M. Salisbury, C. Anderson, D. Lischinski, and D. H. Salesin, "Scale-Dependent Reproduction of Pen-and-Ink Illustrations, " in Proceedings of SIGGRAPH, Computer Graphics, pp. 461-468, 1996.  Home/Search   Document Details and Download   Summary   Related Articles   Check

....can be rendered in different illustration styles. 2 RELATED WORK Non photorealistic rendering has been an active area of research, with most of the work concentrating on generating images in various traditional styles. The most common techniques are sketching [30] pen and ink illustration [6, 23, 24, 31],silhouette rendering [14, 19, 21, 25] and painterly rendering [1, 4] Pen and ink rendering uses combinations of strokes (i.e. eyelashing and crosshatching) to create textures and shading within the image. Lines, curves, and strokes are the most popular among existing NPR techniques. Praun et ....

M. Salisbury, C. Anderson, D. Lischinski, and D. H. Salesin. Scale-dependent reproduction of pen-and-ink illustrations. In Proceedings of SIGGRAPH 1996.

....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 ....

Mike Salisbury, Corin Anderson, Dani Lischinski, and David H. Salesin. Scale-Dependent Reproduction of Pen-andInk Illustrations. In SIGGRAPH 96 Conference Proceedings, pages 461--468, August 1996.

....that are only the physical implementation of primitives. For example, a line primitive can be implemented as a series of dot marks, e.g. in a mosaic, and a paintbrush can be used to implement either 1D long brush strokes or 0D pointillism. Many mark techniques have been presented in NPR, e.g. SALS96, CAS 97, Lit97, Ost99, SB99] This framework does not provide a strict and complete classification of computer depiction techniques. However, it provides a vocabulary to discuss basic techniques and to relate them to traditional picture production. Now that we are equipped with this ....

M. Salisbury, C. Anderson, D. Lischinski, and D. Salesin. Scale-dependent reproduction of pen-and-ink illustrations. In Proc. SIGGRAPH, 1996.

....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 ....

SALISBURY, M., ANDERSON, C., LISCHINSKI, D., AND SALESIN,D.H. Scale-dependent reproduction of pen-and-ink illustrations. Proceedings of SIGGRAPH 96, 461--468.

....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 ....

.... 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 traditional illustration ....

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Salisbury, M., Anderson, C., Lischinski, D., and Salesin, D. H. Scale- 59 dependent reproduction of pen-and-ink illustration. In SIGGRAPH 96 Conference Proceedings (Aug. 1996).

....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 ....

Mike Salisbury, Corin Anderson, Dani Lischinski, and David H. Salesin. Scale-dependent reproduction of pen-and-ink illustrations. In Holly Rushmeier, editor, SIGGRAPH 96 Conference Proceedings, Annual Conference Series, pages 461-468. ACM SIGGRAPH, Addison Wesley, August 1996. held in New Orleans, Louisiana, 04-09 August 1996.

....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, C. Anderson, D. Lischinski, and D. Salesin. Scale-dependent reproduction of pen-and-ink illustrations. In H. Rushmeier, editor, SIGGRAPH 96 Conference Proceedings, pages 461--468. ACM SIGGRAPH, Addison Wesley, 1996.

.... 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, opaque strokes that can effectively convey the essential shape properties of an external transparent surface while preserving the visibility of underlying structures. The ....

Salisbury, Michael P., Corin Anderson, Dani Lischinski and David H. Salesin. "Scale-Dependent Reproduction of Pen-and-Ink Illustrations", Computer Graphics (proc. SIGGRAPH `96), pp. 461468.

.... 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, opaque strokes that can effectively convey the essential shape properties of an external transparent surface while preserving the visibility of underlying structures. The ....

M.P. Salisbury, C. Anderson, D. Lischinski, and D.H. Salesin, "Scale-Dependent Reproduction of Pen-and-Ink Illustrations," Computer Graphics (Proc. Siggraph `96), pp. 461-468, 1996.

....pen and ink patterns. Regions can be determined by hand, or specified as portions of a supplied secondary image. Similarly, tone can be supplied by hand or from some portion of an underlying reference image. Random variations are added to help produce a hand drawn look. Building upon this work, [Salisbury96] presents a computer assisted technique for producing scale dependent pen and ink reproductions of images. In this work, tone from an image is used in conjunction with edges (detected from the same image) to produce a pen and ink format that is resolution independent. The final rendered ....

Salisbury, Mike, Corin Anderson, Dani Lischinski, and David Salesin. "Scale-Dependent Reproduction of Pen-and-Ink Illustrations", Computer Graphics, SIGGRAPH Annual Conference Proceedings 1996, pp. 461-468.

....objects are often drawn in unnatural colors. Indeed, from an analysis of hand made illustrations we conclude that abstraction techniques are essential to improve the quality of computer generated illustrations with respect to educational purposes. Recent advances in computer graphics (see [24] [25], and [32] now make it possible to influence graphics generation on different levels and thus to adapt visualizations to the information extraction task of the user. For example, within the Zoom Illustrator [19] a number of abstraction techniques for an interactive exploration of anatomic models ....

