• Title/Summary/Keyword: Brush Strokes

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Edge Based Dynamic Brush Stroke Generation for Painterly Rendering (회화적 렌더링을 위한 에지 기반 동적 브러시 스트로크 생성에 관한 연구)

  • Park Youngsup;Yoon Kyunghyun
    • Journal of Korea Multimedia Society
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    • v.8 no.2
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    • pp.164-173
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    • 2005
  • Painterly rendering may bring various results through the parameters that determine the characteristics of brush strokes such as, color, orientation, size, and shape. In this paper, we propose the most adaptive brush stroke generation for source images, using reference data. Our algorithm used Colors formed by actual palette colors from artists. To create the palette, we have referred mostly to colors used in Van Gogh's works and determined the color of brush strokes by transferring it to the most similar one, through comparing colors used in source images and the palette colors. Also, In order to emulate a brush stroke with dynamic properties like Van Gogh styles we have applied a brush stroke orientation that surrounds the edges by referring to the edge orientation of source images. The sizes were determined depending on the different sizes of the objects from wide to narrow brushes. Finally, we applied spline curve shapes to simulate curves and swirls like Van Gogh styles. The brush strokes created in such method, were applied separately according to its segmented images, and composed after rendering.

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Motion Map Generation for Maintaining the Temporal Coherence of Brush Strokes in the Painterly Animation (회화적 애니메이션에서 브러시 스트로크의 시간적 일관성을 유지하기 위한 모션 맵 생성)

  • Park Youngs-Up;Yoon Kyung-Hyun
    • Journal of KIISE:Computer Systems and Theory
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    • v.33 no.8
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    • pp.536-546
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    • 2006
  • Painterly animation is a method that expresses painterly images with a hand-painted appearance from a video, and the most crucial element for it is the temporal coherence of brush strokes between frames. A motion map is proposed in this paper as a solution to the issue of maintaining the temporal coherence in the brush strokes between the frames. A motion map is the region that frame-to-frame motions have occurred. Namely, this map refers to the region frame-to-frame edges move by the motion information with the motion occurred edges as a starting point. In this paper, we employ the optical flow method and block-based method to estimate the motion information. The method that yielded the biggest PSNR using the motion information (the directions and magnitudes) acquired by various methods of motion estimation has been chosen as the final motion information to form a motion map. The created motion map determine the part of the frame that should be re-painted. In order to express painterly images with a hand- painted appearance and maintain the temporal coherence of brush strokes, the motion information was applied to only the strong edges that determine the directions of the brush strokes. Also, this paper seek to reduce the flickering phenomenon between the frames by using the multiple exposure method and the difference map created by the difference between images of the source and the canvas. Maintenance of the coherence in the direction of the brush strokes was also attempted by a local gradient interpolation to maintain the structural coherence.

Motion Areas based Painterly Animation using Various Edges (다양한 에지를 이용한 모션영역 기반 회화적 애니메이션)

  • Park, Young-Sup;Yoon, Kyung-Hyun
    • Journal of the Korea Computer Graphics Society
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    • v.14 no.1
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    • pp.1-10
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    • 2008
  • In this paper, we present a novel method for creating a hand-painted painterly animation, starting from a video input. One of the most important aspects in painterly animation is to maintain the temporal coherence of brush strokes between frames, which plays a vital role to warrant a smooth transition between frames. Our unique utilization of motion areas enables users to produce a smooth movement of brush strokes. The motion areas are the parts where objects move between frames and they are categorized in two main types. A strong motion area is the part where the movement of real edges and hidden edges is determined by the motion vector between frames. The real edge is the outline of an object and the hidden edge is the boundary to represent the direction of a grain of intensity in the areas with gradations. A weak motion area is the remainder after subtracting the strong motion area from the entire motion area. Temporally coherent painterly animation is achieved by re-painting the brush strokes on the canvas using two motion areas, resulting in a natural and hand-painted appearance.

