This article proposes a technique to animate a Chinese style painting given its image. We first extract descriptions of the brush strokes that hypothetically produced it. The key to the extraction process is the use of a brush stroke library, which is obtained by digitizing single brush strokes drawn by an experienced artist. The steps in our extraction technique are first to segment the input image, then to find the best set of brush strokes that fit the regions, and, finally, to refine these strokes to account for local appearance. We model a single brush stroke using its skeleton and contour, and we characterize texture variation within each stroke by sampling perpendicularly along its skeleton. Once these brush descriptions have been obtained, the painting can be animated at the brush stroke level. In this article, we focus on Chinese paintings with relatively sparse strokes. The animation is produced using a graphical application we developed. We present several animations of real paintings using our technique.

https://www.microsoft.com/en-us/research/wp-content/uploads/2016/02/tr-2006-33.pdf

Animating Chinese paintings through stroke-based decomposition

We propose an interactive sketch-based system for rendering oriental brush strokes on complex shapes. We introduce a contour-driven approach; the user inputs contours to represent complex shapes, the system estimates automatically the optimal trajectory of the brush, and then renders them into oriental ink paintings. Unlike previous work where the brush trajectory is explicitly provided as input, we automatically estimate this trajectory from the outline of the shapes to paint using a three-stages algorithm; first complex shapes are decomposed into elementary shapes that can be rendered with a single brush stroke. Second, we formulate the optimal brush trajectory estimation as the minimization of an energy function that measures the quality of the trajectory constrained by the variation along a stroke of the painting process parameters, such as the footprint position, size, orientation, and angular velocity. Finally, the estimated trajectories are rendered into brush strokes by mapping footprint textures scanned from real images. We combine the proposed framework with an interactive segmentation in order to convert real images into Oriental ink paintings. Experiments on complex shapes show that the proposed contour-based approach produces a large variety of strokes compared to trajectory-based approaches. It is particularly suitable for converting real images into Oriental ink paintings with minimum interaction.

IR2s: interactive real photo to Sumi-e

A novel modeling and representation approach for brushstroke and animation is proposed in this paper based on disk B-spline curve (DBSC). This method represents not only the 2D region of the stroke but also its centerline so that various attributes like scalar and vector field can be applied to the stroke. Given two or more animation drawings represented by DBSC, the intermediate frames can be automatically generated to form a smoother sequence, either linearly or non-linearly. Moreover, compared to other models like polygon and triangle mesh, DBSC allows more flexible manipulation of brushstroke. With smaller dataset, DBSC has advantages to store and transmit the model across the network thus may be suitable to online games and animation.

Artistic brushstroke representation and animation with disk b-spline curve

Extended papers from NPAR 2010: Contour-driven Sumi-e rendering of real photos

We present algorithms that allow for real-time rendering of 3D-scenes with a watercolor painting appearance. Our approach provides an appropriate simplification of the visual complexity, imitates characteristic natural effects of watercolor, and provides two essential painting techniques: the wet-on-wet and the wet-on-dry painting. We concentrate on efficient algorithms based on image space processing rather than on an exact simulation. This allows for the real-time rendering of 3D-scenes. During an animation a high frame-to-frame coherence can be achieved due to a stable segmentation scheme. Finally, we seamlessly integrate a smooth illumination into the watercolor renderings using information from the 3D-scene.

/pdf/real-time-watercolor-for-animation-4uh8e30qa2.pdf

Real-Time Watercolor for Animation

In this paper we present a novel method of simulating the elegant brushstrokes found in calligraphic lettering and painting. Such simulations have earlier been attempted with physically based or texture-mapped approaches, methods that succeeded in producing aesthetic, but also computationally intensive, results. We introduce a brushstroke model based on a parametric curve, the interval spline. By defining brush effects as mathematical constraints between knots, we generate artistic strokes that render faster than earlier methods and are also resistant to scaling. More significantly, because the construction of the interval spline curve is based on changes in the shape of the brush as it moves along a path, variations within a single stroke not fully modeled with earlier attempts are inherently captured by this representation. We present a system for painting with interval spline strokes and discuss a number of examples created with this method.

/pdf/simulating-artistic-brushstrokes-using-interval-splines-2pi8me6wxj.pdf

Simulating artistic brushstrokes using interval splines

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Simulating artistic brushstrokes using interval splines