SALISBURY,M .P.,ANDERSON, S. E., BARZEL, R., AND SALESIN, D. H. 1994. Interactive pen-and-ink illustration. In Proceedings of SIGGRAPH 94, 101--108.  Home/Search   Document Not in Database   Summary   Related Articles   Check

....which are often slow and subject to numerical instability. Other approaches like Bier s snap dragging [4] are also related to our constrained manipulation, although we never present the user with a set of constraint choices from which to select. Lansdown and Schofield [17] and Salisbury et al. [23] provide interesting techniques for non photorealistic rendering, although none of these systems specifically targets interactive rendering. 3 The interface All interaction with SKETCH is via a three button mouse with occasional use of one modifier key on the keyboard, and a single ....

M. Salisbury, S. Anderson, R. Barzel, and D. Salesin. Interactive pen--and--ink illustration. Computer Graphics (SIGGRAPH '94 Proceedings), pages 101--108, July 1994.

....Quantitative invisibility Occluded object (for silhouettes) Occluding objects (for hidden edges) depth discontinuity (for silhouettes) ViewEdge length 2D orientation 2D curvature Current drawing Local stroke density Table 4: Information provided by our system. WS94] and Salisbury et al. SABS94, SWHS97] However in our system, density is used to control the creation of feature strokes rather than for the tonal modeling in textured areas. 3 View computation Similar to the philosophy of shading languages, our approach assumes nothing about how the view map is computed, as long as it ....

Michael P. Salisbury, Sean E. Anderson, Ronen Barzel, and David H. Salesin. Interactive pen-andink illustration. Proceedings of SIGGRAPH 94, pages 101--108, July 1994. ISBN 0-89791-667-0. Held in Orlando, Florida.

....of NPR techniques in general let us refer to the book of Gooch and Gooch [12] and to the web page maintained by Reynolds [29] where many related online resources are given. An image based system for generating computeraided pen and ink illustrations using oriented stroke textures was proposed in [33, 34]. In the final version stroke textures conveying color, tone and orientation were generated automatically from a set of representative strokes and a user controlled direction field. A digital engraving system based on lines coinciding with potential fields in the image was presented in [27] Rossl ....

M. Salisbury, S. Anderson, R. Barzel, and D Salesin. Interactive penand -ink illustration. Computer Graphics (SIGGRAPH 94 Proceedings), pages 101--108, 1994.

....that controls the amount of color variation inside a stroke Hatching is another example where the continuous point and line drawing primitive systems interact in a very intimate and rich way with the stroke mark system. The same mark primitive is used to implement both hatching and silhouettes [SABS94, WS94, SWHS97, DOM 01] and in master s drawing, it is hard to tell one from the other. Decomposing a given picture into these four sub systems can be ill posed. However, they provide a vocabulary to discuss basic techniques and to relate computer depiction to traditional picture production. ....

Michael P. Salisbury, Sean E. Anderson, Ronen Barzel, and David H. Salesin. Interactive pen-and-ink illustration. Proceedings of SIGGRAPH 94, pages 101--108, July 1994. ISBN 0-89791-667-0. Held in Orlando, Florida.

....texture in a halftoned image is closely related to the nonphotorealistic rendering (NPR) area of computer graphics. A number of NPR techniques produce binary images Most of them are tailored to imitate traditional illustration media: line drawings [20] engravings [14] pen and ink illustrations [25, 18]. These systems approximate image tones by procedurally defined textures. In this research we adapt traditional halftoning techniques to artistic rendering. A similar approach was taken by Ostromoukhov and Hersch [17] where the ordered dither algorithm was extended to allow a designer to define ....

Michael P. Salisbury, Sean E. Anderson, Ronen Barzel, and David H. Salesin. Interactive pen--and-- ink illustration. In Proceedings of SIGGRAPH '94, pages 101--108. July 1994.

