Pat Hanrahan and Paul E. Haeberli. Direct WYSIWYG painting and texturing on 3D shapes. Computer Graphics (Proceedings of ACM SIGGRAPH 90), 24(4):215--223, August 1990.  Home/Search   Document Not in Database   Summary   Related Articles   Check

....but it lacks a physically based force model to generate a realistic feedback sensation. 3D Texture Painting: By using standard graphics hardware to map the brush from screen space to texture space, Hanrahan et al. allowed the user to paint directly onto the model instead of into texture space [HH90] This approach has been applied to scanned surfaces using 3D input devices, such as data gloves and a Polhemus tracker [ABL95] However, the painting style of both systems can be awkward, due either to the difficulty in rotating an object for proper viewing during painting, or to the deviation ....

Pat Hanrahan and Paul E. Haeberli. Direct WYSIWYG painting and texturing on 3D shapes. In Forest Baskett, editor, Computer Graphics (SIGGRAPH '90 Proceedings), volume 24, pages 215--223, August 1990.

.... about the 2D painting literature is the lack of research involving active haptics (i.e. force feedback) By using standard graphics hardware to map the brush from screen space to texture space, Hanrahan et al. allowed the user to paint directly onto a 3D model instead of into texture space [10]. This approach was applied to scanned surfaces using 3D input devices, such as data gloves and a Polhemus tracker [1] However, the painting style of both systems can be awkward, due either to the difficulty in rotating an object for proper viewing during painting, or to the deviation in paint ....

Pat Hanrahan and Paul E. Haeberli. Direct WYSIWYG painting and texturing on 3D shapes. Computer Graphics (SIGGRAPH '90 Proceedings) , volume 24, pages 215--223, 1990.

....only on light vector) or BRDFs approximated by some analytical reflectance model. Also, painting may not define a physically plausible BRDF, due to a possible lack of reciprocity and energy conservation. Nevertheless, this method is flexible and is suitable for subjective rendering techniques [5, 22]. 2.4 Texture Shading When rendering objects, the BRDF is used to compute color based on relative light position and view direction. In interactive applications, the computations must be fast to maintain the real time frame rates for smooth animation. One way of increasing the performance is to ....

....data was used by Marschner et al. 17] to find reflectance models of human skin [2] Our work borrows from their approach, but di#ers in BRDF repre sentation, and, instead of photographing the objects, we use software for painting models. Painting has been explored by Hanrahan and Haeberli [5] and Kalnins et al. 9] to interactively paint onto a parametrized 3D model. Sloan et al. 22] also explored painting as a method to capture shading for non photorealistic rendering. They use projection of the surface normal onto the viewing plane as a shading parameter; in contrast, our method ....

Pat Hanrahan and Paul E. Haeberli. Direct WYSIWYG Painting and Texturing on 3D Shapes. In Proceedings of SIGGRAPH, 1990.

....graphics hardware, we linearly interpolate the vertex colors over each face and edge, in order to modulate the shell and fin textures. For example, see the dog in Figure 5. For finer control, one could instead specify color by painting into a texture atlas, as described by Hanrahan and Haeberli [3]. Hair length. In our prototype, we use by default 16 shell textures, spaced apart by one thousandth of the model diameter. We can adjust the length of the hair by varying the number and spacing of these layers. For local control, we offset the shell layers at each vertex by a fraction of c v . ....

HANRAHAN,P.AND HAEBERLI, P. Direct WYSIWYG painting and texturing on 3D shapes. Proceedings of SIGGRAPH 90, pp. 215-223.

....painting 1 Introduction Low distortion parameterization of triangulated surfaces is a fundamental problem in computer graphics. Such parameterizations are essential for operations such as texture mapping [1, 6, 9, 11, 14, 21] texture synthesis on surfaces [17, 19, 20] interactive 3D painting [7], remeshing and multi resolution analysis [2, 8, 18] mesh compression [4, 16] and digital geometry processing [5] Since in 3D computer graphics surfaces are 2D entities (2 manifolds) embedded in 3D space, a parameterization defines a mapping between regions on the 2D plane and the surface, ....

....parameterization are texture mapping and 3D painting (see Figures 7 and 8) Figure 8 was generated by the Deep Paint 3D tool, which was given the parameterization computed by our method. Such 3D painting applications provide the user the ability to draw directly on the 3D model surface [7]. When the user is painting on a certain polygon of the surface, the brush strokes are registered on the corresponding 2D polygon in the plane, computed by our parameterization. The strokes are displayed on the 3D surface using texture mapping, so that the parameterization is hidden from the user, ....

Pat Hanrahan and Paul E. Haeberli. Direct wysiwyg painting and texturing on 3d shapes. Computer Graphics (Proc. SIGGRAPH 90), 24(4):215--223, August 1990.

....to directly paint its vertices [1] However, in most cases, the desired precision for the colors is finer than the geometric details of the model. Assuming that the surface to be painted is provided with a parameterization, it is possible to use texture mapping to store colors in parameter space [9]. Parametric surfaces (such as NURBS) have a natural parameterization. For other representations, such as polygonal surfaces, finding a parameterization is non trivial. To decorate polygonal models with regular patterns, the lapped textures approach [26] can be applied: local overlapping ....

