M. P. Salisbury, M. T. Wong, J. F. Hughes, and D. H. Salesin, "Orientable Textures for Image-Based Pen-and-Ink Illustration," in Proceedings of SIGGRAPH, pp. 401-406, 1997.  Home/Search   Document Details and Download   Summary   Related Articles   Check

....of early artificial drawing techniques concentrate upon the simulation of traditional artistic media. Pen and ink is perhaps the most thoroughly researched, and a number of methods have been proposed that allow the interactive rendering of surfaces through hatching [6] 7] 8] texturing [9], and stippling [10] Techniques for the interactive illustration of both 3D surfaces [2] 11] 12] and 2D canvas [13] 14] have been developed; other systems allow the virtual engraving and sculpture of more exotic media such as wood [15] Physical simulations of sticky paint [16] watercolour ....

....automation through implementation of simplified artistic heuristics, basing decisions upon image processing operations. Most of such systems are guided by local edge information [23] 24] or local statistical measures such as variance [25] In some systems interaction is augmented by automation [9], 19] Our method also relies on a combination of user interaction and vision techniques to assist the rendering process, but bases decisions upon the global salience , or importance, of image pixels as well as using gradient criteria. The techniques described all share the similarity that they ....

M. P. Salisbury, M. T. Wong, J. F. Hughes, and D. H. Salesin, "Orientable textures for image-based pen-and-ink illustration," in Proceedings Computer Graphics (ACM SIGGRAPH), Los Angeles, USA, 1997, pp. 401--406.

....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 provides ....

M. Salisbury, M. Wong, J. Hughes, and D. Salesin. Orientable textures for image-based pen-andink illustration. Proc. SIGGRAPH, 1997.

....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, M. Wong, J. Hughes, and D. Salesin. Orientable textures for image-based pen-and-ink illustration. Computer Graphics (SIGGRAPH 97 Proceedings), pages 401--406, 1997.

....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. 5.3 ....

....notions into an otherwise purely two dimensional depiction context. This includes texture mapping for cell animation[CJTF98] and shadows for cell animation [PFFL00] or for architectural sketching [TDM01] We finish this overview of attribute systems with a discussion of orientation, e.g. Hae90, SWHS97, ZH00, Hau01] While orientation is used to drive the mark system, it is important to consider it as an attribute, since orientation is a general issue, common to a variety of mark styles. Separating the orientation issue from the particular marks is crucial to build generic modules. Most mark ....

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M. Salisbury, M. Wong, J. Hughes, and D. Salesin. Orientable textures for image-based pen-and-ink illustration. Proc. SIGGRAPH, 1997.

....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, M. Wong, J. Hughes, and D. Salesin. Orientable textures for imagebased pen-and-ink illustration. In Proceedings of SIGGRAPH 1997.

....NPR, has become an important and impressive branch of computer graphics in recent years. Most NPR techniques attempt to create images or virtual worlds visually comparable to renderings produced by a human artist. Several artwork styles have been explored in the NPR literature, such as pen and ink [9,10], painting [1,6] informal sketching [5] and charcoal drawing [7] To date, most published NPR algorithms focus on a specific artistic style, or a closely related family of styles. For example, Meier describes a technique for creating animations evocative of impressionistic painting [6] and ....

....et al. [12] Orientation fields: For the full range of expressive effect, an artist or programmer must have control over how strokes are oriented as well as where they are placed. Salisbury et al. used a user specified vector field defined on an image to guide the orientation of pen and ink strokes [9], while others rasterize normal and curvature information from a 3 D model [6] 8] This use of orientation fields to guide stroke drawing is another common thread running through multiple NPR approaches. Screen space density: Careful attention to screen space density of strokes is yet another ....

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Michael P. Salisbury, Michael T. Wong, John F. Hughes, and David H. Salesin. Orientable Textures for Image Based Pen-and-Ink Illustration. In SIGGRAPH 97 Conference Proceedings, pp. 401406. ACM SIGGRAPH, August 1997.

....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 ....

M. P. Salisbury, M. T. Wong, J. E. Hughes, and D. H. Salesin. Orientable textures for image-based pen-and-ink illustration. In ACM Siggraph

....as such are susceptible to falling into the wrong part of the search space and starting to grow garbage [6] Methods have been developed in particular rendering domains which capture the spirit of our goals in texture transfer. Our goal is like that of work in non photorealistic rendering (e.g. [4, 19, 15]) A key distinction is that we seek to characterize the output rendering style by sampling from the real world. This allows for a richness of rendering styles, characterized by samples from photographs or drawings. A number of papers to be published this year, all developed independently, are ....