M. Salisbury, C. Anderson, D. Lischinski, and D. H. Salesin. Scale-Dependent Reproduction of Pen-and-Ink Illustrations. In H. Rushmeier, editor, SIGGRAPH 96 Conference Proceedings, Annual Conference Series, pages 461-- 468. ACM Press, 1996.

....meshing is the idea of explicitly representing function discontinuities in a mesh used to construct an approximation to the function. Heckbert [6] and Lischinski et al. 7, 8, 11] have used discontinuity meshing to drastically improve the accuracy of radiosity simulations. Salisbury et al. [12] used a discontinuity mesh containing sharp edges in an image in order to maintain the sharpness of these edges when the image is magnified. 2 Algorithm The goal of our previewer is to generate an approximate image from a partial sparse set of image samples that is as close as possible to the ....

....the resolution is the processing of the procedural texture maps. Because discontinuities in the image are explicitly represented as constrained edges in the triangulation, magnifying the image does not result in much blurring, similarly to the magnification algorithm described by Salisbury et al. [12]. The most important limitation of our approach is that it is currently capable of handling polygonalscenes only. To extend our previewer to handle curved objects, we could either tessellate those objects and use the same BSP tree based shadow volume algorithm, or use a different algorithm, such ....

Mike Salisbury, Corin Anderson, Dani Lischinski, and David H. Salesin. Scaledependent reproduction of pen-and-ink illustrations. In Proceedings of SIGGRAPH '96 (New Orleans, LA, August 4--9, 1996), pages 461--468, August 1996.

....that point; it is further warped so that this relation is true all along the stroke (see Section 3.1) The repeated use of strokes from the example set to achieve tone with a specified orientation is a kind of procedural stroke texture. Non procedural stroke textures were used by Salisbury et al. [13, 14]. In this previous work, the textures tiled the plane, and the stroke selected for drawing at a point was the one that happened to pass through that point. By contrast, in this new system the placement of strokes on the final illustration is independent of their relative position in the texture. ....

.... maintained indirectly by the rendering system (see Section 3) Dynamic placement of strokes is an important feature, for if we have Figure 4 Magnifying a low resolution direction field using (left) a standard symmetric resampling kernel, and (right) the modified kernel used by Salisbury et al. [14]. The same sharp tone component was used for both illustrations. a direction field that diverges (say, for drawing the water spraying outwards from a fountain) and a stroke texture of parallel straightline strokes that we wish to have follow the diverging field, a simple plane tiling will not ....

[Article contains additional citation context not shown here]

Mike Salisbury, Corin Anderson, Dani Lischinski, and David H. Salesin. Scale-dependent reproduction of pen-and-ink illustrations. In Holly Rushmeier, editor, SIGGRAPH 96 Conference Proceedings, pp. 461--468. Addison Wesley, August 1996.

No context found.

M. Salisbury, C. Anderson, D. Lischinski, and D. H. Salesin, "Scale-Dependent Reproduction of Pen-and-Ink Illustrations, " in Proceedings of SIGGRAPH, Computer Graphics, pp. 461-468, 1996.

No context found.

M. Salisbury, C. Anderson, D. Lischinski, and D. H. Salesin, "Scale-Dependent Reproduction of Pen-and-Ink Illustrations, " in Proceedings of SIGGRAPH, Computer Graphics, pp. 461-468, 1996.

No context found.

Mike Salisbury, Corin Anderson, Dani Lischinski, and David H. Salesin. Scaledependent reproduction of pen-and-ink illustrations. In Holly Rushmeier, editor, SIGGRAPH 96 Conference Proceedings, pages 461--468, New Orleans, Louisiana, 1996.

No context found.

M. Salisbury, C. Anderson, D. Lischinski, and D. H. Salesin. Scale-dependent reproduction of pen-and-ink illustrations. In SIGGRAPH 96 Conference Proceedings, pages 461--468. ACM SIGGRAPH, Addison Wesley, 1996.

No context found.

M. Salisbury, C. Anderson, D. Lischinski, and D. Salesin, "ScaleDependent Reproduction of Pen-and-Ink Illustrations," Proc. SIGGRAPH '96, Computer Graphics Proc., Ann. Conf. Series, pp. 461-468, Aug. 1996.

No context found.

M. Salisbury, C. Anderson, D. Lischinski, and D. Salesin. Scale-dependent reproduction of pen-and-ink illustrations. In Proceedings of SIGGRAPH 96, pages 461--468, August 1996.

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SALS96. M. Salisbury, C. Anderson, D. Lischinski, and D. Salesin. Scale-dependent reproduction of pen-and-ink illustrations. In Proc. of SIGGRAPH, 1996.

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M. Salisbury, C. Anderson, D. Lischinski, and D. Salesin. Scale-dependent reproduction of pen-andink illustrations. In SIGGRAPH 96 Conference Proceedings, pages 461--468, 1996.

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