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Physically based virtual painting
Abstract
The article focuses on computer painting systems. Most technological advances in computer painting systems have focused on the appearance of the resulting images, less on capturing the interaction with the paint materials. The word "painterly" also describes a fusion of feeling, action, sight, touch, intent, and purpose beyond merely producing an image that gives an artistic impression. The dAb computer painting system uses a novel physically based, deformable 3D virtual brush to give the user intuitive control of complex brush strokes similar to that of real physical brushes. The graphical user interface provides a minimalistic set of keystrokes and simple control, along with a great deal of expressive power. The dAb paintbrushes deform in a natural physical way, as the user moves a virtual brush across the canvas. The user creates strokes with the brush, which behaves much as a real brush would. The dAb interactive painting experience provides direct interaction with the materials, as well as with the process of painting.
... Desktop application, generic periphery [202] Desktop application, specialised periphery [17,47,57,118,126,166,177,184] VR, specialised periphery [48,99,100,104,176] VR, specialised periphery, audio [109,199,204] VR, VR controller [95] Abbreviations: HMI, human-machine interface; VR, virtual reality. ...
Training simulators are fundamental for training in areas, such as aviation, medicine, and the military. While new applications emerge in conjunction with the development of human–machine interface (HMI) technologies, only a few applications for manufacturing processes are used in industrial practice. This study provides a literature review on simulation‐based training in manufacturing processes and applies the definitions of DIN 8580:2003 to structure the research. The identified applications are further analysed regarding their HMI-design and the process‐related benefits and limitations that were described within the publications. Although 202 applications were found, most focus on a small number of processes, and the others rarely mature past the prototype stage. The distribution implies that certain process‐specific factors impact the applicability of simulation‐based training in manufacturing processes. In this context, applicability factors are defined as characteristics of the original training process that affect the training adversely and that can be avoided or reduced in a training simulation. A systematisation of these applicability factors is developed as a step towards a process analysis methodology
... Examples of tasks where physical guidance takes place are in learning handwriting, medical simulators [13], painting or sculpting techniques [14], and sports [15]. Haptic calligraphy systems have been studied so far in [16], [17]. Instead of a teacher holding the students' hands the haptic device was replaced for the tasks such as learning to write Persian characters in this work. ...
... For example, there are a remote operation system using a master-slave robot in the medical field [1], [2] and a remote control system in a place of strong radioactivity in the robot control field [3]. Production and appreciation of contents in various types of museums are also proposed in artistic and educational fields [4], [5]. This paper proposes a remote drawing instruction system using haptic interface devices in the educational field. ...
In this paper, we propose a remote control system which controls a haptic interface device with another remote haptic interface device. Haptic feeling can be transmitted by the system. Applications of the system are a remote calligraphy system, a remote drawing instruction system, a remote medical operation system, and so on. The paper deals with the remote drawing instruction system by which an instructor trains a learner how to draw pictures or figures while conveying the sense of force through the Internet. In order to clarify what kinds of control are needed in the system, we examine the influences of network delay, delay jitter and packet loss on the output quality of haptic media by subjective assessment of drawing figures
This paper describes an empirical study of a tangible interactive painting installation at a children's cultural centre. The study focuses on how social interactions are related to features of the interactive installation. The findings concern awareness and communication within groups, mediation of control through physical objects, how groups used tangibles outside of their turn with the installation to plan, negotiate and build up anticipation of their engagement with the exhibit. Interactions within groups as well as between the active 'operator' at an exhibit and the rest of the group are presented providing insights as to how the exhibit relates to the social context. Finally, we discuss how the findings could be used for future design of group interactive exhibits that aim to (1) support social engagement such as planning, sharing experiences and discussions, (2) engage children with the exhibit topic outside of their interaction with the system and (3) foster children's anticipation of their interaction with the exhibit. Providing offline tangibles was found to extend engagement with the exhibit and support social interactions.