M. P. Salisbury, M. T. Wong, J. F. Hughes, and D. H. Salesin. Orientable textures for image-based pen-and-ink illustration. In SIGGRAPH 97, 1997.

.... element to a light source [Gooch98] The extraction and rendering of silhouettes and other expressive lines has been addressed by several researchers [including Saito90, Salisbury94, Gooch99, Interrante95, Girshik00] Expressive textures have also been applied to surfaces to convey surface shape [including Levoy90b, Rheingans96, Salisbury97, Interrante97]. A few researchers have applied NPR techniques to the display of data. Laidlaw used concepts from painting to create visualizations of 2D data, using brushstroke like elements to convey information [Laidlaw98] and a painterly process to compose complex visualizations [Kirby99] Treavett has ....

Michael P. Salisbury, Michael T. Wong, John F. Hughes, and David H. Salesin. Orientable Textures for Image-Based Pen-and-Ink Illustration, Proceedings of SIGGRAPH 97, Computer Graphics Proceedings, Annual Conference Series, pp. 401-406 (August 1997, Los Angeles, California). Addison Wesley. Edited by Turner Whitted. ISBN 0-89791-896-7.

....notions into an otherwise purely two dimensional depiction context. This includes texture mapping for cell animation[CJTF98] and shadows for cell animation [PFFL00] or for architectural sketching [TDM01] We finish this overview of attribute systems with a discussion of orientation, e.g. Hae90, SWHS97, ZH00, Hau01] While orientation is used to drive the mark system, it is important to consider it as an attribute, since orientation is a general issue, common to a variety of mark styles. Separating the orientation issue from the particular marks is important to build generic modules. Most mark ....

....attribute, since orientation is a general issue, common to a variety of mark styles. Separating the orientation issue from the particular marks is important to build generic modules. Most mark system using orientation attributes can be used to display any 2D vector field, e.g. pen and ink strokes [SWHS97] streamlines [TB96] or LIC [CL93] 3D # 3D orientation computation have been proposed using iso parametric curves [Elb95] or principal curvatures [ZH00] 3D # 2D [ST90] Similarly, 2.5D # 2D exist, e.g. RK00] The 2D # 2D category offers both automatic [Hae90, Hau01] and ....

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M. Salisbury, M. Wong, J. Hughes, and D. Salesin. Orientable textures for image-based pen-and-ink illustration. Proc. SIGGRAPH, 1997.

....of both representations. The potential range of illustration techniques that we will draw from is quite large, although we have extensive experience with the fundamental components of these techniques from other media. Our insights and extensive recent experience in non photorealistic rendering [28, 43, 29, 25] for monoscopic viewing, using pen and ink strokes and shading cues, provide a solid foundation for many immersive illustration effects, especially those for focusing attention and reducing peripheral clutter. From an initial experiment that used silhouette rendering (popular in automotive repair ....

Michael P. Salisbury, Michael T. Wong, John F. Hughes, and David H. Salesin. Orientable Textures for ImageBased Pen-and-Ink Illustration. In Prcoeedings of SIGGRAPH 97, pages 401--406, 1997.

.... Keywords: Animation, Paint Systems, Temporal Aliasing, Video, Non realistic Rendering 1 Introduction Researchers have developed a variety of tools to modify twodimensional images, giving the results a painterly or handcreated look in such diverse styles as impressionism [7, 8] pen and ink [15], watercolor [2] and engraving [12] Existing NPR rendering methods are essentially filters that take in an image (and possibly some additional processing parameters) and return an altered, NPR version of the original. Because these methods were developed specifically for static images, when they ....

M. P. Salisbury, M. T. Wong, J. F. Hughes, and D. H. Salesin. Orientable textures for image-based pen-and-ink illustration. Computer Graphics (Proceedings of SIGGRAPH 97), pages 401--406.

....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 ....

M. P. Salisbury, M. T. Wong, J. E. Hughes, and D. H. Salesin. Orientable textures for imagebased pen-and-ink illustration. In ACM Siggraph 1997 Conference Proceedings, pages 401-- 406, Aug 1997.

....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 step in the development of this technique was the use of haloed lines [Appel79] which give ....