P. Hanrahan and P. Haeberli. Direct WYSIWYG painting and texturing on 3D shapes. In SIGGRAPH 90 Conf. Proc., pages 215--223. Addison Wesley, 1990.

....real. This includes two different aspects: how to define or control the content and how to represent the details. The first aspect is addressed by: interactive tools allowing the user to define explicitly the details, such as free form deformations (FFD) 24, 7] or direct painting on surface [16]. procedural tools which let the user control the parameters of an automatic detail generator, which can be generic [20, 11, 13] or specialized [12, 23, 22, 1, 32] simulation tools which reproduce physical laws to be solved, used in particular for cloth material [25, 5, 2] and for some ....

P. Hanrahan and P. E. Haeberli. Direct WYSIWYG painting and texturing on 3D shapes. In F. Baskett, editor, Computer Graphics (SIGGRAPH 90 Proceedings), volume 24, pages 215--223, Aug. 1990.

.... 3D interaction techniques permit the deduction of lighting from desired color [SDS 93] or from sketching highlights and shadow [PF92, PRJ97] In the recent lit sphere method, an artist paints an example sphere, which is remapped to an environment map for 3D rendering [SMGG01] 3D painting [HH90, ABL95, 3D] allows a user to edit the texture maps of the object space model using a 2D interface. Image based editing systems offer similar possibilities [SK98, OCDD01] and can be classified as 2.5D. 3D interaction techniques have been developed to inject some 3D attribute notions into an ....

P. Hanrahan and P. Haeberli. Direct WYSIWYG painting and texturing on 3D shapes. Computer Graphics (Proc. SIGGRAPH) , 1990.

....mapped textures have suffered from mapping distortion for a long time, despite various improvements. This constrains the designers to pre distort the texture drawing in order to compensate the distortion during mapping. Several solutions to this problem have been proposed: Direct painting (Hanrahan and Haeberli 1990) consists of painting the texture directly on the final surface and storing the color values in texture space. As the mapping distortion during the storage is the reverse of the one at rendering time, no distortion results (provided the mapping is bijective) Undistorted pattern mapping using ....

....and whitening under local pressure, no real motion occurs despite the evolving appearance, so no physical particle animation is needed. We will achieve the fake rendering of all these objects by directly painting them in the texture at their simulated location, in a way analogous to (Hanrahan and Haeberli 1990), excepted that the painting is temporary. 3 Contributions 3.1 Our model Our organ surface model consists of three layers to handle the three components of appearance, corresponding to three textures and to three rendering passes (see Fig. 3) the first one accounts for the organ skin ....

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Hanrahan, P. and P. E. Haeberli. Direct WYSIWYG painting and texturing on 3D shapes. In F. Baskett (Ed.), Computer Graphics (SIGGRAPH '90 Proceedings), Volume 24, pp. 215--223.

....in the short to medium term, and section 9 concludes with a summary and an indication of the challenges and future possibilities for research in this area. 2 Related Work 3D paint programs allow a user to modify (paint) directly onto the model rather than in texture space. Hanrahan and Haeberli[11] painted onto parameterized 3D meshes using a mouse interface, using an item buffer to pick the polygon and point of modification. This approach was extended to 3D input devices by Agrawala et al.[1] who built a system that allowed painting on scanned models of real objects, moving a tracked brush ....

P. Hanrahan and P. Haeberli. Direct wysiwyg painting and texturing on 3D shapes. In Computer Graphics, Proceedings of SIGGRAPH 90, volume 24, pages 303--310, Aug. 1990.

....on the scene geometry, provides a broader range of depth acquisition tools, and supports a variety of editing operations. Our work is also related to 3D painting, which is an adaptation of popular 2D image editing systems to the painting of textures and other attributes directly on 3D models [HH90, Met] This approach is, however, tightly constrained by the input geometry and the texture parameterization. 1.2 Overview This paper makes the following contributions: An image based system that is based on a depth image representation organized into layers. This representation is simple, ....

....can be used from any interactive viewpoint. The z buffer of the interactive view is read, and standard view warping [CW93, McM97] transforms screen coordinates into 3D points or into pixel indices in the reference image. The texture parameter buffers of Hanrahan and Haeberli could also be used [HH90] 3 Depth Assignment We have developed depth assignment tools to take advantage of the versatility of our representation. The underlying metaphor is to paint and draw depth like colors are painted, in the spirit of Kang [Kan98] This provides complete user control, but it also relies on the ....

P. Hanrahan and P. Haeberli. Direct wysiwyg painting and texturing on 3d shapes. Proc. of SIGGRAPH, 1990.

....of brush shape, dynamics, and loading, and is able to take advantage of 3D graphics hardware as well. User Interface: With a WYSIWYG paradigm, Hanrahan et al. allowed the user to paint directly onto a 3D model, by using standard graphics hardware to map the brush from screen space onto the model [HH90] Commercial systems, such as Z Brush [Pix00] and Deep Paint [hem00] also allow users to paint directly on surfaces, but this is accomplished with standard 2D brush footprints that are projected onto the surface of the 3D object. The brush itself is not three dimensional. Several of the more ....

