@inproceedings{Yang:2006:NRS,
opteditor = {},
optpostscript = {},
www =
{http://www.springerlink.com/content/c6716253868g8438/?p=5a2287d14e17482db2a90d2851271468&pi=1},
optorganization = {},
author = {Hui-Lin Yang and Chuan-Kai Yang},
optkey = {},
series = LNICS,
optannote = {},
url = {http://cgm.cs.ntust.edu.tw/hlyang/www/Resarch/SeuratNPR.htm},
address = SpringerAdr,
localfile = {papers/Yang.2006.NRS.pdf},
optisbn = {},
publisher = SpringerPub,
optkeywords = {},
optmonth = {},
optciteseer = {},
doi = {http://dx.doi.org/10.1007/11919629_76},
volume = {4292},
optcrossref = {},
booktitle = {Advances in Visual Computing, Proceedings of the Second
International Symposium on Visual Computing, Part 2 (ISVC 2006,
November 6--8, 2006, Lake Tahoe, NV, USA)},
optnumber = {},
abstract = {In recent years, there has been a trend on simulating
impressionism with computers. Among the various styles of
impressionism, we are particularly interested in simulating the
style of pointillism, especially the style presented by
Georges-Pierre Seurat, as he was deemed the founder of
pointillism. The reason that his style attracts us is twofold.
First, the painting process of pointillism is extremely laborious,
so simulating his painting style by computers is desired. Second,
though several existing impressionism algorithms may approximate
pointillism with point-like strokes, some delicate features
frequently observed in Seurat’s paintings are still not
satisfactorily reflected by those general schemes. To achieve
simulating Seurat’s painting style, we made careful observations
on all accessible Seurat's paintings and extract from them some
important features, such as the few primitive colors, point sizes,
and the effects of complementary colors and halos. These features
have been successfully simulated and results are compared with not
only Seurat’s existing paintings, but also with previous attempted
simulations.},
title = {{A} {N}on-{P}hotorealistic {R}endering of {S}eurat's {P}ointillism},
year = {2006},
pages = {760--769},
}
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