• International Journal of Internet, Broadcasting and Communication
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• v.15 no.4
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• pp.178-184
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• 2023

AI image generation technology has become a popular research direction in the field of AI, which is widely used in the field of digital art and conceptual design, and can also be used in the process of 3D texture mapping. This paper introduces the production process of 3D texture mapping using AI image technology, and discusses whether it can be used as a new way of 3D texture mapping to enrich the 3D texture mapping production process. Two AI deep learning models, Stable Diffusion and Midjourney, were combined to generate high-quality AI textures. Finally, the lmage to material function of substance 3D Sampler was used to convert the AI-generated textures into PBR 3D texture maps. And applied in 3D environment. This study shows that 3D texture maps generated by AI image generation technology can be used in 3D environment, which not only has short production time and high production efficiency, but also has rich changes in map styles, which can be quickly adjusted and modified according to the design scheme. However, some AI texture maps need to be manually modified before they can be used. With the continuous development of AI technology, there will be great potential for further development and innovation of AI-generated image technology in the 3D content production process in the future.

• Proceedings of the Korean Society of Surveying, Geodesy, Photogrammetry, and Cartography Conference
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• 2006.04a
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• pp.369-373
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• 2006

A 3D modeling of urban area can be composed the terrain modeling that can express specific and shape of the terrain and the object modeling such as buildings, trees and facilities which are found in urban areas. Especially in a 3D modeling of building, it is very important to make a unit model by simplifying 3D structure and to take a texture mapping, which can help visualize surface information. In this study, the texture mapping technique, based on library for 3D urban modeling, was used for building modeling. This technique applies the texture map in the form of library which is constructed as building types, and then take mapping to the 3D building frame. For effectively apply, this technique, we classified buildings automatically using LiDAR data and made 3D frame using LiDAR and digital map. To express the realistic building texture, we made the texture library using real building photograph.

• Journal of the Korea Computer Graphics Society
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• v.6 no.4
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• pp.35-42
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• 2000

3D texture mapping generates highly natural visual effects in which objects appear carved from lumps of materials rather than laminated with thin sheets as in 2D texture mapping. Storing 3D texture images in a table for fast mapping computations, instead of evaluating procedures on the fly, however, has been considered impractical due to the extremely high memory requirement. Recently, a practical real-time 3D texture mapping technique was proposed in [11], where they attempt to resolve the potential texture memory problem by compressing 3D textures using a wavelet-based encoding method. In this paper, we consider two other encoding schemes that could also be applied to the compression-based 3D texture mapping. In particular, we extend the vector quantization and FXT1 for 3D texture compression, and compare their performance with the wavelet-based encoding scheme.

• Proceedings of the KSRS Conference
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• 2003.11a
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• pp.744-746
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• 2003

A 3D modeling of urban area can be composed the terrain modeling that can express specific and shape of the terrain and the object modeling such as buildings, trees and facilities which are found in urban areas. Especially in a 3D modeling of building, it is very important to make a unit model by simplifying 3D structure and to take a texture mapping, which can help visualize surface information. In this study, the texture mapping technique, based on library for 3D urban modeling, was used for building modeling. This technique applies the texture map in the form of library which is constructed as building types, and then take mapping to the 3D building frame. For effectively apply, this technique, we classified buildings automatically using LiDAR data and made 3D frame using LiDAR and digital map. To express the realistic building texture, we made the texture library using real building photograph.

• Proceedings of the Korean Operations and Management Science Society Conference
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• 2003.05a
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• pp.456-463
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• 2003

This paper presents a texture mapping method of a 3D scanned model with 2D images from different views. The texture mapping process consists of two steps Registration of the 3D facet model to the images by interactive points matching, and 3D texture mapping of the image pieces to the corresponding facets. In this paper. some implem entation issues and illustrative examples are described.