....much of the research in computer graphics. Researchers in non photorealistic rendering (NPR) seek to provide alternative display methods for 3D models or 2D images. In particular, recent work has focused on the modeling of traditional artistic media and styles such as pen and ink illustration [17, 10] and watercolor paintings [2, 11] By providing rendering systems that use these alternative display models users can generate traditional renderings. These systems are not intended to replace artists or illustrators, but rather to provide a tool for users with no training in a particular medium, ....

....characteristics. We developed an observational model for blenders and erasers. These tools can aid in the use of pencil and further enhance the rendering results. The pencil and paper model [13] and the model presented in this paper can be adapted to existing interactive illustration systems [10, 15] and 3D NPR systems for technical illustration, art, and design [3, 17, 4, 7, 5] We have adapted our models to render 3D objects automatically using traditional pencil illustration and rendering methods [12] 1.1 Related work Our blender and eraser model is based on their absorptive and ....

M.P. Salisbury, S.E. Anderson, R. Barzel, and D.H. Salesin. Interactive Pen-and-Ink Illustration. In Proc. SIGGRAPH '94, pages 101--108, July 1994.

....been toward non photorealistic visualization. Work by Landsdown and Schofield [11] emphasizes user interaction with rendered images to modify them to suit the needs of end users. Strothotte et al. 12] emphasize a communicative model for generating images which look like line drawings. Salesin [13, 14] presents algorithms for rendering images which also imitate pencil and pen drawings. The research to date shows that it is indeed possible to generate non photorealistic images in various styles, for instance using cross hatching as demonstrated by Deussen et al. 15] 1This research has led to ....

Michael P. Salisbury, Sean E. Anderson, Ronen Barzel, and David H. Salesin, "Interactive Pen-and-Ink-Illustration", in Computer Graphics. ACM SIGGRAPH, 1994, Annual Conference Series, pp. 101 108, ACM Press.

....interface which supports an iterative, creative combination of these operations. Most NPR work to date has either simulated existing artistic styles (e.g. 2] 6] 11] etc. or provided the user with an interaction method in order to control parameters for a certain rendering style (e.g. [7]) but rarely come up with new styles that have never been seen before. There has been work done by SNIBBE [10] that actually uses the interaction with the computer media as an art form. For a more comprehensive overview of NPR techniques see [13] However, no such system is available whereby ....

Michael P. Salisbury, Sean E. Anderson, Ronen Barzel, and David H. Salesin. Interactive Pen-and-Ink Illustration. In Andrew Glassner, editor, Proceedings of SIGGRAPH'94 (Orlando, July

....research has shown that such illustrations can be easily produced, consume less storage and thus can be a better choice than photorealism in many applications. Research in non photorealistic rendering (NPR) has found methods to simulate the effects of various traditional media like pen and ink [4, 27, 28, 34, 35, 19], pencil sketches [1] water color [3] and engraving [21, 30] There has been work on rendering different styles like impressionism [8, 10, 15, 18] and technical illustrations [6, 26, 25] There has also been work on non photorealistic rendering of specific objects like fur and grass [13, 14] To ....

....system used luminance and hue shifts to create such lighting effects. We also use contrast enhancement while creating charcoal rendering effects. We achieve this by using a contrast modifying function which we call the contrast enhancement operator (CEO) Similar techniques have also been used in [32, 31, 29, 27, 28, 34, 35] where the problem is viewed as a special kind of half toning. The contribution of our technique lies in the fact that we achieve many different effects of charcoal rendering using the common framework of contrast enhancement. The enhancement operator operates on a uniform noise texture to ....

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M. P. Salisbury, S. E. Anderson, R. Barzel, and D. H. Salesin. Interactive pen and ink illustrations. In ACM Siggraph

....has shown that such illustrations can be easily produced, consume less storage and thus can be a better choice than photorealism in many applications. Research in non photorealistic rendering (NPR) has found methods to help artists generate imagery in various traditional media like pen and ink [4, 25, 26, 28, 29, 17], pencil sketches [1] water color [3] and engraving [19, 27] There has been work on rendering different styles like impressionism [8, 10, 14, 16] rendering of fur and grass [12, 13] and technical illustrations [6, 24, 23] However, to the best of our knowledge, except for an interactive 2D ....