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A Study on the Dynamic Painterly Stroke Generation for 3D Animation (3차원 애니메이션을 위한 회화적 스트로크의 동적 관리 기법)

  • Lee, Hyo-Keun;Ryoo, Seung-Taek;Yoon, Kyung-Hyun
    • Journal of Korea Multimedia Society
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    • v.8 no.4
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    • pp.554-568
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    • 2005
  • We suggest the dynamic stroke generation algorithm that provides frame-to-frame coherence in 3D non-photorealistic animations. We use 3D particle system to eliminate the visual popping effect in the animated scene. Since we have located particles on the 3D object's surface, the coherence is maintained when the object or the camera is moving in the scene. Also, this algorithm maintains the coherence when camera is zooming in/out. However, the brush strokes on the surface also zoom in/out. This result(too large or too small brush strokes) can not represent hand-crafted brush strokes. To remove this problem, we suggest stroke generation algorithm that dynamically maintains the number of brush stroke and its size during camera zoom in/out.

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Painterly Rendering with Directional Stroke (영역 분할 및 병합을 이용한 방향성을 가지는 스트로크 생성에 관한 연구)

  • Cha, Jeong Seob;Lee, Hyo Keun;Park, Young Sup;Yoon, Kyung Hyun
    • Journal of the Korea Computer Graphics Society
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    • v.8 no.1
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    • pp.21-28
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    • 2002
  • This paper presents a brush stroke direction creation method to distill painterly expressions from picture images. In actual paintings, each brush stroke has the same directionality in one segmented area. but directionality changes in the area of image border edges. This study employed the following methods to implement the directionality of the brush stroke area by: (1) detecting edge in input images, (2) region splitting and merging based on quad-tree division method, and (3) composing a direction map to create brush strokes with the same directionality in the segmented area. The results of the implementation enabled the simulation of the directionality of the stroke area shown in actual paintings.

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MHN Filter-based Brush Stroke Generation for Painterly Rendering (회화적 렌더링을 위한 MHN 필터 기반 브러시 스트로크 생성기법)

  • Seo, Sang-Hyun;Yoon, Kyung-Hyun
    • Journal of Korea Multimedia Society
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    • v.9 no.8
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    • pp.1045-1053
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    • 2006
  • We introduce a new method of painterly rendering. Instead of using the gradient direction of the source image to generate a brush stroke, we extract regions that can be drawn in one stroke using MHN filtering followed by identification of connected components, and make a brush stroke from each, based on an approximation to the medial axis. This method results in realistic-looking brush strokes of varying width that have an irregular directions where necessary.

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A Study on Pointillistic Rendering Based on User Defined Palette (사용자 정의 팔레트에 기반한 점묘화 렌더링에 관한 연구)

  • Seo, Sang-Hyun;Yoon, Kyung-Hyun
    • Journal of Korea Multimedia Society
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    • v.11 no.4
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    • pp.554-565
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    • 2008
  • The French neo-impressionist painter, George Seurat, introduced pointillism under the theory that the individual pigments of colors on the canvas are reconstructed on the human retina. Pointillism is a painting technique in which many small brush strokes are combined to form a picture in the canvas. When such a painting is seen from a far, the individual stroke color are unnoticeable and they are seen as intermixed colors. This is called juxtaposed color mixture. In this paper, we present a painterly rendering method for generating the pointillism images. For expressing countless separate dots which shown in the pointillism works, we propose a hierarchical points structure using Wang The method. Also a user defined palette is constructed based on the usage that Neo-Impressionist painter works on his palette. Lastly, based on this, a probability algorithm will be introduced, which divides the colors in the image(sampled by hierarchical point structure) into juxtaposed colors. A hierarchical points set which undergone juxtaposed color division algorithm is converted into brush strokes.

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The Calligraphy theory and the aesthetic of Calligraphy on Wongyo Lee KwangSa (원교(圓嶠) 이광사(李匡師)의 서예론(書藝論)과 서예심미(書藝審美))

