Physically-Based Modeling Techniques for Interactive Digital Painting
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Hints and Tips - Painting 28Mm Armies
Hints and Tips - Painting 28mm Armies Good results in less than 45 minutes per figure. By Michael Farnworth Original January 2007, Updated January 2008 Wargamers need to put several figures on a table before they can play. Even a small skirmish game needs fifty figures to form two opposing sides. Painting Guides often show you how to create a masterpiece in a few hours. However a few hours per figure, translates into several months before a game is playable. There are few guides to help you to paint a large number of figures to a reasonable standard in a relatively short time. I paint and base a 28mm figure in about 45 minutes. WW2 soldiers take less time but usually medieval soldiers and Vikings take a little longer. I paint about 350 figures per year. Although the standard is not stunning, they do look presentable on a table. To paint large quantities of figures in a relatively short time requires a little bit of a production engineering mentality. Choice of materials is important as is choice of tools. However, the best paints and the best tools do not get the job done. A well thought out sequence and a sensible batch size makes the job quicker. As a last point, psychology is important. Figure painting is a hobby. It should be fun. Boredom means that projects do not get finished. Unfinished projects and a growing lead pile is a common frustration. I have developed my technique to maximise the sense of achievement early on in the process. I find that this helps to carry me through to the end result – a finished army. -
Multimedia Systems DCAP303
Multimedia Systems DCAP303 MULTIMEDIA SYSTEMS Copyright © 2013 Rajneesh Agrawal All rights reserved Produced & Printed by EXCEL BOOKS PRIVATE LIMITED A-45, Naraina, Phase-I, New Delhi-110028 for Lovely Professional University Phagwara CONTENTS Unit 1: Multimedia 1 Unit 2: Text 15 Unit 3: Sound 38 Unit 4: Image 60 Unit 5: Video 102 Unit 6: Hardware 130 Unit 7: Multimedia Software Tools 165 Unit 8: Fundamental of Animations 178 Unit 9: Working with Animation 197 Unit 10: 3D Modelling and Animation Tools 213 Unit 11: Compression 233 Unit 12: Image Format 247 Unit 13: Multimedia Tools for WWW 266 Unit 14: Designing for World Wide Web 279 SYLLABUS Multimedia Systems Objectives: To impart the skills needed to develop multimedia applications. Students will learn: z how to combine different media on a web application, z various audio and video formats, z multimedia software tools that helps in developing multimedia application. Sr. No. Topics 1. Multimedia: Meaning and its usage, Stages of a Multimedia Project & Multimedia Skills required in a team 2. Text: Fonts & Faces, Using Text in Multimedia, Font Editing & Design Tools, Hypermedia & Hypertext. 3. Sound: Multimedia System Sounds, Digital Audio, MIDI Audio, Audio File Formats, MIDI vs Digital Audio, Audio CD Playback. Audio Recording. Voice Recognition & Response. 4. Images: Still Images – Bitmaps, Vector Drawing, 3D Drawing & rendering, Natural Light & Colors, Computerized Colors, Color Palletes, Image File Formats, Macintosh & Windows Formats, Cross – Platform format. 5. Animation: Principle of Animations. Animation Techniques, Animation File Formats. 6. Video: How Video Works, Broadcast Video Standards: NTSC, PAL, SECAM, ATSC DTV, Analog Video, Digital Video, Digital Video Standards – ATSC, DVB, ISDB, Video recording & Shooting Videos, Video Editing, Optimizing Video files for CD-ROM, Digital display standards. -
Painting in Acrylic and Oil Instructor: Thomas J
Painting in Acrylic and Oil Instructor: Thomas J. Legaspi [email protected] All materials can be purchased at art stores such as Artist and Craftsman or Blick or easily ordered online. We do not endorse one store over the other. Please feel free to bring similar supplies you already have rather than buying new supplies. We will go over this list in the first class and I will have supplies that you can use in the first class if you are uncertain of what exactly to buy. Paint The best brand for your dollar is Gamblin. Other good brands include Winsor and Newton, Blick and Vasari. Old Holland is a great brand but quite expensive. For this course you can purchase oil, acrylic or both. Recommended Paints: ● Burnt Umber ● Burnt Sienna or Transparent Red Oxide or Red Earth ● Ultramarine Blue ● Cadmium Yellow Light (contains cadmium which a hazardous material) or Cadmium Yellow HUE (contains no actual cadmium) or Hansa Yellow Light (contains no actual cadmium) ● Cadmium Red Light (contains cadmium which is a hazardous material) or Cadmium Red HUE (contains no actual cadmium) or Vermillion (contains no actual cadmium) or Naphthol Red (contains no actual cadmium) ● Yellow Ochre ● Flake White Replacement made by Gamblin (when painting flesh this white will retain your colors more vibrantly than Titanium White) ● Titanium White ● Phthalo Green or Viridian Green ● Alizarin Crimson Optional Paints: ● Cerulean Blue ● Cobalt Blue ● Brown Pink ● Naples Yellow Brushes Please purchase 4-5 brushes for this class. The type of brush you use should be based on the type of painting style you want to achieve. -
