中国画颜料和颜料扩散效果的仿真实现
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摘要
中国画源远流长,朴素抽象、独特而鲜明的艺术特点,在东方乃至全世界都自成体系,可以说是东方艺术的象征,中华文化的瑰宝。
现今对传统绘画艺术进行仿真,是计算机科学与艺术相结合的交叉研究领域,人们对传统绘画的模拟实现取得了令人瞩目的成绩,但是对于中国画的仿真研究,现在仍然刚刚起步。近年来,随着计算机图形学技术的飞速发展,许多研究人员已经在中国画仿真中取得了一些成果,这些成果给中国画艺术与计算机紧密结合创造了便利的条件,使二者的结合成为了一个不可阻挡的趋势。同时,对中国画的仿真研究也成为计算机数字艺术中的研究热点之一
本文提出了一个针对中国画设色技法的仿真模型,该模型主要包括两个部分：中国画颜料的仿真和颜料扩散效果的仿真。在中国画颜料仿真中,首先根据中国画颜料的特性,可以知道中国画颜料包括植物性颜料和矿物性颜料,它们具有不同性质；因此,在仿真颜料时引入了由Kubel ka和Munk提出的颜色光学理论,用来计算颜料自身的散射系数和吸收系数,从而可以得出不同颜料相调和后显示的颜色以及多层颜料叠加的颜色显示。对于颜料扩散效果的仿真,本文分析了不同性质的颜料之间以及颜料与墨之间的扩散效果的不同,对已有理论进行了必要的修改和补充,同时引入了两层纸模型结构,该模型将纸划分为扩散层、沉积层。根据纸模型的结构,把水、颜料粒子在宣纸上处于的不同状态分配给每一层,然后对每一层中的各个位置含有的水、颜料粒子数目的变化进行计算。最后,由各个位置处的粒子数目计算颜料的浓度,并根据颜料仿真模块,对最终的效果进行显示。该模型比较成功的模拟了中国画颜料的特殊性,在扩散仿真上也取得了比较好的效果。
本文基于长期的绘画实践,首先对中国画的绘画媒介及其相互作用关系做出了科学的分析,总结出水墨画的成画机理,并对现今所采用的各种艺术效果的仿真算法进行了借鉴与研究。提出了水墨画仿真系统的建设目的以及目标,并对系统使用过程遇到的功能性及非功能性需求进行了分析。
本文针对颜料的特殊性质以及中国画的设色技法,对颜料及其运用方法进行模拟,进一步完善了中国画的仿真研究,并具有较强的实用性。
Chinese painting, well-known for its simplicity, abstract, uniqueness and distinctness, has a long history. It also has its own style in the East and even in the world. It can be said that it is the symbol of oriental art and the treasure of Chinese culture.
Today simulation of the traditional art of painting is a cross-cutting area of research in which art is combined with computer science. Remarkable achievements has been achieved in this area, but the scientific research in this area is still in its infancy, though, in recent years, with the rapid development of computer graphic technology, some successful efforts have been made by some researchers. These results to Chinese painting have created favorable conditions for the combination of computer science and Chinese painting, making the combination an irresistible tendency. Meanwhile, simulation of Chinese painting has become one of the hot issues in digital art.
This paper focuses on one simulation model for Chinese painting color techniques, which consists of two parts:the simulation of Chinese painting pigments and pigment dispersion. In the simulation of Chinese painting pigments, from the pigments used in Chinese painting, we can see there are two kinds of pigments:vegetable and mineral pigments. They have different natures. Thus, in pigment simulation, optical theory of color proposed by Kubel ka and Munk is introduced to calculate its scattering coefficient and absorption coefficient, thus enabling us to view the reconciliation color of different pigments and the overlaying color of different pigments. For the simulation of pigment dispersion, this paper analyzes the differences among pigments with different natures and the differences in dispersion effects between ink and pigments, makes necessary changes and additions, and introduces paper model of two-layer structure, which divides paper into diffusion layer and sediment layer. According to the structure of paper model, water and pigment particles in different states is assigned to each layer. Based on this, changes in the number of water and pigment in each layer can be calculated. Finally, based on this simulation model, the final results can be displayed from the concentration of pigments in terms of particle numbers. The model simulated the particularity of Chinese painting pigments, thus achieving fairly good effects in the proliferation simulation.