Salisbury, M.P.; Wong, M.; Hughes, J.; Salesin, D.: Orientable Textures for ImageBased Pen-and-Ink Illustration, Computer Graphics (Proc. SIGGRAPH '97), pp. 401406, 1997

....leaving the user an opportunity of controlling the appearance of the picture by adjusting the control parameters. For example, rendering parametric free form surfaces in pen and ink is proposed in [24] Interactive creating pen andink line style drawings from gray scale images is introduced in [21]. Various artistic effects of watercolor and their automatic simulation are described in [4] Line art drawing is studied in [5 8,11,19] Expressive rendering is proposed in [10,12] In [14] digital facial engraving, which imitates traditional copperplate engraving starting from a digital photo ....

Salisbury MP, Wong MT, Hughes JF, and Salesin DH (1997) Orientable Textures for Image-based Pen-and-ink Illustration. SIGGRAPH 97, Computer Graphics Proceedings, pp 401-406.

.... 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 ....

SALISBURY,M.P.,WONG,M.T.,HUGHES,J.F.,AND SALESIN,D.H. Orientable textures for image-based pen-and-ink illustration. Proceedings of SIGGRAPH 97, 401--406.

....the user may: Select overall painting styles. Select di#erent styles for di#erent image regions. Place individual brush strokes, as suggestions or by decree. We refer to this approach as metapainting. A related system was described by Salisbury et al. for pen andink illustration [15]. In our implementation, the user has complete freedom to make these choices before, during, and after relaxation. For example, the user might select an overall style for an image and perform a relaxation. After seeing the result, the user decides that a particular part of the image should be ....

M. P. Salisbury, M. T. Wong, J. F. Hughes, and D. H. Salesin. Orientable Textures for Image-Based Penand -Ink Illustration. In SIGGRAPH 97 Conference Proceedings, pages 401--406, Aug. 1997.

.... 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 ....

SALISBURY,M.P.,WONG,M.T.,HUGHES,J.F.,AND SALESIN,D.H. Orientable textures for image-based pen-and-ink illustration. Proceedings of SIGGRAPH 97, 401--406.

....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., Wong, M. T., Hughes, J. F., and Salesin, D. H. Orientable textures for image-based pen-and-ink illustration. In SIGGRAPH 97 Conference Proceedings (Aug. 1997).

....[20] proposed the path and stroke metaphor: a path is defined and a physically simulated brush is used to generate the stroke. Hsu et al. 6] extended the metaphor by using general objects like textures, images and recursively defined fractals that are drawn along a given path. Salisbury et al. [16] described a method for directing the strokes in line drawings on the basis of vector fields. In their paper they also showed an interactively generated tree image. Winkenbach and Salesin [23, 24] presented a variety of methods for the automatic generation of pen and ink illustrations. In contrast ....

....conventionally To appear in the SIGGRAPH conference proceedings to achieve gray scale images. In a second step the images were used to place graftals small objects representing leaves or hair on the surfaces by applying the difference image algorithm proposed earlier by Salisbury et at. [16]. Doing so it is possible to create sketched images of generic trees, bushes, and grass. In our work we start from a different point. Our models are detailed tree models consisting of a tree skeleton and leaves. Our line drawings are the result of visually combining many drawing primitives ....

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M. Salisbury, M. Wong, J. F. Hughes, and D. Salesin. Orientable textures for image-based pen-and-ink illustration. In SIGGRAPH '97 Conference Proceedings. ACM SIGGRAPH, 1997.

....an input image to be painted. Hence, we can focus on creating a painterly style, and need not deal with the problem of creativity in designing a composition. Winkenbach and Salesin [20,21] describe a system for automatically creating pen and ink illustrations from 3D models, and Salisbury et al. [16] describe a technique for email: hertzman mrl.nyu.edu ; URL: http: www.mrl.nyu.edu hertzman producing pen and ink illustrations from images. Curtis et al. 5] produce watercolor paintings by a semi automatic algorithm. However, their algorithm does not necessarily produce visible brush strokes, ....

....are also possible for example, emphasizing foreground elements or human figures but these would require semantic interpretation of the input images, which is known to be an extremely difficult problem in computer vision. The choice of emphasis could also be provided by a human user [16], or as output from a 3D renderer. 2.2 Creating curved brush strokes Individual brush strokes in a painting can convey shape, texture, overlap, and a variety of other image features. There is often something quite beautiful about a long, curved brush stroke that succinctly expresses a gesture, ....

MICHAEL P. SALISBURY, MICHAEL T. WONG, JOHN F. HUGHES, DAVID H. SALESIN. Orientable Textures for ImageBased Pen-and-Ink Illustration. SIGGRAPH 97 Conference Proceedings, pp. 401-406. August 1997.