....texture (CET) which is texture mapped on the model to create the grainy effect of charcoal rendering. Previous algorithms have also used texture mapping for interactive NPR. These are Tonal Art Map described by Praun et. al [21] prioritized stroke textures used by Winkenback [28] and Salisbury [25] and Art Maps used by Klein [11] In the former two systems, one texture is used to convey a single tone. Thus, multiple such textures need to be blended together in varying proportions to create the varying tone of a polygon [21] This may lead to renderings that needs at most three passes. We ....

M. P. Salisbury, S. E. Anderson, R. Barzel, and D. H. Salesin. Interactive pen and ink illustrations. In ACM Siggraph 1994 Conference Proceedings, pages 101--108, Aug 1994.

....based techniques for producing such illustrations have been developed. There are two basic approaches: The first approach is image based and assists the user in converting a digital grey scale image into a pen and ink illustration. This way, the user is freed from drawing individual strokes. In [Salis94] predefined stroke textures are used to map the tone of the reference image, and in [Salis97] the strokes are generated automatically from both a set of reference strokes and an interactively modifiable direction field. The second approach creates line art illustrations from 3D geometry. An early ....

Salisbury, M.P.; Anderson, S.; Barzel, R.; Salesin, D.: Interactive Pen-and-Ink Illustration, Computer Graphics (Proc. SIGGRAPH '94), pp. 101-108, 1994

.... 3D models of arbitrary topology (6) 2 Previous work Much of the work in non photorealistic rendering has focused on tools to help artists (or non artists) generate imagery in various traditional media or styles such as impressionism [5, 12, 14] technical illustration [4, 19, 20] pen and ink [1, 21, 22, 26, 27], and engraving [16] Our work is applicable over a range of styles in which individual strokes are visible. One way to categorize NPR methods would be to consider the form of input used. One branch of stroke based NPR work uses a reference image for color, tone, or orientation, e.g. 5, 21, 22] ....

....22, 26, 27] and engraving [16] Our work is applicable over a range of styles in which individual strokes are visible. One way to categorize NPR methods would be to consider the form of input used. One branch of stroke based NPR work uses a reference image for color, tone, or orientation, e.g. [5, 21, 22]. For painterly processing of video, Litwinowitcz [12] and later Hertzmann and Perlin [6] addressed the challenge of frame toframe coherence by applying optical flow methods to approximate object space coherence for strokes. Our work follows a branch of research that relies on 3D models for ....

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SALISBURY,M.P.,ANDERSON, S. E., BARZEL, R., AND SALESIN,D.H. Interactive pen-and-ink illustration. Proceedings of SIGGRAPH 94, 101--108.

....normal, and planarity. In part because it uses a semiautomatic approach, the Piranesi system is able to create highly artistic images in a wide variety of styles. Salisbury et al. also used a semiautomatic approach to create illustrations in their interactive penand ink illustration system [36]. These authors designed a 2D illustration system that provides the user with high level tools to create pen and ink illustrations. Notably, the user can brush a selected area with predefined stroke textures that share many of the characteristics of the stroke textures presented in this ....

....of these textures. One important advantage of this framework is that it takes the resolution of the target device and the size of the image into account. The same concept of prioritized stroke texture was used in the interactive pen and ink illustration system designed by Salisbury et al. [36]. In their system, the textures are explicitly stored as a collection of strokes with assigned priorities. As the user brushes an area with a chosen texture, strokes are introduced in priority order until the target tone is achieved. Table 8 1. Rendering times for various models in seconds. ....

Michael P. Salisbury, Sean E. Anderson, Ronen Barzel and David H. Salesin. Interactive pen-and-ink illustration. In Computer Graphics, Annual Conference Series ( July 1994), 101-- 108.

.... 2 Previous work Much of the work in non photorealistic rendering has focused on tools to help artists (or non artists) generate imagery in various traditional media or styles such as impressionism [8, 9, 16, 18] technical illustration [6, 23, 24] watercolor [2] engraving [20] and pen and ink [3, 26, 27, 31, 32]. Our work is applicable over a range of artistic styles in which individual hatching strokes are visible, for example pencil, charcoal, or crayon. One way to categorize NPR methods would be to consider the form of input used. A branch of stroke based NPR work uses a reference image for color, ....

