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研究生:張欣怡
研究生(外文):Hsin-Yi Chang
論文名稱:中國水墨畫嶺南派風格之錦鯉合成
論文名稱(外文):The Synthesis of Lingnan School Painting
指導教授:施仁忠施仁忠引用關係
指導教授(外文):Zen-Chung Shih
學位類別:碩士
校院名稱:國立交通大學
系所名稱:資訊科學與工程研究所
學門:工程學門
學類:電資工程學類
論文種類:學術論文
論文出版年:2006
畢業學年度:94
語文別:英文
論文頁數:59
中文關鍵詞:非擬真顯像技術
外文關鍵詞:NPR
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嶺南畫派是本世紀興起的重要中國水墨畫畫派之一。以傳統國畫技巧為基礎,結合西畫技巧,而成為此派的特色。嶺南派的題材廣泛,許多作品都可看到以花鳥、走獸、昆蟲和魚等為主角。本篇論文即著重於嶺南畫派中的錦鯉畫法,使用者輸入一張錦鯉張照片,系統自動抓出影像輪廓、魚鰭和魚鱗資訊,產生毛筆效果。再利用畫家上色方法去模擬水和顏料在紙上的擴散,並仿造嶺南畫派的渲染技法。如此,使用者便能透過現有的錦鯉圖片,不需要瞭解複雜的水墨技巧,在短時間產生具有嶺南派風格的繪畫。
Since the beginning of twentieth century, the Lingnan School Painting is an important Chinese Ink Painting school. It's characteristic is based on the traditional Chinese Painting skill and Combined the skill of the western drawing. The subject matter of the Lingnan Painting is widespread, and it contains Birds and Flowers Painting, Beast Painting, Insect Painting and Fish Painting, etc. In this thesis, we focus on the embroidered fish drawing in the Lingnan Painting. Input a photo of embroidered fishes, we apply the brush strokes to the outline and simulate the water and pigment diffusion effects on paper to imitate washing skill. Therefore, user may generate the Lingnan Painting style easily without familiar with the complicated painting skills.
ABSTRACT (in Chinese)...........................I
ABSTRACT (in English)...........................II Acknowledgements................................III Contents........................................IV
List of Figures.................................VI
CHAPTER 1 Introduction..........................1
1.1 Motivation..................................1
1.2 Overview....................................2
1.3 Thesis Organization.........................2
CHAPTER 2 Related Works.........................5
2.1 Brush Models................................5
2.2 Ink and Color Diffusion.....................6
CHAPTER 3 Background............................8
3.1 Preliminary of Lingnan School Painting......................................8
3.1.1 The History about Lingnan School Painting................................8
3.1.2 The character of Lingnan School Painting................................9
3.2 The Painting Procedure for Embroidered Fish...................................10
CHAPTER 4 Stroke Generation....................12
4.1 The Brush Model of Horse Hair Brush........14
4.1.1 Center stroke............................14
4.1.2 Side stroke..............................19
4.1.3 Ink Depositing Mechanism.................21
4.2 Contour Sketching on Fish's Body and Scales......................24
4.2.1 Edge Extraction.........................24
4.2.2 Stroke Definition.......................26
4.2.3 Vectorization...........................29
4.2.4 Apply Brush Mode........................30
4.2 Contour Sketching on Fins.................30
4.3.1 Sketching Positions Generation..........30
4.3.2 Apply Brush Model.......................33
CHAPTER 5 Washing.............................35
5.1 Washing Region............................37
5.2 Washing Model.............................37
5.3 Color Mixture.............................45
CHAPTER 6 Implementation and Results..........48
CHAPTER 7 Conclusion and Future Works.........56 Reference.....................................58
[1] 王禮溥編著,嶺南畫派,藝術圖書公司印行。
[2] 朱子弘著,國畫色彩研究,藝術家出版。
[3] 林湖奎繪著,金魚•錦鯉,藝術圖書公司印行。
[4] 崔慶忠著,圖解中國繪畫史,揚智文化事業份有限公司出版。
[5] 嶺南畫派, http://www.lingnanart.com/home_ch.htm
[6] 盧清遠繪著,嶺南派畫法(一) 通論•花卉•蔬果,藝術圖書公司印行。
[7] 盧清遠繪著,嶺南派畫法(二) 草蟲•游魚•鳥雀,藝術圖書公司印行。
[8] Bill Baxter, Vincent Scheib, Ming C. Lin, Dinesh Manocha, “DAB: Interactive Haptic Painting with 3D Virtual Brushes”, Proceedings of ACM SIGGRAPH 01,, pp. 461-468, 2001.
[9] Ching Chan, Ergun Akleman, and Jianer Chen. “Two methods for creating Chinese painting”. IEEE Computer Graphics and Application. 2002.
[10] Cassidy J. Curtis, Sean E. Anderson, Jonathon. E. Seims, and Kurt W. Fleischer, and David H. Salesin, “Computer-generated watercolor”, Proceedings of SIGGRAPH 97, in Computer Graphics Proceedings, Annual Conference Series, pp. 421-430, August 1997.
[11] Sheng-Wen Huang, Der-Lor Way, Zen-Chung Shih, “Physical-Based Model of Ink Diffusion in Chinese Ink Paintings”, Journal of WSCG 2003.
[12] Yi-Wei Ho, Zen-Chung Shih, “The Synthesis of Chinese Fine-Brushwork Painting for Flower”, Master thesis, National Chiao Tung University. 2005.
[13] O. Kallmes and H. Corte, The structure of paper in, the statistical geometry of an ideal two dimensional fiber network. Tappi Journal 43 9 (1960), pp. 737–752.
[14] Jintae Lee, “Diffusion rendering of black ink paintings using new paper and ink models”, Computer & Graphics 25 (2001), Page 295~308
[15] Suguru Saito and Masayuki Nakajima. “3D physics-based brush model for painting”. Proceedings of ACM SIGGRAPH 99, page 226. August 8 - 13, 1999.
[16] David L Small, “Simulating Watercolor by Modeling Diffusion, Pigment and Paper Fibers”, SPIE Proceedings, Vol. 1460, No. 15. San Jose, CA, 1990.
[17] Steve Strassmann, “Hairy Brushes”, Proceedings of ACM SIGGRAPH 86, page 225-232. 1986.
[18] C. B. Vreugdenhil, “Numerical Methods for Shallow-Water Flow”, Kluwer Academic Publishers, 1994.
[19] Der-Lor Way, Yu-Ru Lin, Zen-Chung Shih, “The Synthesis of Trees in Chinese Landscape Painting Using Silhouette and Texture Strokes”, Journal of WSCG Volume 10, Number 3, 2002, pp. 449-507
[20] Shan-Zan Wen, Zen-Chung Shih, Hsin-Yi Chiu, “The Synthesis of Chinese Ink Painting”, National Computing Symposium’99, page 461-468, 1999.
[21] Shan-Zan Weng and Zen-Chung Shih. “The synthesis of Chinese ink painting”. National Computing Symposium.1999.
[22] Helena T.F. Wong and Horace H.S. Ip. “Virtual brush: A model-based synthesis of Chinese calligraphy”. Computers and Graphics, page 99-113. Number, 2000.
[23] Songhua Xu, Francis C.M. Lau, Feng Tang, and Yunhe Pan. “Advanced design for a realistic virtual brush”. EUROGRAPHICS, Volume 22. Number 3, 2003.
[24] Young Jung Yu, Do Hoon Lee, “Interactive Rendering Technique for Realistic Oriental Painting”, Journal of WSCG, Volume11, Number1, 2003.
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