....the region by its thickness if the part of the region is black, if the tonal value is 50 , the line width is half the width of the region. 6. 1 Drawing with priorized hatching lines It is well known in non photorealistic rendering that hatching of curved objects requires adaptive density control [21]. If half toning should be achieved only by en larging the thickness of the intersection lines, either ugly fat lines will appear at the outside of a curved object or the tone is too light. In Figure 5(a) the problem can be seen. Here, the knot was hatched using a single set of curves. Our ....

M. Salisbury, M. Wong, J. Hughes, and D. Salesin. Orientable textures for image-based pen-and-ink illustration. In Turner Whitted, editor, SIGGRAPH 97 Conference Proceedings. ACM SIGGRAPH, Addison Wesley, August 1997.

....NPR, has become an important and impressive branch of computer graphics in recent years. Most NPR techniques attempt to create images or virtual worlds visually comparable to renderings produced by a human artist. Several artwork styles have been explored in the NPR literature, such as pen and ink [9,10], painting [1,6] informal sketching [5] and charcoal drawing [7] To date, most published NPR algorithms focus on a specific artistic style, or a closely related family of styles. For example, 6] describes a technique for creating animations evocative of impressionistic painting, and [4] ....

....viewpoint shifts. Like many NPR systems since [6] we have built our framework on this particle based method of placing strokes. Orientation fields: For the full range of expressive effect, an artist or programmer must have control over how strokes are oriented as well as where they are placed. [9] used a user specified vector field defined on an image to guide the orientation of pen and ink strokes, while techniques such as [6] and [8] rasterize normal and curvature information from a 3 D model. This use of orientation fields to guide stroke drawing is another common thread running through ....

[Article contains additional citation context not shown here]

Michael P. Salisbury, Michael T. Wong, John F. Hughes, and David H. Salesin. Orientable Textures for Image Based Pen-and-Ink Illustration. In SIGGRAPH 97 Conference Proceedings, pp. 401-406. ACM SIGGRAPH, August 1997.

....parts of the surface. The direction fields are different from the more commonly used vector fields: unlike a vector field, a direction field does not have a magnitude and does not distinguish between the two possible orientations. The fields can either be defined directly in the image plane as in [31], or defined on the surface and then projected. The advantage of the former method is that the field needs to be defined and continuous only in each separate area of the image. However, it is somewhat more difficult to use the information about the shape of the objects when constructing the field, ....

Michael P. Salisbury, Michael T. Wong, John F. Hughes, and David H. Salesin. Orientable Textures for Image-Based Pen-and-Ink Illustration. In SIGGRAPH 97 Conference Proceedings, pages 401--406, August 1997.

....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. The second approach takes into account the 3D geometry of a scene. Here, an early step was the use of haloed lines [1] that give an impression of ....

....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, Michael T. Wong, John F. Huges, David H. Salesin. Orientable Textures for Image-Based Pen-and-Ink Illustration. Computer Graphics (SIGGRAPH '97 Proceedings), 1997, pp. 401--406

....when the user expects photorealism. In recent years, a few researchers have turned their attention away from photorealism and towards developing non photorealistic rendering techniques in a variety of styles and simulated media, such as impressionist painting [13, 15, 20, 24] pen and ink [28, 33], technical illustration [11, 27] ornamentation [34] engraving [25, 26] watercolor [4] and the style of Dr. Seuss [18] Much of this work has focused on creating still images either from photographs, from computer rendered reference images, or directly from 3D models, with varying degrees of ....

Salisbury, M. P., Wong, M. T., Hughes, J. F., and Salesin, D. H. Orientable textures for image-based pen-and-ink illustration. Computer Graphics (SIGGRAPH 97), 401--406.

....three effects: tone, texture and outline [5, 2] Pen and ink renderings create these three effects in a variety of ways. Tone is typically created by defining different stroke textures for varying intensities [5] or by overlaying multiple strokes or textures until the desired tone is achieved [6, 7]. Tone and texture has also been achieved using multiple strokes or parametric curves [8, 9] and contour lines [10] Texture is defined by the type, thickness, orientation, placement, and quantity of strokes. In this way, texture and tone may not be independent and thus, these techniques tend to ....

M. P. Salisbury, M. Wong, J. Hughes, and D. H. Salesin, "Orientable textures for image-based pen-and-ink illustration", Computer Graphics (SIGGRAPH '97 Proceedings), pp. 401--406 (1997).

