CHAPTER 5 LANDSCAPE PAINTING STYLES
5.4 FRAME COHERENCE
(a) (b)
stroke direction stroke direction
streamline direction streamline direction
(c)
Figure 5.7: (a) Without (b) With (c) Sketch (of) tilt strokes.
5.4 Frame Coherence
Frame coherence is an open issue in NPR related researches. If the placement and style of strokes are quite different between two consecutive frames, it will cause the un-coherent problem. In this thesis, we apply strokes on silhouette edges and streamlines. Since streamlines are constructed in a preprocess step, the position of
each streamline is fixed. Furthermore, we preserve stroke parameters such as the size of the brush, the number of bristles, the decreasing rate of ink, water, and so on. When strokes are applied at each frame, we guarantee that each stroke is located at the same position and has same stroke parameters. Figure 5-8 shows the coherence between
frames and the painting style is hemp-fiber Ts’Un. Figure 5-9 is the coherence of axe-cut Ts’Un.
Figure 5.8: Frame coherence of hemp-fiber Ts’Un.
Figure 5.9: Frame coherence of axe-cut Ts’Un.
Chapter 6 Results
In this chapter, the implementation and results are presented. Our system is implemented in C++ language on PC with P4 1.8GHz CPU and 512 MB RAM.
Figure 6.1 is the system flow chart. The input is a 3D terrain model and then streamlines are constructed. Silhouettes and ID reference images are calculated frame by frame. Finally, different styles of brush strokes are applied to synthesize the final results. Figure 6.2 and 6.3 are Chinese landscape painting results of hemp-fiber Ts’Un, and Figure 6.4 and 6.5 are results of axe-cut Ts’Un. The upper image of each Figure is the original 3D model and the lower image is the synthesized result. In Figure 6.3, the 3D model imitates the scene of Lan-Yan River and Central Range in Taiwan. In Figure 6.5, the model simulates the Grand Canyon in the United States.
Table 6.1 is the performance measurements of our system and the comparison between Way’s method [36]. The resolution of the image size is 800 x 600. The first column refers to the Figures. The second column is the polygons of the 3D terrain model and the third column is the number of vertices. The fourth column indicates the painting styles. The fifth and sixth columns display the computation time of .Way’s and our method. We improve the computation time at about 50 times than Way’s method.
# polygons # vertices Styles Way’s method
(sec / fps)
Our method
(sec / fps)
Fig. 6.2 1,196 600 hemp-fiber 7.415 / 0.13 0.126 / 7.93
Fig. 6.3 5,614 2,809 hemp-fiber 11.203 / 0.09 0.192 / 5.21
Fig. 6.4 3,694 1,849 axe-cut 8.027 / 0.12 0.165 / 6.05
Fig. 6.5 6,948 3,476 axe-cut 10.018 / 0.10 0.183 / 5.46
Table 6.1: Performance measurements.
(a) 3D terrain model (b) Wireframes (c) ID reference image
(d) Silhouette edges (e) Streamlines (f) Silhouette strokes
(g) Silhouette and streamline strokes with hemp-fiber Ts’Un
Figure 6.2: Hemp-fiber Ts’Un.
Figure 6.3: Lan-Yan river with hemp-fiber Ts’Un.
Figure 6.4: Axe-cut Ts’Un.
Figure 6.5: Grand canyon with axe-cut Ts’Un.
Chapter 7 Conclusions and Future Works
In this thesis, we propose an interactive navigation system in Chinese ink painting styles. A specific 3D terrain model is drawn automatically with silhouettes and texture strokes that represent the wrinkles of surfaces. We implement two major texture strokes for terrain’s surface using traditional brush techniques in Chinese landscape painting. Besides, users can navigate around the scene with different viewing directions with frame coherence. The proposed rendering technique involves several fundamental parts: 3D information extraction; control lines construction;
projection on 2D image; applying brush stroke and ink diffusion. The results of this thesis can be applied to computer games or virtual reality applications.
However, there are still some issues left to be studied in the future.
(1) This thesis focuses on two main texture strokes. Although hemp-fiber Ts’Un and axe-cut Ts’Un are the major texture strokes in Chinese landscape painting, many
others should be developed. Developing other strokes would not be too difficult
since the concept of texture is very similar to these two strokes.