  • Kim, Doyoung
    • The Journal of the Convergence on Culture Technology
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    • v.6 no.4
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    • pp.179-186
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    • 2020
  • Wongyo Lee KwangSa (1705~1777) is a scholar and artist who represented an era in the period of change and revival of Korean culture and art in the 18th century. In 1755 (31st Yeongjo), he was transferred to Sinjido due to the Naju Byeokseo Incident, and died in exile for a total of 23 years. He tried to correct the problems of the flow of calligraphy in common writing and the flow of calligraphy in the Joseon Dynasty, and wrote 『Wonkyo Seogyeol』. By realizing an original artistic state that is evaluated as having completed the 'Dongguk Jinche', which is a unique and subjective and self-conscious calligraphic flow of the Korean people who wants to reestablish the essence of calligraphy, it has had an absolute influence on the Honam area. Wonkyo's calligraphy aesthetics are developed into the beauty of ChanggyeongBalsog based on Shimjin of Yangminghak, Yanggangmi of Power of controlling all the stands of brush hair, and Vitality of Push out the brush with all your might. He recognized free sculpting and energetic, muscular strokes as the key to calligraphy, and suggested honing the old tombstones written in JeonYe. Vibrant stroke means that Cheongi naturally permeates in the midst of Samgwa and Gilgok, and the brush is operated with Push out the brush with all your might of Power of controlling all the stands of brush hair. These calligraphy aesthetics radiated sinchae with geungol and singi, and were expressed in Wongyo font, full of vitality as a living creature, pursuing the unique pilgrimage and pilgrimage unique to our nation, revealing the true nature of nature.

The Korean Kugyol(口訣) and its influence on Japanese Kunten(假片) (한.일간(韓.日間)의 문자교류(文字交流)에 대하여 -불교(佛敎) 문화(文化)의 흐름 속에서 고대(古代) 한.일관계(韓.日關係)를 조명(照明)함-)

  • Kim, Young-Wook
    • Lingua Humanitatis
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    • v.8
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    • pp.199-221
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    • 2006
  • The writing systems of the Silla dynasty, the Kugyol(口訣), had influenced the earlier states of Japanes Kunten(假片) during the 8th century. Japanese developed their own writing system, Kunten(訓点) after the 9th century. The Silla Kugyol was inscribed by Gagpil(角筆), a kind of ancient stylus, which seems to be originated in China and India. There are two main streams of Asian script culture. One is from China: a brush-pen culture for East asian calligraphy, named Seoye(書藝) or Seodo(書道). The other is from India: a tusk-pen culture for inscribing Buddha's words. In Korean peninsular, we can find the traces from Buddist texts inscribed by the Gagpil, a tusk-pen. We can find new writing system in the books of the Silla, penod, Panbilyanglon(判比量論), Hwaeommuneuiyogyol(華嚴文義要訣) etc. The scripts inscribed by gagpil was a totally phonetic system with dots and lines etc., like Hangul strokes was invented by I king Sejong 800 years later. The old system was used until 15th century before the invention of Hangul scripts.

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Experimental brush wear pattern and cariostatic effect of Biscover (Biscover의 잇솔질에 따른 마모양상과 항우식 효과)

  • Oh, Eun-Ju;Park, Song-Soo;Jang, Mun-Ju;Jeon, Young-Mi;Kim, Jong-Ghee
    • The korean journal of orthodontics
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    • v.38 no.3
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    • pp.214-222
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    • 2008
  • Objective: The aim of this study was to investigate the experimental brush wear pattern of a light cured surface sealant, Biscover (Bisco, Schaumburg, IL), and to evaluate its cariostatic effect. Methods: Caries-free human premolars were used for the Biscover coating group (n = 90) and the control group (n = 10). The Biscover coating group was randomly assigned to nine subgroups of 10 each and the control group was assigned to two subgroups of 5 each according to the number of brushing strokes. An experimental 3-body wear test was conducted under different strokes of wear test. Tooth-brushing was accomplished with movement of each brush head set at a frequency of 100 rpm under a force of 1.5N, Surface roughness was tested before, and after Biscover coating, and after brushing. Then, each of the 10 teeth of both groups were placed in artificial caries inducing solution for 7 days. All tooth surfaces were assessed using scanning electron microscopy. Results: Biscover coated surfaces showed a smoother texture than enamel surfaces. The roughness was increased after experimental brushing and after 10,800 brushing strokes, the whole layer of Biscover wore out. However, teeth in the Biscover coating group had a cariostatic effect in cariogenic conditions. Conclusions: We suggest that white lesions in orthodontic patients can be suppressed by topical applications of Biscover.