“How Do I Blur the Pencil?” Children's Learning About Drawing And
REVISTA MULTIMÉDIA DE INVESTIGAÇÃO EM EDUCAÇÃO / MULTIMEDIA JOURNAL OF RESEARCH IN EDUCATION Centro de Investigação e Inovação em Educação Centre for Research and Innovation in Education Sensos-e Vol: I Num: 1, mai 2014 ISSN 2183-1432 URL: http://sensos-e.ese.ipp.pt/?p=5495 “How do I blur the pencil?” Children’s learning about drawing and collaboration using MyPaint Afiliação: Escola Superior de Educação e CI&DETS, Instituto Politécnico de Autor: Maria P. Figueiredo Viseu Afiliação: Escola Superior de Educação e CI&DETS, Instituto Politécnico de Autor: Nelson Gonçalves Viseu Autor: Maria Helena Lopes Afiliação: Agrupamento de Escolas da Zona Urbana de Viseu Autor: Maria de Fátima Barreiros Afiliação: Agrupamento de Escolas de Castro Daire Resumo: No âmbito de um Mestrado em Educação Pré-Escolar, foi lançado um desafio relativo ao uso de Software Livre com crianças em contextos educativos. Duas educadoras de infância experientes exploraram o MyPaint com uma mesa de desenho digital com os seus grupos. Durante a experiência, foram recolhidos dados sobre a forma como as crianças se apropriaram do uso do software e sobre dimensões da sua aprendizagem do e com o software. Através de uma análise de conteúdo, diferentes aspetos da experiência foram agrupados em temas: organização da exploração do software nos dois contextos; aprendizagem das crianças sobre desenho e materiais de desenho, com relações entre o uso do software o desenho tradicional; e a colaboração para a aprendizagem. A discussão destaca as dimensões da Pedagogia da Educação de Infância mais relevantes na experiência. Palavras-Chave: educação de infância, educação artística, TIC na educação, software livre, uso do computador Página 1 de 16 Abstract: In a Master's Degree in Early Childhood Education, a challenge about using Free Software applications with children in educational contexts was proposed to the students. -
A Peer-Reviewed Journal About MACHINE FEELING
A Peer-Reviewed Journal About MACHINE FEELING Mitra Azar Daniel Chávez Heras Michela De Carlo Iain Emsley Malthe Stavning Erslev Tomas Hollanek Rosemary Lee Carleigh Morgan Carman Ng Irina Raskin Tiara Roxanne Rebecca Uliasz Maria Dada Tanja Wiehn Brett Zehner Christian Ulrik Andersen & Geoff Cox (Eds.) Volume 8, Issue 1, 2019 ISSN 2245-7755 1 Contents Christian Ulrik Andersen & Geoff Cox Editorial: Feeling, Failure, Fallacies 4 MAKING SENSE Iain Emsley Iteracies of Feeling 10 Irina Raskin Machine Learning and Technoecological Conditions of Sensing 20 Maike Klein Robotic Affective Abilities 34 (UN)BEING 47 Brett Zehner Machines of Subjection: Notes on A Tactical Approach to Artificial Intelligence 48 Maria Dada Queering Global Information Systems 58 Tiara Roxanne Digital Territory, Digital Flesh: Decoding the Indigenous Body 70 Rebecca Uliasz Assemblages of Desire: Reappropriating Affective Technologies 82 FEELING GENERATORS 95 Carman Ng Affecting Reality: Intersecting Games, Trauma, and Imaginaries 96 Malthe Stavning Erslev I forced a bot to read over 1,000 papers from open-access journals and then asked it to write a paper of its own. Here is the result. Or: A quasi-materialist approach to bot-mimicry 114 Michela De Carlo Synthetic Bodies and Feeling Generators 128 Tanja Wiehn (Un)Predictable Acts of Data in Machine Learning Environments 142 SEEING THINGS 155 Mitra Azar POV-matter, Cinematic POV and Algorithmic POV between Affects and Umwelten 156 Daniel Chávez Heras Spectacular Machinery and Encrypted Spectatorship 170 Tomasz Hollanek -
Corel Painter 2018 Reviewer's Guide (Letter)
REVIEWER’S GUIDE Contents Introducing Corel Painter 2018 . .3 Artist profiles . .5 What’s included? . .8 Minimum system requirements . .9 Key features . .10 Thick Paint . 10 Drip and Liquid Brush technologies . 14 Thick Texture Brushes . 16 Natural-Media brush library . 18 Random Grain Rotation . 18 Selection Brush tool and Selection brushes . 19 Cloning workflow . 21 Texture Synthesis . 