Based on the long-term practice of painting, this paper, first of all, scientifically analyzes the relationship between the painting media and their interaction, summarizes the mechanism of wash painting, and presents a variety of simulation calculation methods of artistic effects. Constructive objectives of Chinese painting simulation system are proposed and functional and non-functional requirements encountered in the use of the process are also analyzed.
In this paper, the simulation of pigment usage, based on the special nature of pigments and color techniques of Chinese painting, further improves the simulation of Chinese painting and has strong practicability.
现今对传统绘画艺术进行仿真,是计算机科学与艺术相结合的交叉研究领域,人们对传统绘画的模拟实现取得了令人瞩目的成绩,但是对于中国画的仿真研究,现在仍然刚刚起步。近年来,随着计算机图形学技术的飞速发展,许多研究人员已经在中国画仿真中取得了一些成果,这些成果给中国画艺术与计算机紧密结合创造了便利的条件,使二者的结合成为了一个不可阻挡的趋势。同时,对中国画的仿真研究也成为计算机数字艺术中的研究热点之一
本文提出了一个针对中国画设色技法的仿真模型,该模型主要包括两个部分：中国画颜料的仿真和颜料扩散效果的仿真。在中国画颜料仿真中,首先根据中国画颜料的特性,可以知道中国画颜料包括植物性颜料和矿物性颜料,它们具有不同性质；因此,在仿真颜料时引入了由Kubel ka和Munk提出的颜色光学理论,用来计算颜料自身的散射系数和吸收系数,从而可以得出不同颜料相调和后显示的颜色以及多层颜料叠加的颜色显示。对于颜料扩散效果的仿真,本文分析了不同性质的颜料之间以及颜料与墨之间的扩散效果的不同,对已有理论进行了必要的修改和补充,同时引入了两层纸模型结构,该模型将纸划分为扩散层、沉积层。根据纸模型的结构,把水、颜料粒子在宣纸上处于的不同状态分配给每一层,然后对每一层中的各个位置含有的水、颜料粒子数目的变化进行计算。最后,由各个位置处的粒子数目计算颜料的浓度,并根据颜料仿真模块,对最终的效果进行显示。该模型比较成功的模拟了中国画颜料的特殊性,在扩散仿真上也取得了比较好的效果。
本文基于长期的绘画实践,首先对中国画的绘画媒介及其相互作用关系做出了科学的分析,总结出水墨画的成画机理,并对现今所采用的各种艺术效果的仿真算法进行了借鉴与研究。提出了水墨画仿真系统的建设目的以及目标,并对系统使用过程遇到的功能性及非功能性需求进行了分析。
本文针对颜料的特殊性质以及中国画的设色技法,对颜料及其运用方法进行模拟,进一步完善了中国画的仿真研究,并具有较强的实用性。
Chinese painting, well-known for its simplicity, abstract, uniqueness and distinctness, has a long history. It also has its own style in the East and even in the world. It can be said that it is the symbol of oriental art and the treasure of Chinese culture.
Today simulation of the traditional art of painting is a cross-cutting area of research in which art is combined with computer science. Remarkable achievements has been achieved in this area, but the scientific research in this area is still in its infancy, though, in recent years, with the rapid development of computer graphic technology, some successful efforts have been made by some researchers. These results to Chinese painting have created favorable conditions for the combination of computer science and Chinese painting, making the combination an irresistible tendency. Meanwhile, simulation of Chinese painting has become one of the hot issues in digital art.
This paper focuses on one simulation model for Chinese painting color techniques, which consists of two parts:the simulation of Chinese painting pigments and pigment dispersion. In the simulation of Chinese painting pigments, from the pigments used in Chinese painting, we can see there are two kinds of pigments:vegetable and mineral pigments. They have different natures. Thus, in pigment simulation, optical theory of color proposed by Kubel ka and Munk is introduced to calculate its scattering coefficient and absorption coefficient, thus enabling us to view the reconciliation color of different pigments and the overlaying color of different pigments. For the simulation of pigment dispersion, this paper analyzes the differences among pigments with different natures and the differences in dispersion effects between ink and pigments, makes necessary changes and additions, and introduces paper model of two-layer structure, which divides paper into diffusion layer and sediment layer. According to the structure of paper model, water and pigment particles in different states is assigned to each layer. Based on this, changes in the number of water and pigment in each layer can be calculated. Finally, based on this simulation model, the final results can be displayed from the concentration of pigments in terms of particle numbers. The model simulated the particularity of Chinese painting pigments, thus achieving fairly good effects in the proliferation simulation.