....over a range of artistic styles in which individual hatching strokes are visible, for example pencil, charcoal, or crayon. One way to categorize NPR methods would be to consider the form of input used. A branch of stroke based NPR work uses a reference image for color, tone, or orientation [8, 9, 26, 25, 27]. For painterly processing of video, Litwinowitcz [16] and later Hertzmann and Perlin [10] addressed the challenge of frame toframe coherence by applying optical flow methods to approximate object space coherence for strokes. Our work follows a branch of research that relies on 3D models for ....

[Article contains additional citation context not shown here]

SALISBURY,M.P.,ANDERSON, S. E., BARZEL, R., AND SALESIN,D.H. Interactive pen-and-ink illustration. Proceedings of SIGGRAPH 94, 101--108.

....why they may also provide shape information. 2. 1 Paint Programs and One Shot Images Creating sophisticated paint programs which generate single images and emulate techniques used by artists for centuries was the focus of research done by Meier [27] Haeberli [17] Curtis [10] Salisbury et al. [30, 31, 32], and Winkenbach et al. 38] However, conveying shape and structure is not the goal of these images. Meier [27] presents a technique for rendering animations in which every frame looks as though it were painted by an artist. She models the surfaces of 3D objects as 3D particle sets. The surface ....

.... 3D Interactive Applicable to Technical Illustration Additional Illustration Rules Markosian [24] p p p p Dooley [11] p p p p Saito [29] p p p p Driskill [12] p p Elber [13] p p p Seligmann [34] p p p p Land [22] p p p Gooch [15] p p p p Zeleznik [42] p p p Salisbury [32, 31] p p Salisbury [30] p p p Winkenbach [38] p p p Winkenbach [39] p p p Meier [27] p p Haeberli [17] p Litwinowicz [23] Curtis [10] p This Thesis p p p p p Note: Line drawing and shading categories are checked if the work uses shading and line drawing conventions similar to ....

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Salisbury, M. P., Anderson, S. E., Barzel, R., and Salesin, D. H. Interactive pen-and-ink illustration. In SIGGRAPH 94 Conference Proceedings (Aug. 1994).

....by their very nature, which make them highly unsuitable for the field of architectural presentations. 3D rendering systems like the PIRANESI system presented in 1995 by SCHOFIELD et al. LS95] RS95] 1 daL = drawing animated lines, see [MSS96] or techniques introduced by SALESIN et al. SABS94] WS94] concentrate on the creation of single images and depend strongly on user interaction. The use of random line deviations to model the unsteadiness of a hand drawn line results in visual temporal artifacts, which are described as lack of frame to frame coherence. The non determistic ....

M.P. Salisbury, S.E. Anderson, R. Barzel, and D. H. Salesin. Interactive Pen-and-InkIllustration. In Computer Graphics, Annual Conference Series, pages 101--108. ACM SIGGRAPH, ACM Press, 1994.

....change randomly. Alternatively, the positions and sizes of brush strokes could remain constant over the animation, but this creates the shower door effect, becausebrush strokes are effectively stuck to the viewplane not to the animating surfaces. The University of Washington illustration systems [12, 17] provide methods for rendering images in a pen and ink style, but again, the randomness that is employed to achieve the hand drawn look would cause successive frames to change randomly. We solve the temporal randomness problem by using particle rendering methods. If we treat brush strokes as ....

Michael P. Salisbury, Sean E. Anderson, Ronen Barzel, and David H. Salesin. Interactive pen--and--ink illustration. In Proceedings of SIGGRAPH '94 (Orlando, Florida, July 24--29, 1994), Computer Graphics Proceedings, Annual Conference Series, pages 101--108. ACM SIGGRAPH, ACM Press, July 1994.