....these efforts were aimed toward creating art, however, and not toward scientific visualization. Along similar lines, references [21, 22, 23] used software to create pen and ink illustrations for artistic purposes. The pen and ink approach has successfully been applied to 2D tensor visualization in [24]. In reference [1] painterly concepts as used in our work were presented for visualizing diffusion tensor images of the mouse spinal cord. In that work both a motivation and a methodology for the techniques used here were presented. The goal of our work is to visualize simultaneously both new ....

Michael P. Salisbury, Michael T. Wong, John F. Hughes, and David H. Salesin. Orientable textures for image-based pen-and-ink illustration. In Turner Whitted, editor, SIGGRAPH 97 Conference Proceedings, Annual Conference Series, pages 401--406. ACM SIGGRAPH, Addison Wesley, August 1997. ISBN 089791 -896-7.

....is that artistic techniques developed by human artists have intrinsic merit based on the evolutionary nature of art. For this reason techniques are usually borrowed directly from artists rather than reinvented from first principles. The many non photorealistic techniques used in computer graphics [3, 5, 6, 7, 13, 14, 17, 24, 28] vary greatly in their level of abstraction. Those that produce a loss of detail, like watercolor or pen and ink, produce a high level of abstraction. Several previous papers use a low level of abstraction which preserves precise shape properties and are thus well suited to technical illustration. ....

Mike Salisbury, Michael T. Wong, John F. Hughes, and David H. Salesin. Orientable Textures for Image-Based Penand -Ink Illustration. In SIGGRAPH 97 Conference Proceedings, August 1997.

....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 ....

....of A # . In our experience, the synthesis is somewhat forgiving, degrading gracefully as the assumptions become less appropriate. In principle, the A image can be of arbitrary dimension and content. For example, it could include additional information about normals, depths, or orientations [42] of the A # image to improve the texture by numbers process. This application bears some resemblance to the user guided texturing described by Ashikhmin [2] however, it fixes several of the problems with that method. In Ashikhmin s method, multiple passes are usually required for a good match. ....

Michael P. Salisbury, Michael T. Wong, John F. Hughes, and David H. Salesin. Orientable Textures for Image-Based Pen-and-Ink Illustration. In SIGGRAPH 97 Conference Proceedings, pages 401--406, August 1997.

....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, Michael T. Wong, John F. Hughes, and David H. Salesin. Orientable textures for image-based pen-and-ink illustration. In Turner Whitted, editor, SIGGRAPH 97 Conference Proceedings, Annual Conference Series, pages 401-406. ACM SIGGRAPH, Addison Wesley, August 1997. ISBN 0-89791-896-7.

....we avoid altogether using NPR animations. Non photorealistic techniques come in several flavors. Haeberli [22] introduced the idea of using a reference image s pixel values to create interesting NPR effects. This idea has led to some beautiful imitations of artistic styles, such as pen and ink [50] and watercolor [15] However, such algorithms are computationally expensive, limited to a particular artistic effect, and lack frame to frame coherence a quality that is essential for animation. A totally different style of non photorealistic rendering is to use cartoon characters, such as in ....

Michael Salisbury, MichaelWong, John Hughes, and David H. Salesin. Orientable textures for image-based pen-and-ink illustration. In SIGGRAPH 97 Conference Proceedings, Annual Conference Series, pages 401--406. ACM SIGGRAPH, Addison Wesley, August 1997.

....according to Badler and Glassner [1] Fractals and graftals create surfaces via an implicit model that produces data when requested. We use the word graftal in this much more general sense. We use a modified version of the difference image stroke placing algorithm of Salisbury et al. [14] to place procedural texture elements at specific areas of the surface. Winkenbach and Salesin [17] described the use of indication (showing a texture on part of an object) in pen and ink rendering. And Strothotte et al. 16] extensively discuss the use of artistic styles to evoke particular ....

....at the same time seem to stick to surfaces in the scene, providing interframe coherence and a sense of depth through parallax. 4. 1 Placing graftals with the difference image algorithm To meet these requirements, we have adapted the difference image algorithm (DIA) used by Salisbury et al. [14] to produce penand ink style drawing from grayscale images. Their algorithm controls the density of hatching strokes in order to match the gray tones of the target image. For each output stroke drawn, a blurred image of the stroke is subtracted from a difference image (initially the input ....

Michael P. Salisbury, Michael T. Wong, John F. Hughes, and David H. Salesin. Orientable textures for image-based pen-and-ink illustration. In SIGGRAPH 97 Conference Proceedings, pp. 401--406. ACM SIGGRAPH, August 1997.