This paper deals with a remote control system which controls a haptic interface device with another remote haptic interface device. Applications of the system include a remote drawing instruction system, a remote calligraphy system and a remote medical operation system. This paper examines the influence of network latency on the output quality of haptic media by subjective assessment in the remote drawing instruction system. As a result, we show that the instructor has smaller Mean Opinion Score (MOS) values than the learner, and the MOS value can be estimated with high accuracy from the summation of the network latency from an instructor's terminal to a learner's terminal and that in the opposite direction.
Microseismic visualization systems present complex 3D data of small seismic events within oil reservoirs to allow experts to explore and interact with that data. Yet existing systems suffer several problems: 3D spatial navigation and orientation is difficult, and selecting 3D data is challenging due to the problems of occlusion and lack of depth perception. Our work mitigates these problems by applying both proxemic interactions and a spatial input device to simplify how experts navigate through the visualization, and a painting metaphor to simplify how they select that information.
Considering the latest researches on the significant between mitochondrial disorders and human diseases, mainly on the nervous system, we propose a novel solution concerning the enriching of healthy mitochondrial population into cells. It is a totally theoretical proposal and refers mostly to mitochondrial encephalomyopathies which involve to brain disorders, like Alzheimer's disease.
This research investigates the outcome of using a computer-based therapy program in ambulatory training for post-acute stroke patients. Patients with stroke typically suffer dysfunctions that impair the complex set of motions involved in walking. The limited amount of therapy and resources offered by the current health care system do not provide the frequency and intensity of training needed for functional recovery of the walking skills in patients following stroke assaults. This non-traditional intervention research technique therefore sought to develop an alternative method capable of providing the frequency and intensity needed for improving the walking skills in post-acute stroke patients. The work also attempted to show how skills gained in virtual environments transfer to the real world. The work employed the case study method to report the results observed from four post-acute stroke patients who trained on the non-traditional intervention program for about half an hour per day, five days a week, for a period of four consecutive weeks at the out-patient department of the Sir John Golding Rehabilitation Center. The patients performed a computer-based painting exercise with their hemiplegic legs using a head-mounted display, and their gait variables were recorded and analyzed to determine the usefulness of the program in ambulatory training for post-acute stroke patients. A follow up examination conducted one week after the intervention sought to determine whether the patients could perform the skills learned on the computer-based intervention program in the real world. The results of the research showed that all the patients improved on their gait parameters and could walk better. An observational gait analysis conducted one week post-intervention showed that the skills gained in the virtual environment transferred to real-world conditions. The study contributes to the current effort to provide wider access to therapeutic intervention techniques using computer- - technology.
This paper deals with a remote haptic painting lesson system by which a teacher trains a student how to paint pictures or figures while conveying the sense of force interactively through a network. In the system, we introduce media synchronization control in order to achieve a high quality of haptic transmission. We make a quality comparison of four media synchronization schemes (Virtual-Time Rendering (VTR), VTR with prediction, fixed buffering with prediction, and Skipping) by subjective assessment.
This paper proposes a group (or inter-destination) synchronization scheme with prediction for haptic media in a remote drawing system. The scheme aims to improve the group synchronization control, which adjusts the output timing among multiple destinations, to keep the interactivity high. It outputs the position information by predicting the future position later than received position information by a fixed amount of time. It also advances the output time of position information at the local terminal by the same amount of time. By experiment, we demonstrate the effectiveness of the scheme.
We investigated the effect of inter-stream synchronization errors in haptic media, sound and video communications on output quality by using a haptic media, sound and video transfer system. The system transmits a sense of force, and generated sound and video while a human subject uses haptic interface devices to touch a real object. Using subjective assessment, we demonstrated that the media output quality is highest when video output is observed slightly earlier than haptic media is felt and sound is heard.
This paper deals with switching control which dynamically switches the haptic transmission direction (one-way or two-way) according to network latency in a remote control system. The system controls a haptic interface device at a remote place with another haptic interface device while watching video. We propose automatic selection of switching time according to the contents of work. This proposal selects the optimal switching time automatically by identifying the contents of work when the haptic transmission direction is switched. In this paper, we also demonstrate the effectiveness of the proposal by subjective assessment for work of writing multiple characters and work of drawing a figure without lifting a pen from a sheet.