Pat Hanrahan and Paul E. Haeberli. Direct WYSIWYG painting and texturing on 3D shapes. Computer Graphics (SIGGRAPH '90 Proceedings) , volume 24, pages 215--223, August 1990.

.... # 3D interaction techniques permit the deduction of lighting from desired color [SDS 93] or from sketching highlights and shadow [PF92, PRJ97] In the recent lit sphere method, an artist paints an example sphere, which is remapped to an environment map for 3D rendering [SMGG01] 3D painting [HH90, ABL95, 3D] allows a user to edit the texture maps of the object space model using a 2D interface. Image based editing systems offer similar possibilities [SK98, OCDD01] and can be classified as 2D # 2.5D. 2D # 3D interaction techniques have been developed to inject some 3D attribute notions ....

P. Hanrahan and P. Haeberli. Direct WYSIWYG painting and texturing on 3D shapes. Computer Graphics (Proc. SIGGRAPH) , 1990.

....angles for a given image is also provided. The technique incorporates a version of mip mapping where it is possible to use specific closer and further images to override the standard blending produced by mip mapping. This paper also combines the ideas of image based rendering with 3D painting [7], allowing the user to paint a view dependent texture map instead of, or in addition to, using captured images. 3D painting of view dependent texture maps allows the artist to paint effects that come and go based on the camera orientation and depth. To support 3D painting the algorithm employs ....

....of depth for procedural textures was introduced in [12] In [8] the authors introduce a technique for mipmapping painted or stroke based textures. We use ideas similar to the above for depth and mip mapping. The idea of painting directly on an object to produce a texture map was introduced in [7] and is now available in most commercial systems. This paper extends this notion to hierarchical and view dependent texture maps. 4 Preliminaries Before discussing the data structures and algorithm in detail, we first define two concepts which will be used throughout the paper. The first concept ....

Pat Hanrahan and Paul E. Haeberli. Direct wysiwyg painting and texturing on 3d shapes. Computer Graphics (Proceedings of SIGGRAPH 90), 24(4):215--223, August 1990.

....hardware projection. When ray casting is used, each pixel in frame N is projected from the camera s center of projection onto objects in world space and the Q(u,v,t) parametric coordinates of the object intersection is recorded. OpenGL may also be used to estimate motion via a two pass technique [Hanr90]. In the first pass, an Identifier (ID) Map is created by rendering each primitive in the scene with a unique color. This enables us to determine the objects struck by the projected pixels. In the second pass, a UV Map is generated that contains 40 the barycentric u and v coordinates of each ....

Pat Hanrahan and Paul Haeberli. Direct WYSIWYG painting and texturing on 3D shapes. In SIGGRAPH 90 Conference Proceedings, pages 215223, August 1990.

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Pat Hanrahan and Paul E. Haeberli. Direct WYSIWYG painting and texturing on 3D shapes. Computer Graphics (Proceedings of ACM SIGGRAPH 90), 24(4):215--223, August 1990.

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P. Hanrahan and P. Haeberli. Direct WYSIWYG painting and texturing on 3D shapes. Proc. of SIGGRAPH '90:215--223, 1990. 1, 3

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P. Hanrahan and P. E. Haeberli. Direct wysiwyg painting and texturing on 3d shapes. In Computer Graphics (Proceedings of SIGGRAPH 90), volume 24, pages 215--223, Aug. 1990.

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Pat Hanrahan and Paul E. Haeberli. Direct WYSIWYG painting and texturing on 3D shapes. In SIGGRAPH '90 Conference Proceedings, Annual Conference Series, pages 215--223. ACM SIGGRAPH, August 1990.

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P. Hanrahan and P. Haeberli. Direct wysiwyg painting and texturing on 3d shapes. In SIGGRAPH 90 Conference Proceedings, pages 215--223. ACM SIGGRAPH, Addison Wesley, 1990.

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Pat Hanrahan and Paul E. Haeberli. Direct WYSIWYG painting and texturing on 3D shapes. In Proc. SIGGRAPH 1990.

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Pat Hanrahan and Paul E. Haeberli. Direct WYSIWYG painting and texturing on 3D shapes. Computer Graphics (Proceedings of ACM SIGGRAPH 90), 24(4):215--223, August 1990.

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P. Hanrahan and P. Haeberli. Direct WYSIWYG painting and texturing on 3D shapes. In Forest Baskett, editor, Computer volume 24, pages 215--223. Addison-Wesley, August 199. ISBN 0-201-50933-4.

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Pat Hanrahan and Paul E. Haeberli. Direct WYSIWYG Painting and Texturing on 3D Shapes. In SIGGRAPH, 1990.

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Hanrahan, Pat and Paul Haeberli. Direct WYSIWYG Painting and Texturing on 3D Shapes. Computer Graphics, 24(4), August 1990.

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