No context found.

M. P. Salisbury, M. T. Wong, J. F. Hughes, and D. H. Salesin, "Orientable Textures for Image-Based Pen-and-Ink Illustration," in Proceedings of SIGGRAPH, pp. 401-406, 1997.

No context found.

SALISBURY, M. P., WONG, M. T., HUGHES, J. F., AND SALESIN, D. H. 1997. Orientable textures for image-based penand -ink illustration. In SIGGRAPH '97: Proceedings of the 24th annual conference on Computer graphics and interactive techniques, ACM Press/Addison-Wesley Publishing Co., 401--406.

No context found.

M. P. Salisbury, M. T. Wong, J. F. Hughes, and D. H. Salesin, "Orientable Textures for Image-Based Pen-and-Ink Illustration," in Proceedings of SIGGRAPH, pp. 401-406, 1997.

No context found.

M. P. Salisbury, M. T. Wong, J. F. Hughes, and D. H. Salesin. Orientable textures for image-based pen-and-ink illustration. In SIGGRAPH 97 Conference Proceedings, pages 401--406, Aug. 1997.

No context found.

M. P. Salisbury, M. T. Wong, J. F. Hughes, and D. H. Salesin. Orientable textures for image-based pen-and-ink illustration. In Proceedings Computer Graphics (ACM SIGGRAPH), pages 401--406, Los Angeles, USA, 1997.

No context found.

Mike Salisbury, Michael T. Wong, John F. Hughes, and David H. Salesin. Orientable textures for image-based pen-and-ink illustration. In Turner Whitted, editor, SIGGRAPH 97 Conference Proceedings, pages 401--406, Los Angeles, California, 1997.

No context found.

M. P. Salisbury, M. T. Wong, J. F. Hughes, and D. H. Salesin. Orientable textures for image-based pen-and-ink illustration. In SIGGRAPH 97 Conference Proceedings, pages 401--406. ACM SIGGRAPH, Addison Wesley, 1997.

No context found.

M. P. Salisbury, M. T. Wong, J. F. Hughes, and D. H. Salesin. Orientable textures for image-based penand -ink illustration. In T. Whitted, editor, SIGGRAPH 97 Conference Proceedings, Annual Conference Series, pages 401--406. ACM SIGGRAPH, Addison Wesley, Aug. 1997. ISBN 0-89791-896-7.

No context found.

M.P. Salisbury et al., "Orientable Textures for Image-Based Penand -Ink Illustration," Proc. SIGGRAPH, pp. 401-406, 1997.

No context found.

M.P. Salisbury, M.T. Wong, J.F. Hughes, and D.H. Salesin. Orientable textures for image-based pen-and-ink illustration. In Proceedings of SIGGRAPH'97, pages 401--406, August 1997.

No context found.

M. Salisbury, M. Wong, J. Hughes, and D. Salesin, "Orientable Textures for Image-Based Pen-and-Ink Illustration," Proc. SIGGRAPH '97, Computer Graphics Proc., Ann. Conf. Series, pp. 401-406, Aug. 1997.

No context found.

M. P. Salisbury, M. T. Wong, J. F. Hughes, and D. H. Salesin. Orientable textures for image-based pen-and-ink illustration. Computer Graphics (Proceedings of SIGGRAPH 97), 31:401--406, 1997.

No context found.

Salisbury, Michael P., Michael T. Wong, John F. Hughes and David H. Salesin. Orientable Textures for ImageBased Pen-and-Ink Illustration. In SIGGRAPH '97 Conference Proceedings, pages 401-406, August 1997.

No context found.

Salisbury, Michael P., M. Wong, J. Hughes, and D. Salesin. Orientable Textures for Image-Based Pen-andInk Illustration. Proceedings of ACM SIGGRAPH '97, pp. 401-406, August 1997. 3

No context found.

M. Salisbury, M. Wong, J. Hughes, and D. Salesin. Orientable textures for image-based pen-and-ink illustration. In Proceedings of SIGGRAPH 97, pages 401--406, August 1997.

No context found.

SWHS97. M. Salisbury, M. Wong, J. Hughes, and D. Salesin. Orientable textures for imagebased pen-and-ink illustration. In Proc. of SIGGRAPH, 1997.

No context found.

M. Salisbury, M. Wong, J. F. Hughes, and D. Salesin. Orientable textures for image-based pen-and-ink illustration. In SIGGRAPH 97 Conference Proceedings, 1997.

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