(2) A few recent studies have addressed real-time rendering. So far, the framework for graphics hardware is fit for photo realistic rendering. How to use hardware capability to resolve time consuming jobs of NPR, such as physically-based brush model and ink diffusion simulation will be a challenge work in the future.
(3) Normally, there are many objects in Chinese landscape painting, such as trees, river, lake, fall, cloud, ship and house…etc. Integrating with these objects is an interesting and important work.
Reference
[1] 王耀庭編，「山水畫法 1、2、3」，雄獅圖書公司，民國七十三年三月。
[2] 鄭明編著，「中國山水畫技法」，藝風堂出版社，民國七十六年三月出版。
[3] A. Appel, “The Notion of Quantitative Invisibility and the Machine Rendering of Solids,” Proc. ACM National Conf., Thompson Books, pp. 387-393, 1967.
[4] J.W. Buchanan and M.C. Sousa, “The Edge Buffer: A Data Structure for Easy Silhouette Rendering,” Proc.1st Int’l Symp. Non-Photorealistic Animation and Rendering, ACM Press, pp. 39-42, 2000.
[5] D. Card and J.L. Mitchell, “Non-Photorealistic Rendering with Pixel and Vertex Shaders,” Vertex and Pixel Shaders Tips and Tricks, W. Engel, ed., Wordware, 2002.
[6] J. Curtis Cassidy, D. Anderson Sean, E. Seims Joshua, W. Fleischer Kurt, H.
Salesin David, “Computer-Generated Watercolor,” Proc. of SIGGRAPH’97, pp.
421-430, 1997.
[7] Chun-Sung Chiang, “The Synthesis of Rock Textures in Three-Dimensional Chinese Landscape Painting,” Ms thesis, National Chiao Tung University, October 2001.
[8] Chow Chian Chiu and Chow Leung Chen Ying, “Chinese Painting: A Comprehensive Guide,” Published in 1979 by Art Book Co., Ltd.
[9] G. Elberg, “Interactive line art rendering of freeform surfaces,” Computer Graphics Forum, Vol. 18, No. 3, pp. 1–12, 1999.
[10] B. Freudenberg, “Real-Time Stroke Textures,” (Technical Sketch) SIGGRAPH
2001 Conference Abstracts and Applications, p. 252, 2001.
[11] A. Hertzmann, “Painterly Rendering with Curved Brush Strokes of Multiple Sizes,” Proc. of SIGGRAPH’98, pp. 453-460, 1998.
[12] A. Hertzmann, “Introduction to 3D Non-Photorealistic Rendering: Silhouettes and Outlines,” Non-Photorealistic Rendering (SIGGRAPH’99 Course Notes), S.
Green, ed., ACM Press, 1999.
[13] A. Hertzmann and D. Zorin, “Illustrating Smooth Surfaces.” Proc. of SIGGRAPH’00, Annual Conference Series, pp. 517–526, 2000.
[14] H. Hoppe, “Progressive Meshes,” Proc. of SIGGRAPH’96, pp. 99-108, 1996.
[15] Chih-Wei Hsu, “The Synthesis of Rock Textures in Chinese Landscape Painting,” Ms thesis, National Chiao Tung University, June 1999.
[16] Sheng-Wen Huang, Der-Lor Way, Zen-Chung Shih, “Phisically-Based Model of Ink Diffusion in Chinese Ink Paintings,” Proc. of WSCG 2003.
[17] Horace H S Ip, Helena T F Wong, “Calligraphic Character Synthesis Using a Brush Model,” Proc. of Computer Graphics International 1997, page 13-21, 1997.
[18] T. Isenberg, N. Halper, and T. Strothotte, “Stylized Silhouettes at Interactive Rates: From Silhouette Edges to Silhouette Strokes,” Computer Graphics Forum (Proc. Eurographics 2002), vol.21, no. 3, pp. 249-258, 2002.
[19] Michael A. Kowalski, Lee Markosian, J. D. Northup, Lubomir Bourdev, Ronen Barzel, Loring S. Holden, and John Hughes, “Art-Based Rendering for Fur, Grass, and Trees,” Proc. of SIGGRAPH’99, pages 433-438, August 1999.