....sense that the silhouette curves may su er some position error; the degree of approximation is determined in part by an adjustable parameter to a curve tracing method, allowing a tradeo of accuracy against speed. 1. SILHOUETTE RENDERING Inspired by non photorealistic rendering (NPR) techniques [9, 10, 3, 14, 11, 13, 7], especially interactive NPR for rapid display of complex polyhedral objects [7] we applied an alternative style of rendering to implicit surfaces. Our basic approach concentrates computational resources on drawing the surface s silhouette quickly and accurately from a given viewpoint, with ....

Michael P. Salisbury, Sean E. Anderson, Ronen Barzel, and David H. Salesin. Interactive pen{ and{ink illustration. In Andrew Glassner, editor, Proceedings of SIGGRAPH '94 (Orlando, Florida, July 24-29, 1994), Computer Graphics Proceedings, Annual Conference Series, pages 101-108. ACM SIGGRAPH, ACM Press, July 1994. ISBN 0-89791-667-0.

....and additional information about the underlying 3 D model. This idea was introduced earlier but independently by Saito and Takahashi [18] for generating expressive images of landscapes and medical data. A method working with stroke textures was introduced by Salisbury, Winkenbach and Salesin [20, 29, 19] to create hatching lines that represent texture and tone of the model. They extended their work to resolution dependent hatchings and developed methods for interactive and automatic definition of stroke directions within the textures. In [30] the approach was applied to parametric surfaces. Elber ....

M. Salisbury, S. Anderson, R. Barzel, and D. Salesin. Interactive pen--and--ink illustration. In A. Glassner, editor, SIGGRAPH '94 Conference Proceedings, pages 101--108. ACM SIGGRAPH, ACM Press, 1994.

....There are two basic approaches: The first one is image based. Here, the user is assisted in converting a digital grey scale image into a line drawing without having to draw individual strokes. 12] define a potential field over an image and draw equipotential lines of varying density. In [15] predefined stroke textures are used to map the tone of the reference image and to produce a pen andink illustration. This method is improved in [16] in a way that the stroke textures are generated automatically from both a set of reference strokes and an interactively modifiable direction field. ....

....to a periodic rule. Adapting the distance of neighboring strokes to the local grey value is not an option since that value usually changes along the stroke but the distance cannot be controlled freely. Many sophisticated techniques have been proposed for the tone mapping in line art images [15, 20, 16]. We use a simple and e#cient technique which does not use any global information but still has flexibility to adjust stroke widths and suppress strokes. The idea is to define strokes to have a constant width w but only a certain portion w # = 1 c) w is drawn in black where c # [c min , c ....

[Article contains additional citation context not shown here]

Michael P. Salisbury, Sean E. Anderson, Ronen Barzel, David H. Salesin. Interactive penand -ink illustrations. Computer Graphics (SIGGRAPH '94 Proceedings), 1994, pp. 101--108

.... [59] Salisbury et al. created an interactive penand ink style drawing program in which, among other things, the orientation of the individual elements of a higher level stroke could be specified to follow the direction of the intensity gradient in a two dimensional reference image [47], and then later extended this work by proposing a resolution independent technique for storing and reproducing pen and ink illustrations at arbitrary scales and sizes [48] 7 Defining a Principal Direction Texture There are three principal considerations in defining a texture of distributed, ....

Salisbury, Michael P., Sean E. Anderson, Ronen Barzel and David H. Salesin. "Interactive Pen-andInk Illustration", Computer Graphics (proc. SIGGRAPH `94), pp. 101-108. 30

....rests on the quality of its final rendered images. We find our viewdependent stroke framework robust, fast, and very flexible for creating effective real time illustrations. Similar uses of tapering artistic strokes can be found in the pen and ink work of Salisbury, Winkenbach, Salesin and others [17, 18], and previous work here at Brown University [11, 9, 3] The results of using our artistic stroke renderer to depict the paths found by our silhouette extraction algorithm are shown in Figures 1 and 9 12. Figures 11 and 12 can be found in the Color Plates section. These examples range from ....

Michael P. Salisbury, Sean E. Anderson, Ronen Barzel, and David H. Salesin. Interactive Pen-And-Ink Illustration. Proceedings of SIGGRAPH 94, pages 101--108, July 1994. ISBN 0-89791-667-0.Held in Orlando, Florida.