The purpose of this report is to describe the development of a framework to enable classification, evaluation, and comparison of multimodal display research, based on task demands, display characteristics, research design, and individual differences. In this report, we describe the process by which a bibliographic database was developed and organized. First, the framework was specified, which then guided the identification and review of research and theory-based articles that were included in the bibliography. The results of the overall effort, the multimodal framework and article tracking sheet, bibliographic database, and searchable multimodal database make substantial and valuable contributions to the accumulation and interpretation of multimodal research. References collected in this effort are listed in the appendix.
In this paper, we enhance group (or inter-destination) synchronization control, which adjusts the output timing among multiple destinations, for a remote drawing system using haptic media. Under the control, an instructor and a learner can draw figures while watching the identical virtual space. By subjective assessment, we demonstrate that Mean Opinion Score (MOS) of the instructor can be improved greatly at the expense of slight deterioration in MOS of the learner. Also, we show that MOS of the learner can be improved by reducing the spring constant used in calculating the reaction force.
In this paper, we deal with a remote haptic instruction system in which a teacher teaches a student how to write characters by using haptic interface devices. We have two cases in the system. In one case, a pen is attached to only the student terminal, and video is transmitted from the student terminal to the teacher terminal. In the other case, a pen is attached to each of the two terminals, and video is transmitted bi-directionally between the terminals. In both cases, we make a comparison between two-way transmission and one-way transmission of the sense of force by subjective assessment.
In this paper, we deal with a remote haptic calligraphy system in which a teacher instructs multiple students at remote location show to write characters while conveying the sense of force by multicast communications. We also propose an error control scheme which transmits important media units (MUs) multiple times which include the positional information in the case where the speed of the teacher's brush stroke is faster than a threshold value by adding the MUs to the succeeding MUs as well as transmitting them independently. By experiment, we demonstrate that the proposed scheme can keep the media output quality high at the expense of slight increase of the traffic amount.
We make a summarized historical review of the technological breakthroughs and the impact that these have had, and will have
have in the case of computing linked to telecommunications in the next few years. It is a 360° analysis, which takes into
account the social factors and context where the human being is inserted as a fulcrum of the cosmos in knowledge and scientific
advance.
This paper presents a remote haptic calligraphy systemwhich can control a remote haptic interface device with another haptic interface device. In the system, a teacher can instruct a student at a remote location how to use a calligraphy brush while conveying the sense of force through a network. We also present media synchronization control with prediction in order to maintain a high quality of haptic transmission. Under the control, network delay jitter is absorbed by buffering, and the positional information is output by prediction if the information is lost or arrives significantly late. We demonstrate the effectiveness of the control by subjective assessment.
The derived laws apply to layers whose scattering coefficient S and absorption coefficient K vary vertically to the surface of the layer. In the general case the differential equations of the preceding paper [ Kubelka P. , J. Opt. Soc. Am. 38, 448 ( 1948)] must be used; the coefficients, however, hitherto constant, now are functions of the distance x from the surface. In the practically important case in which K/S is constant, one may introduce the variable p, such that p≡∫0 x (x)dx. One reduces thereby the nonhomogeneous to the previously treated homogeneous case.
Transmittance T1,2 and reflectance R1,2 of two nonhomogeneous sheets can be calculated by the following equations: T 1 , 2 = T 1 T 2 1 - R 1 R 2 , R 1 , 2 = R 1 + T 1 2 R 2 1 - R 1 R 2 ,
where T1, T2, R1, R2 are the transmittances and reflectances of the single sheets, and R1 represents the reflectance of the first sheet when illuminated in the inverse direction. Analogous formulas for more sheets and formulas relating transmittance, reflectance for specimens upon black, gray or white backing surfaces, and contrast ratio, are derived.
It is shown by theory and experiment that reflectance and absorption of a nonhomogeneous specimen depend on the direction of illumination, whereas transmittance does not.
We present a paint model for use in interactive painting systems that captures a wide range of styles similar to oils or acrylics. The model includes both a numerical simulation to recreate the physical flow of paint and an optical model to mimic the paint appearance.
