Download A Computational Approach to Digital Chinese Painting and by Dr. Songhua Xu, Prof. Francis C. M. Lau, Prof. Yunhe Pan PDF

By Dr. Songhua Xu, Prof. Francis C. M. Lau, Prof. Yunhe Pan (auth.)

"A Computational method of electronic chinese language portray and Calligraphy" is a technical booklet on machine technological know-how and its functions within the arts. It makes a speciality of Oriental electronic arts, specifically chinese language arts and portray, providing a multi-disciplinary remedy from the angles of special effects, interactive concepts, human-computer interplay, and synthetic intelligence. The ebook additionally discusses the original problems and demanding situations of utilizing the pc to supply Oriental arts, together with study effects via the authors and their classes and engineering reviews in the back of those efforts.

Songhua Xu is a working laptop or computer scientist of Zhejiang college and Yale college, in addition to an honorary researcher of the college of Hong Kong. Francis C.M. Lau is Professor on the collage of Hong Kong the place he leads the platforms examine crew within the division of laptop technology. Yunhe Pan is Professor of laptop technology at Zhejiang collage in addition to Deputy President of chinese language Academy of Engineering.

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Extra resources for A Computational Approach to Digital Chinese Painting and Calligraphy

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In contrast, these functions in our brains do not seem to follow any clear and strict mathematic principle. We commented in the previous section on the hindrance to success caused by the computer’s blindfolding in evaluating a piece of artwork. To get around the problem, the presence of a feedback loop might offer some help. g. the backward propagation mechanism in training a neural network. Because the computer cannot quite tell what is aesthetically pleasing, without the availability of such any feedback signal, performance optimization through any automatic means is hard to realize.

Salisbury et al. [SWHS97] extended the above system by taking into account the orientation of strokes when producing illustrations in pen-and-ink style. Similar to the system introduced in [SABS94], this new system needs a greyscale image as initial input to specify the tone of the expected penand-ink illustration. The new features of the system include: 1) users can provide a direction field to indicate the direction of strokes during the stroke placement process; 2) users can provide a stroke example set for the algorithm to pick from on the fly as the template for the strokes when generating the illustration.

The weighting parameters balancing these two terms are determined according to the cosine of the angle between light direction and surface normal. ” With such a preset choice, the cool color is computed from a linear combination of blue and black while the warm color is computed from yellow and the object’s color. Such a linear blending essentially achieves a so-called undertone effect which is often used by artists empirically to reach the goal stated in point 2 above. Finally, to produce an anisotropic look for metallic objects, twenty stripes in randomly set intensities are mapped onto the object surface following the object’s parametric axis that demonstrates the maximum curvature.

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