@inproceedings{Tasaki:2006:IPM,
opteditor = {},
optpostscript = {},
optorganization = {},
author = {Daisuke Tasaki and Megumi Katou and Shinji Mizuno and Minoru Okada},
optkey = {},
optannote = {},
optseries = {},
address = {New York},
localfile = {papers/Tasaki.2006.IPM.pdf},
optisbn = {},
publisher = {ACM Press},
optkeywords = {},
doi = {http://doi.acm.org/10.1145/1179622.1179751},
optmonth = {},
optciteseer = {},
opturl = {},
optpages = {},
optcrossref = {},
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booktitle = {Research Posters at ACM SIGGRAPH 2006 (SIGGRAPH 2006, July
30--August 3, 2006, Boston, Massachusetts, USA)},
optvolume = {},
optnumber = {},
abstract = {Mezzotint [Leaf 1984] was developed as one of the traditional
copperplate printing techniques in the mid-17th century. It can
realize an effect of various gray tones as shown in fig. 1a. To
acquire the effect, a copper plate is set up going through three
phases: roughening, scraping, and burnishing. In the roughening
phase, a rocker is used to create many dots and burrs on the
plate. They can hold ink, hence the print has a black looking
effect. In the scraping phase, the burrs are cut away using a
scraper to control the remaining ink around them. The scraped
portions produce a halftone looking effect in the print. In the
burnishing phase, the plate is polished using a burnisher if the
artist desires a white looking effect. Although these three phases
produce a variety of gray tones, they are very onerous and
laborious processes even for the specialists of mezzotint.
Therefore, a purpose of the study is to make mezzotint more
enjoyable and convenient to a much broader beginner beyond the
specialists. For this purpose, it is a worthier thing to simulate
the making procedure and the physical phenomena of mezzotint than
only to render an image that looks like mezzotint.},
title = {{A}n {I}mproved {P}hysical {M}odel for {V}irtual {M}ezzotint},
year = {2006},
}
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