York, NW, 284–287.
  26. Xunxiang Li. 2013. Rendering technology of 3D digital Chinese ink-wash landscape paintings based on maya. In Transactions on Edutainment IX. Springer, New York, NW, 150–159.
  27. Rendering and presentation of 3D digital ink landscape painting. In Computer Animation and Virtual Worlds. Wiley Online Library, New York, NW, 221–229.
  28. Siran Liu. 2015. Chinese Ink-and-Brush Painting with Film Lighting Aesthetics in 3D Computer Graphics. Master’s thesis. Texas A&M University: Available Electronically From: http://hdl.handle.net/1969.1/154993, College Station, Texas.
  29. Siran Liu and Ergun Akleman. 2015. Chinese Ink and Brush Painting with Reflections. In SIGGRAPH 2015: Studio (Los Angeles, California) (SIGGRAPH ’15). ACM, New York, NY, USA, Article 8, 1 pages.
  30. Droplet: a virtual brush model to simulate Chinese calligraphy and painting. Journal of Computer Science and Technology 19, 3 (2004), 393–404.
  31. Research on painting-features-based Chinese ink animation. In 2010 6th International Conference on Advanced Information Management and Service (IMS). IEEE, New York, NW, 100–105.
  32. Jessica Ross and Ergun Akleman. 2021. Georgia O’Keeffe Shader: An Approach to Obtain Shaders to Simulate A Given Painterly Style. https://eurasiagraphics.org/wp-content/uploads/2021/12/ross2021.pdf. In Proceedings of Eurasia Graphics 2022. Eurasia Graphics, Ankara, Turkey, 27–34.
  33. Peter Shirley and R Keith Morley. 2008. Realistic ray tracing. AK Peters, Ltd., Natick.
  34. Meena Subramanian and Ergun Akleman. 2020. A Painterly Rendering Approach to Create Still-Life Paintings with Dynamic Lighting. In ACM SIGGRAPH 2020 Posters. ACM SIGGRAPH, New York, NY, 1–2.
  35. Multi-layer rendering based Chinese Ink-Wash Painting styled 3D generation. In The 2nd International Conference on Information Science and Engineering. IEEE, IEEE, New York, NW, 4594–4597.
  36. Chung-Ming Wang and Ren-Jie Wang. 2007. Image-based color ink diffusion rendering. IEEE Transactions on Visualization and Computer Graphics 13, 2 (2007), 235–246.
  37. Global illumination for 2D artworks with vector field rendering. In ACM SIGGRAPH 2014 Posters. ACM SIGGRAPH, New York, NY, 95.
  38. A stylization method of chinese ink painting for 3d tree. In Proceedings of the 13th ACM SIGGRAPH International Conference on Virtual-Reality Continuum and its Applications in Industry. ACM SIGGRAPH, New York, NW, 201–204.
  39. Weihua Wu. 2017. Chinese animation, creative industries, and digital culture. Routledge, England, UK.
  40. Generating pointillism paintings based on Seurat’s color composition. Computer Graphics Forum 32, 4 (2013), 153–162.
  41. Yinan Xiong. 2016. Mock-3D Web Application: Interactive Lighting, Rendering and Shading for 2D Artwork. Master’s thesis. Texas A&M University. Available electronically from http://oaktrust.library.tamu.edu/handle/1969.1/157944., College Station, TX.
  42. Introduction to Interactive Digital Chinese Painting and Calligraphy. In A Computational Approach to Digital Chinese Painting and Calligraphy. Springer, New York, NW, 51–57.
  43. Advanced design for a realistic virtual brush. Computer Graphics Forum 22, 3 (2003), 533–542.
  44. Virtual hairy brush for painterly rendering. Graphical Models 66, 5 (2004), 263–302.
  45. Zhao Yan. 2015a. Painterly Shading Ocean Surface. Master’s thesis. Texas A&M University: Available Electronically From: http://hdl.handle.net/1969.1/, College Station, Texas.
  46. Zhao Yan. 2015b. Painterly Shading Ocean Surface. Master’s thesis. Texas A&M University, College Station, TX. Retrieved from http://oaktrust.library.tamu.edu/handle/1969.1/15638.
  47. Chuan-Kai Yang and Hui-Lin Yang. 2008. Realization of Seurat’s pointillism via non-photorealistic rendering. The Visual Computer 24 (2008), 303–322.
  48. LiJie Yang and TianChen Xu. 2013. Animating Chinese ink painting through generating reproducible brush strokes. Science China Information Sciences 56 (2013), 1–13.
  49. Brushwork master: Chinese ink painting synthesis for animating brushwork process. Computer Animation and Virtual Worlds 31, 4-5 (2020), e1949.
  50. HUA: an interactive calligraphy and ink-wash painting system. In The Fifth International Conference on Computer and Information Technology (CIT’05). IEEE, New York, NW, 989–995.
  51. GPU-based rendering and animation for Chinese painting cartoon. In Proceedings of Graphics Interface 2007. Graphics Interface, Canada, 57–61.
  52. Computational Approaches for Traditional Chinese Painting: From the "Six Principles of Painting" Perspective. arXiv:2307.14227 [cs.CV]
Citations (1)

Summary

We haven't generated a summary for this paper yet.