....defined surfaces. Salisbury et al. created an interactive pen and ink style drawing program in which, among other things, the orientation of the individual elements of a higher level stroke could be specified to follow the direction of the intensity gradient in a twodimensional reference image [47], and then later extended this work by proposing a resolution independent technique for storing and reproducing pen and ink illustrations at arbitrary scales and sizes [48] 7D EFINING A PRINCIPAL DIRECTION TEXTURE There are three principal considerations in defining a texture of distributed, ....

M.P. Salisbury, S.E. Anderson, R. Barzel, and D.H. Salesin, "Interactive Pen-and-Ink Illustration," Computer Graphics (Proc. Siggraph '94), pp. 101-108, 1994.

....in terms of the curve s local tangent and normal, rather than the x and y directions. Figure 5 demonstrates how the character of curves in an illustration can be modified with various detail styles. The interactive illustration system used to create this figure was described by Salisbury et al. [14]. 4.3 Multiresolution surfaces Multiresolution editing can be extended to surfaces by using tensor products of B spline scaling functions and wavelets. Either the standard construction or the nonstandard construction described in Part 1 for Haar basis functions can be used to form a ....

Michael P. Salisbury, Sean E. Anderson, Ronen Barzel, and David H. Salesin. Interactive pen and ink illustration. In Proceedings of SIGGRAPH 94, pages 101--108. ACM, New York, 1994.

....a single image, to control the synthesis procedure. One important application of image analogies that we explore in this paper is the automatic synthesis of various artistic styles from examples. In the past few years, there has been a great deal of work in creating artistic styles by computer [10, 21, 24, 26, 32, 36, 41, 42, 50, 51], a field that has come to be known as non photorealistic rendering (NPR) One drawback of most of these previous works, however, is that the methods have had to be specifically tailored to a specific rendering style (or space of styles) image analogies, by contrast, although they may not be able ....

Michael P. Salisbury, Sean E. Anderson, Ronen Barzel, and David H. Salesin. Interactive Pen--And--Ink Illustration. In Proceedings of SIGGRAPH '94 (Orlando, Florida, July 24--29,

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SALISBURY,M .P.,ANDERSON, S. E., BARZEL, R., AND SALESIN, D. H. 1994. Interactive pen-and-ink illustration. In Proceedings of SIGGRAPH 94, 101--108.

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M. P. Salisbury, S. E. Anderson, R. Barzel, and D. H. Salesin, "Interactive Pen-and-Ink Illustration," in Proceedings of SIGGRAPH, pp. 101-108, 1994.

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SALISBURY, M. P., ANDERSON, S. E., BARZEL, R., AND SALESIN, D. H. 1994. Interactive pen-and-ink illustration. In Proceedings of SIGGRAPH 94, 101--108.

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M.P. Salisbury, S.E. Anderson, R. Barzel and D.H. Salesin. Interactive pen-and-ink illustration. Proc. of SIGGRAPH '94:101--108, 1994. 1

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M. P. Salisbury, S. E. Anderson, R. Barzel, and D. H. Salesin, "Interactive Pen-and-Ink Illustration," in Proceedings of SIGGRAPH, pp. 101-108, 1994.

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M. P. Salisbury, S. E. Anderson, R. Barzel, and D. H. Salesin. Interactive pen--and--ink illustration. In A. Glassner, editor, Proceedings of SIGGRAPH '94 24--29, 1994.

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M. P. Salisbury, S, E. Anderson, R. Barzel and D. H. Salesin. Interactive Pen-And-Ink Illustration. Proceedings of SIGGRAPH 94, Computer Graphics Proceedings, Annual Conference Series, July 1994, pp. 101--

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M.P. Salisbury, S.E. Anderson, R. Barzel, and D.H. Salesin. Interactive pen and ink illustration. In Proc. of SIGGRAPH '94, pages 101--108, 1994.

