Paint brushes are modeled as a collection of bristles which evolve over the course of the stroke, leaving a realistic image of a sumi brush stroke. The major representational units are (1) Brush: a compound object composed of bristles, (2) Stroke: a trajectory of position and pressure, (3) Dip: a description of the application of paint to a class of brushes, and (4) Paper: a mapping onto the display device. This modular system allows experimentation with various stochastic models of ink flow and color change. By selecting from a library of brushes, dips, and papers, the stroke can take on a wide variety of expressive textures.

Hairy brushes

This paper describes a 3D object-space paint program. This program allows the user to directly manipulate the parameters used to shade the surface of the 3D shape by applying pigment to its surface. The pigment has all the properties normally associated with material shading models. This includes, but is not limited to, the diffuse color, the specular color, and the surface roughness. The pigment also can have thickness, which is modeled by simultaneously creating a bump map attached to the shape. The output of the paint program is a 3D model with associated texture maps. This information can be used with any rendering program with texture mapping capabilities. Almost all traditional techniques of 2D computer image painting have analogues in 3D object painting, but there are also many new techniques unique to 3D. One example is the use of solid textures to pattern the surface.

Direct WYSIWYG painting and texturing on 3D shapes: (An error occurred during the printing of this article that reversed the print order of pages 118 and 119. While we have corrected the sort order of the 2 pages in the DL, the PDF did not allow us to repaginate the 2 pages.)

This paper describes a biologically motivated method of texture synthesis called reaction-diffusion and demonstrates how these textures can be generated in a manner that directly matches the geomet...

Generating textures on arbitrary surfaces using reaction-diffusion

Computer graphics research has concentrated on creating photo-realistic images of synthetic objects. These images communicate surface shading and curvature, as well as the depth relationships of ob...

Paint by numbers: abstract image representations

This paper proposes a new method to synthesize and inpaint geometric textures. The texture model is composed of a geometric layer that drives the computation of a new grouplet transform. The geometry is an orientation flow that follows the patterns of the texture to analyze or synthesize. The grouplet transform extends the original construction of Mallat and is adapted to the modeling of natural textures. Each grouplet atoms is an elongated stroke located along the geometric flow. These atoms exhibit a wide range of lengths and widths, which is important to match the variety of structures present in natural images. Statistical modeling and sparsity optimization over these grouplet coefficients enable the synthesis of texture patterns along the flow. This paper explores texture inpainting and texture synthesis, which both require the joint optimization of the geometric flow and the grouplet coefficients.

/pdf/texture-synthesis-with-grouplets-wemjvm0ziz.pdf

Texture Synthesis with Grouplets

The problem of digital painting is considered from a signal processing viewpoint, and is reconsidered as a problem of directed texture synthesis. It is an important characteristic of natural textur...

Texture synthesis for digital painting

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Texture synthesis for digital painting