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Subject: Painting simulation

Painting simulation

From: Walter Henry <whenry>
Date: Sunday, May 17, 1992
The following appeared on rec.arts.fine (it appears to be a crosspost
from graphics [at] scri1__scri__fsu__edu) and is reposted here without the
knowledge or consent of the author.

  From: axolotl [at] socs__uts__EDU__AU (Iain Sinclair)
  Newsgroups: rec.arts.fine
  Subject: Simulated painting on the computer
  Date: 15 May 92
  Followup-To: rec.arts.fine
  Organization: University of Technology, Sydney
  Lines: 39

  wayne [at] stan__xx__swin__oz__au (Wayne Cosshall) writes:
   >I am interested in simulating the surface texture, etc of real paint
   >and canvas/paper textures using a computer graphics system.
   >Specifically I am writing a system to automatically convert a
   >photograph to a painting. I am aware of work that has been done at
   >Hokkaido University but have so far been unable to find any papers on

  There exists a commercial system which simulates the effect of
  charcoal, oil pastels, oil paints and graphite pencils, on various
  (rough-textured paper, muslin, etc.) backgrounds.  Its name eludes me,
  but I can find out more info if you're interested.  (It was advertised
  in Computer Graphics World last year.)  The results are quite good,
  with apparent "shadowing" from paint blobs, etc.

  There's also last year's SIGGRAPH paper on "impressionistic" painting
  systems, for which an (undocumented!) public-domain SGI executable
  exists.  Although its physically-based modeling is minimal, it can do
  a superb job of mimicking the results of "traditional" painting.

  Another recent paper in this area (auto-producing "paintings" from
  images) exists, specializing in simulating oils (?).  Either in the
  Visual Computer or IEEE CG & Applications, I think (last 6 months).

  For any given medium, there is a huge range of effective ways to
  paint/draw.  Just thinking about watercolor, for instance, all the
  variables... the dampness/dispersion qualities of the paper, how
  quickly the paper dries, the amount any given area has been "worked",
  the pigment/water ratio in the brush, the zillion ways in which the
  brush is used to blend/apply pigment, etc.   It's a challenge..

  Iain Sinclair   axolotl [at] socs__uts__edu__au

                  Conservation DistList Instance 5:57
                   Distributed: Sunday, May 17, 1992
                        Message Id: cdl-5-57-009
Received on Sunday, 17 May, 1992

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