23 Artwork by Michelle Webb Introducing Corel® Painter® 2018 Corel® Painter® 2018 is the world's most realistic digital art studio. There are many reasons why creative professionals and digital artists have chosen to make Corel Painter an integral part of their design process, but two really stand out — painting tools and workflow features. A loyal and passionate user base actively participates in Painter's development by offering constructive feedback, and sharing their work, tools and methods. These insights and suggestions drive so many of these painting and workflow innovations. The power and diversity of its revolutionary digital painting tools is what makes Corel Painter the paint program that all others are measured against. Its expansive collection of painting tools not only offers an unrivaled ability to emulate traditional art, but also gives users the power to redefine what's possible in digital art. Each version of Corel Painter has pushed the envelope by consistently adding new tools and features that quickly became the benchmark in the digital art world — Texture Painting, Particle Brushes, and Dynamic Speckles to name just a few from recent releases. Corel Painter 2018 continues this push to deliver groundbreaking features that are incredibly powerful in a range of creative sectors and workflows. -
Historical Painting Techniques, Materials, and Studio Practice
Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A. -
GA2: a Programming Environment for Abstract Generative Fine
GA2: a Programming Environment for Abstract Generative Fine Art Philip Galanter, BA, MFA Interactive Telecommunications Program, New York University, New York, USA. e-mail: [email protected]. Abstract Fine artists looking to use computers to create generative works, especially those artists inclined towards abstraction, often face an uncomfortable choice in the selection of software tools. On the one hand there are a number of commercial and shareware programs available which implement a few techniques in an easy to use GUI environment. Unfortunately such programs often impose a certain look or style and are not terribly versatile or expressive. The other choice seems to be writing code from scratch, in a language such as c or Java. This can be very time consuming as every new work seems to demand a new program, and the artist's ability to write code can seldom keep pace with his ability to imagine new visual ideas. This paper describes a software system created by the author called GA2 that has been implemented in the Matlab software environment. By layering GA2 over Matlab the artist can take advantage of a very mature programming environment which includes extensive mathematical libraries, simple graphics routines, GUI construction tools, built-in help facilities, and command line, batch mode, and GUI modes of interaction. In addition, GA2 is very portable and can run on Macintosh, Windows, and Unix systems with almost no incremental effort for multi-platform support. GA2 is a work in progress and an extension of the completed GA1 environment. It is medium independent, and can be used for all manner of image, animation, and sound production. -
Corel Painter Vs. Photoshop: Digital Painting Showdown
COREL PAINTER VS. PHOTOSHOP: DIGITAL PAINTING SHOWDOWN A software showdown – it’s Corel Painter vs. Photoshop. The strengths, weaknesses, and differences between these two popular digital painting tools. Corel Painter. Adobe Photoshop. Two very different programs with different tools and different painting processes. However, despite their differences, lovely paintings can be created in both of these programs. Digital artists may favor one over the other, or, like me use a mix of both Photoshop and Painter. The purpose of this article is not to declare one the outright champion, but to help you make a decision about which you’ll prefer for your needs. One thing is certain, though – the statement, “You can do the same thing in either program” isn’t exactly true. COREL PAINTER VS. PHOTOSHOP: OVERVIEW It is true that you can paint in both programs, and, depending on how you want to work, how much you want to learn, and how much you want to budget for software, you’ll find a solution that works for you. Personally, I wouldn’t give up my Corel Painter or my Photoshop! As a professional digital artist, I use Corel Painter for drawing and painting, and Adobe Photoshop for photo retouching, image adjustments, and making composites. I do not feel inconvenienced moving from one program to the other. In my opinion, the process of painting in Adobe Photoshop is more of an imaging experience while with Corel Painter you get more of an organic painting experience. Photoshop painters incorporate layers, opacity adjustments, masks, image adjustments, blending modes, effects AND brushes. -
Detail-Preserving Paint Modeling for 3D Brushes