[20] A. Lake, C. Marshall, M. Harris, and M. Blackstein, “Stylized rendering techniques for scalable real-time 3d animation.” Proc. of NPAR2000, pp.13–20.
[21] Peter Litwinowicz, “Processing Images and Video for An Impressionist Effect,”
Proc. of SIGGRAPH’97, 1997.
[22] Yung Liu, “Ten Thousand Mountains,” Published in the United States in 1984 by Shui-Yun-Chai Studio, pages 56–73 East Hampton Boulevard, Bayside, New
York 11364.
[23] L. Markosian, M. A. Kowalski, S. J. Trychin, L. D. Bourdev, D. Goldstein, and J.
F. Hughes, “Real-time nonphotorealistic rendering,” Proc. of SIGGRAPH’97, pp.
415–420, 1997.
[24] Lee Markosian, “Art-based Modeling and Rendering for Computer Graphics,”
PhD thesis, Brown University, May 2000.
[25] Gao Ling Mei, “Chinese Painting by Chang Da-Chien,” Published in 1988 by Art Book Co., Ltd.
[26] J.D. Northup and L. Markosian, “Artistic Silhouettes: A Hybrid Approach,” Proc.
1st Int’lSymp. Non-Photorealistic Animation and Rendering, J.-D. Fekete and D.H. Salesin, eds., ACM Press, pp. 31-37, 2000.
[27] Yutaka Ohtake, Masahiro Horikawa, Alexander Belyaev, “Adative smoothing tangential direction fields on polygonal surfaces,” 2001 Proc. of 9th Pacific Conference, Computer Graphics and Application, pp. 189-197.
[28] E. Praun, H. Hoppe, M. Webb, and Finkelstein, “A Real-Time Hatching,” Proc.
of SIGGRAPH’01, Computer Graphics, Annual Conference Series, pp. 579-584, 2001.
[29] T. Saito and T. Takahashi, “Comprehensible Rendering of 3D Shapes,” Proc. of SIGGRAPH’90, pp. 197-206, 1990.
[30] M. P. Salisbury, M. T. Wong, J. F. Hughes, and D. H. Salesin, “Orientable textures for image-based pen-and-ink illustration”. Proc. of SIGGRAPH’97, pp.
401–406, 1997.
[31] M. C. Sousa, and J. W. Buchanan, “Observational model of blenders and erasers in computer-generated pencil rendering,” Proc. of Graphics Interface’99, pp.
157–166, 1999.
[32] M. C. Sousa, and J. W. Buchanan, “Computer-generated graphite pencil rendering of 3d polygonal models,” Computer Graphics Forum, Vol.18, No.3, pp. 195–208, 1999.
[33] Steve Strassmann, ”Hairy Brushes,” Proc. of ACM SIGGRAPH’86, pp. 225-232.
[34] L. Victoria, “Interrante. Illustrating Surface Shape in Volume Data via Principal Direction-Driven 3D Line Integral Convolution,” Proc. of SIGGRAPH’97, pp.
109–116, August 1997.
[35] Der-Lor Way, Zen-Chung Shih, “The Synthesis of Rock Textures in Chinese Landscape Painting,” Computer Graphics Forum, Vol.20, No.3, pp. C123-C131, 2001.
[36] Der-Lor Way, Yu-Ru Lin, Zen-Chung Shih, “The Synthesis of Trees in Chinese Landscape Painting Using Silhouette and Texture Strokes,” Journal of WSCG, Volume 10, Number3, pp. 499-507, 2002.
[37] Shan-Zan Weng, Zen-Chung Shih, Hsin-Yi Chiu, “The synthesis of Chinese Ink Painting,” National Computing Symposium’99, page 461-468, 1999.
[38] Georges Winkenbach and David H. Salesin. “Rendering Parametric Surfaces in Pen and Ink,” Proc. of SIGGRAPH’96, pp. 469–476, August 1996.
[39] Qing Zhang, Y. Sato, J. Takahashi, K. Muraoka and N. Chiba, “Simple cellular automaton-based simulation of ink behaviour and its application to suibokuga-like 3D rendering of trees,” The Journal of Visualization and Computer Animation, Volume 10, pp. 27-37, 1999.
[40] 3DEM Software http://www.visualizationsoftware.com.