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Mike Salisbury, Sean E. Anderson, Ronen Barzel, and David H. Salesin. Interactive pen-and-ink illustrations. In Andrew S. Glassner, editor, SIGGRAPH 94 Conference Proceedings, pages 101--108, Orlando, Florida, 1994.

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Salisbury, M.P., Anderson, S.E., Barzel, R., Salesin, D.H.: Interactive pen-and-ink illustration. Proceedings of SIGGRAPH 94 (July 1994) 101--108 ISBN 0-89791667 -0. Held in Orlando, Florida.

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M. P. Salisbury, S. E. Anderson, R. Barzel, and D. H. Salesin. Interactive pen-andink illustration. In SIGGRAPH 94 Conference Proceedings, pages 101--108. ACM SIGGRAPH, Addison Wesley, 1994.

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M. P. Salisbury, S. E. Anderson, R. Barzel, and D. H. Salesin. Interactive pen--and--ink illustration. In A. Glassner, editor, Proceedings of SIGGRAPH '94 (Orlando, Florida, July 24--29, 1994.

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Michael P. Salisbury, Sean E. Anderson, Ronen Barzel, and David H. Salesin. Interactive pen--and--ink illustration. In Andrew Glassner, editor, Proceedings of SIGGRAPH '94 (Orlando, Florida, July 24--29, 1994.

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M. Salisbury, S. Anderson, R. Barzel, and D. Salesin. Interactive pen and ink illustration. In SIGGRAPH 1994 Proccedings, pages 101--108, August 1994.

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M. Salisbury, S. Anderson, R. Barzel, and D. Salesin. Interactive pen and ink illustration. In Proceedings of ACM SIGGRAPH 94, pages 101--108, 1994.

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M.P. Salisbury, S.E. Anderson, R. Barzel, and D.H. Salesin. Interactive penand -ink illustration. In Proceedings of SIGGRAPH'94, pages 101--108, July 1994.

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M. P. Salisbury, S, E. Anderson, R. Barzel and D. H. Salesin. Interactive Pen-And-Ink Illustration. Proceedings of SIGGRAPH 94, Computer Graphics Proceedings, Annual Conference Series, July 1994, pp. 101-- 108

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Michael P. Salisbury, Sean E. Anderson, Ronen Barzel, and David H. Salesin. Interactive pen-and-ink illustration. In Proceedings of SIGGRAPH 94, Computer Graphics Proceedings, Annual Conference Series, pages 101-- 108, Orlando, Florida, July 1994. ACM SIGGRAPH / ACM Press. ISBN 0-89791-667-0.

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Michael P. Salisbury, Sean E. Anderson, Ronen Barzel, and David H. Salesin. Interactive pen-andink illustration. Proceedings of SIGGRAPH 94, pages 101--108, July 1994. ISBN 0-89791-667-0. Held in Orlando, Florida.

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Salisbury, Michael P., S. Anderson, R. Barzel, and D. Salesin. Interactive Pen-and-Ink Illustration. Proceedings of ACM SIGGRAPH '94, pp. 101-108, July 1994. 3

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M. Salisbury, S. Anderson, R. Barzel, and D. Salesin. Interactive pen-and-ink illustration. In Proceedings of SIGGRAPH 94, pages 101--108, July 1994.

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Michael P. Salisbury, Sean E. Anderson, Ronen Barzel, and David H. Salesin. Interactive Pen--And--Ink Illustration. In Proceedings of SIGGRAPH '94 (Orlando, Florida, July 24-- 29, 1994), pages 101--108, July 1994. 1, 2

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M. P. Salisbury, S. E. Anderson, R. Barzel, and D. H. Salesin. Interactive Pen-and-Ink-Illustration. In Proceedings of SIGGRAPH 94, pages 101--108, 1994.

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SABS94. M. Salisbury, S. Anderson, R. Barzel, and D. Salesin. Interactive pen--and--ink illustration. In Proc. of SIGGRAPH, 1994.

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M. Salisbury, S. Anderson, R. Barzel, and D. Salesin. Interactive pen--and--ink illustration. In SIGGRAPH '94 Conference Proceedings, pages 101--108, 1994.

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