This paper describes the various artistic effects of watercolor and shows how they can be simulated automatically. Our watercolor model is based on an ordered set of translucent glazes, which are created independently using a shallow-water fluid simulation. We use a Kubelka-Munk compositing model for simulating the optical effect of the superimposed glazes. We demonstrate how computergenerated watercolor can be used in three different applications: as part of an interactive watercolor paint system, as a method for automatic image "watercolorization," and as a mechanism for nonphotorealistic rendering of three-dimensional scenes.
The system of differential equations of Kubelka-Munk, -di= -(S+K)idx+Sjdx, dj= -(S+K)jdx+Sidx (i, J... intensities of the light traveling inside a planeparallel light-scattering specimen towards its unilluminated and its illuminated surface; x... distance from the unilluminated surface S, K... constants), has been derived from a simplified model of traveling of light in the material. Now, without.simplifying assumptions the following exact system is derived: -di= -½(S+k)uidx+½Svjdx, dj= -½(S+k)vjdx+½Suidx, (u ≡ ∫0π/2(∂i/i∂φ)(dφ/cosφ), υ ≡ ∫0π/2(∂j/j∂φ)(dφ/cosφ) φ≡angle from normal of the light). Both systems become identical when u = υ = 2, that is, for instance, when the material is perfectly dull and when the light, is perfectly diffused or if it is parallel and hits the specimen under an angle of 60° from normal. Consequently, the different formulas Kubelka-Munk got by integration of their differential equations are exact when these conditions are fulfilled. The Gurevic and Judd formulas, although deriv d in another way by their authors, may be got from the Kubelka-Munk differential equations too. Consequently, they are exact under the same conditions. The integrated equations may be adapted for practical use by introducing hyperbolic functions and the secondary constants a=½(1/R∞+R∞) and b=½(1/R∞-R∞), (R∞≡reflectivity). Reflectance R, for instance, is then represented by the formula [equation] (Rg≡ reflectance of the backing, X = thickness of the specimen) and transmittance T by the formula [equation] In many practical cases the exact formulas may be replaced by appropriated approximations.
We present a flexible modeling approach capable of realistically simulating many varieties of brushes commonly used in painting. Our geometric model of brush heads is a combination of subdivision surfaces and hundreds of individual bristles represented by thin polygonal strips. We exploit bristle-to-bristle coherence, simulating only a fraction of the bristles and using interpolation for the remainder. Our dynamic model incorporates realistic physically-based deformation, including anisotropic friction, brush plasticity, and tip spreading. We use an energy minimization framework with a novel geometric representation of the brush head to generate a wider variety of brushes. Finally, we have developed an improved haptic model that provides realistic force feedback, directly related to the results of the brush dynamic simulation. Using this model, we are able to simulate a wide range of brush styles and create an excellent variety of strokes such as the crisp, curvy strokes of Western decorative painting, or rough scratchy strokes like certain Oriental calligraphy. We have also developed an exporter for a popular free 3D modeling package that makes it easier for non-programmers to create any desired style of brush, real or fanciful.
We present a novel painting system with an intuitive haptic interface, which serves as an expressive vehicle for interactively creating painterly works. We introduce a deformable, 3D brush model, which gives the user natural control of complex brush strokes. The force feedback enhances the sense of realism and provides tactile cues that enable the user to better manipulate the paint brush. We have also developed a bidirectional, two-layer paint model that enables easy loading of complex blends onto our 3D virtual brushes to generate interesting paint effects on the canvas. The resulting system, DAB, provides the user with an artistic setting, which is conceptually equivalent to a real-world painting environment. Several users have tested DAB and were able to start creating original art work within minutes.
Gair, A. The Beginner's Guide Oil Painting: A Complete Step-By-Step Guide to Techniques and Materials
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Perceiving texture through a probe. In Touch in Virtual Environments, M. McLaughlin, J. Hespanha, and G. Sukhatme, Eds. Prentice Hall PTR, Upper Saddle River
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