Detail-Preserving Paint Modeling for 3D Brushes Nelson Chu William Baxter Li-Yi Wei Naga Govindaraju Microsoft Research Figure 1: Oil paint simulated by an implementation of the system presented in [Baxter et al. 2001] (left), by our method (middle) and by the commercial package ArtRage 3 (right). Compared with [Baxter et al. 2001], our technique produces more organic color streaks and much less color blurring. Compared with the ArtRage strokes, ours appear more natural since the ArtRage method of sweeping a 1D texture to simulate strokes give less variation and control than the 3D deformable brushes offered by our system. Abstract reproduction. As a result, digital painting has become a popular way to create illustrations for everything from books, to Recent years have witnessed significant advances in 3D brush advertising, to background mattes in movie production. modeling and simulation in digital paint tools. Compared with traditional 2D brushes, a 3D brush can be both more intuitive and However there are still some nuances of real art media and more expressive by offering an experience closer to wielding a positive attributes of real art tools which are not found in current real, physical brush. To support popular media types such as oil digital systems. Specifically, marks made by real-world tools have and pastel, most previous 3D brush models have implemented an organic richness of detail and expressive variability that have paint smearing and mixing. This is generally accomplished by a yet to be captured adequately by any digital painting system. In simple repeated exchange of paint between the 3D brush and 2D this work, we focus in particular on oil and pastel, two media in canvas, with the paint picked up by the brush typically mapped which the interactions of tools and media are critical and give rise directly onto the brush surface. -
What Painting Is “A Truly Original Book
More praise for What Painting Is “A truly original book. It will make you look at paintings differently and think about paint differently.”—Boston Globe “ This is a novel way of considering paintings, and excitingly different from standard art criticism.”—Atlantic Monthly “The best books often introduce new worlds. What Painting Is exposes the reader to painting materials, brushstroke techniques, and alchemy of all things, in a book filled with rich descriptions and illuminating insight. Read this and you’ll never look at paintings in the same way again.”— Columbus Dispatch “ James Elkins, his academic laces untied, traces a mysterious, evocation and an utterly convincing parallel between two spirits grounded in the earth—alchemy and painting. The author is an alchemist of ideas, and a painter. His openness to the love of quicksilver and sulfur, to putrefying animal excretions, and his expertise in imprimaturas, his feeling for the mysteries of the brushstroke —all of these allow him to concoct a heady elixir.” —Roald Hoffmann, Winner of the Noble Prize in Chemistry, 1981 What Painting Is How to Think about Oil Painting, Using the Language of Alchemy James Elkins Routledge New York • London Published in 2000 by Routledge 29 West 35th Street New York, NY 10001 This edition published in the Taylor & Francis e-Library, 2005. “To purchase your own copy of this or any of Taylor & Francis or Routledge’s collection of thousands of eBooks please go to www.eBookstore.tandf.co.uk.” Published in Great Britain by Routledge 11 New Fetter Lane London EC4P 4EE Copyright © 1999 by Routledge All rights reserved. -
SHSU Video Archive Basic Inventory List Department of Library Science
SHSU Video Archive Basic Inventory List Department of Library Science A & E: The Songmakers Collection, Volume One – Hitmakers: The Teens Who Stole Pop Music. c2001. A & E: The Songmakers Collection, Volume One – Dionne Warwick: Don’t Make Me Over. c2001. A & E: The Songmakers Collection, Volume Two – Bobby Darin. c2001. A & E: The Songmakers Collection, Volume Two – [1] Leiber & Stoller; [2] Burt Bacharach. c2001. A & E Top 10. Show #109 – Fads, with commercial blacks. Broadcast 11/18/99. (Weller Grossman Productions) A & E, USA, Channel 13-Houston Segments. Sally Cruikshank cartoon, Jukeboxes, Popular Culture Collection – Jesse Jones Library Abbott & Costello In Hollywood. c1945. ABC News Nightline: John Lennon Murdered; Tuesday, December 9, 1980. (MPI Home Video) ABC News Nightline: Porn Rock; September 14, 1985. Interview with Frank Zappa and Donny Osmond. Abe Lincoln In Illinois. 1939. Raymond Massey, Gene Lockhart, Ruth Gordon. John Ford, director. (Nostalgia Merchant) The Abominable Dr. Phibes. 1971. Vincent Price, Joseph Cotton. Above The Rim. 1994. Duane Martin, Tupac Shakur, Leon. (New Line) Abraham Lincoln. 1930. Walter Huston, Una Merkel. D.W. Griffith, director. (KVC Entertaiment) Absolute Power. 1996. Clint Eastwood, Gene Hackman, Laura Linney. (Castle Rock Entertainment) The Abyss, Part 1 [Wide Screen Edition]. 1989. Ed Harris. (20th Century Fox) The Abyss, Part 2 [Wide Screen Edition]. 1989. Ed Harris. (20th Century Fox) The Abyss. 1989. (20th Century Fox) Includes: [1] documentary; [2] scripts. The Abyss. 1989. (20th Century Fox) Includes: scripts; special materials. The Abyss. 1989. (20th Century Fox) Includes: special features – I. The Abyss. 1989. (20th Century Fox) Includes: special features – II. Academy Award Winners: Animated Short Films.