• Journal of the Korean Society of Costume
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• v.58 no.10
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• pp.65-77
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• 2008

The purpose of this study is to analyze the correlation between the density, the Count and the width of cross section in 2D function through comparison the difference of simulated fabrics based on the various yarns, and to compare the 3D effect by Lay Mapping of diverse fabrics. The method of research is to weave the eight fabrics composed of cotton, linen, worsted, slender yarn, loop, $m{\acute{e}}lange$, woolen, and yarn twist with Hi-Tex program, and to practice 3D mapping with Hi-Print program. As a mapping object, the flared skirt which is a basic costume item is selected. As a result, the thickness of yarn in CAD system was fixed by the width of cross section rather than Count, especially by the width of core section not including the fluff section. The type of yarn such as cotton yarn, linen yarn, and worsted had effect on the shape of texture, but had few interrelations with dimension. In the case of 3D mapping, the textural characteristic and the dimension were presented precisely, whereas there were several limitations. First, the thickness of tissue has not been represented. Secondly, the effect of texture such as fuzzy look, loop was not expressed on the skirt outline including sideline and hemline. Thirdly, the difference of silhouette was not distinct. The common point in 2D and 3D operations is that the representation of texture is relatively accurate and that is difficult to measure and manifest of thickness, the side. For more professional digitalizing in fashion industry, above all in the domain of 3D, it must be supplement the subdivided and differentiated mapping process according to the texture, deviating from the existing analog-based organization which has to designate the form and silhouette suitable for tissue.

• International Journal of Contents
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• v.12 no.2
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• pp.1-5
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• 2016

Extensible 3D (X3D) is the ISO standard for defining 3D interactive web- and broadcast-based 3D content integrated with multimedia. With the advent of this integration of interactive 3D graphics into the web, users can easily produce 3D scenes within web contents. Even though there are diverse texture nodes in X3D, projective textures are not provided. We enable X3D to provide SingularProjectiveTexture and MultiProjectiveTexture nodes by materializing independent nodes of projector nodes for a singular projector and multi-projector. Our approach takes the creation of an independent projective texture node instead of Kamburelis's method, which requires inconvenient and duplicated specifications of two nodes, ImageTexture and Texture Coordinate.

• The KIPS Transactions:PartA
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• v.17A no.6
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• pp.281-288
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• 2010

In this paper, we describe the development of a system for generating a 3-dimensional human face using 3D scanned facial data and photo images, and morphing animation. The system comprises a facial feature input tool, a 3-dimensional texture mapping interface, and a 3-dimensional facial morphing interface. The facial feature input tool supports texture mapping and morphing animation - facial morphing areas between two facial models are defined by inputting facial feature points interactively. The texture mapping is done first by means of three photo images - a front and two side images - of a face model. The morphing interface allows for the generation of a morphing animation between corresponding areas of two facial models after texture mapping. This system allows users to interactively generate morphing animations between two facial models, without programming, using 3D scanned facial data and photo images.

• Journal of the Korea Computer Graphics Society
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• v.3 no.1
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• pp.23-28
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• 1997

We reconstruct 3D surface from range image that consists of range map and texture map, and simplify the reconstructed triangular mesh. In this paper, we introduce fast simplification method that is able to glue texture to 3D surface model and adapt to real-time multipled level-of detail. We will verify the efficiency by applying to the scanned data of Korean relics.

• Journal of Digital Convergence
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• v.13 no.11
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• pp.331-336
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• 2015

The texture mapping used for the low-polygon models is one of the important workflows in the graphical representation of the 3D game. Only one hand painted texture is mapped on the surface of the 3D model and represents the color of the material and visual sense of touching by itself in that process. In the 3D game graphics, it is very important to visualize the textile sensation such as protruding and denting. It can be interpreted by the Gestalt Law to recognize a plane as a 3D sense of volume. Moreover, the concept of Affordance is necessary to recognize and perceive the textile sensation. It means visual recognizing of that relationship in the learning process. In this paper, The questionnaire survey targeting 3D game graphic designers is carried out. By analyzing the survey results, we suggest the important characteristic in the process of making hand painted texture.