Based on the long-term practice of painting, this paper, first of all, scientifically analyzes the relationship between the painting media and their interaction, summarizes the mechanism of wash painting, and presents a variety of simulation calculation methods of artistic effects. Constructive objectives of Chinese painting simulation system are proposed and functional and non-functional requirements encountered in the use of the process are also analyzed.
In this paper, the simulation of pigment usage, based on the special nature of pigments and color techniques of Chinese painting, further improves the simulation of Chinese painting and has strong practicability.
引文
[1]吴葆伦 中国画技法与鉴赏 北京：东方出版社,1996,26-32
[2]王克文 山水画技法述要 上海：人民美术出版社,1986.70-77
[3]S.Strassmann. Hairy brushes. In Proceedings of the 13th annual conference on Computer graphics and interactive techniques, ACM Press, 1986.225-232.
[4]J. Lee. Simulating oriental black-ink painting. IEEE Computer Graphics & Application,1999.19(3):74-81.
[5]H. T. F Wong and H. H. S. Ip. Virtual brush:a model-based synthesis of Chinese calligraphy, Computers and Graphics,24(1), PP.99-113, February 2000.
[6]B. Baxter, V. Scheib, M. Lin and D. Manocha. DAB:Interactive haptic painting with 3D virtual brushes, SIGGRAPH 2001 Proceedings, PP.461-468, August 2001.
[7]Ching Chan, Ergun Akleman. Two methods for creating Chinese painting. In: Proceedings of the 1 0th Pacific Conference on Computer Graphics and Applications (PG02), Beijing,2002.403-413.
[8]N. S. H. Chu and C. L. Tai. An efficient brush model for physical-based 3D painting. PP.43--421, Proc. Of Pacific Graphics 02.
[9]Q. Guo and T. Kunii. Modeling the diffuse painting of sumie. Modeling in Computer Graphics, pages 329-338,1991.
[10]Qing lian Guo Tosiyasu L. Kunii, Nijimi Rendering Algorithm for Creating Quality Black Ink Paintings, Proceedings of Computer Graphics International 2003(CG12003, Tokyo), PP.152-159,2003.7.
[11]Cassidy Curtis, Scan E. Andersen, Joshua E. Seims, Kurt W. Fleischer and David H. Salesin, "Computer-Generated Watercolor, Computer Graphics(Proc. Siggraph),ACM SIGGRAPH, ACM Press, PP.421--430, August 1997.
[12]J. Lee. Diffusion rendering of black ink paintings using new paper and ink models. Computers& Graphics,25:295-308,2001.
[13]余斌 孙济洲 白海飞 孙美君 基于纸的物理建模的水墨画扩散效果仿真,系统仿真学报,2005,17(9),2305-2309
[14]T. Kunii, G V Nosovskij, and T. Hayashi. A diffusion model for computer animation of diffuse ink painting. In Computer Animation 95 Proc, pages 98-102,1995.
[15]Q. Zhang, Y Sato, J. Takahashi, K. Muraoka, and N. Chiba. Simple cellular automaton-based simulation of ink behavior and its application to suibokuga like 3d rendering of trees. The Journal of Visualization and Computer Animation,10:27-37,1999.
[16]Young Jung Yu, Do Hoon Lee. Interactive Rendering Technique for Realistic Oriental Painting. Journal of WSCG51 VOl. 11, No.1, pages 538-545,2003.
[17]Nelson S.-H. Chu and C.-L.Tai, MoXi:Real-Time Ink Dispersion in Absorbent Paper, ACM Transactions 011 Graphics (SIGGRAPH 2005 issue), VOl. 24, No.3, pages 504-511, August 2005.
[18]宓晓峰 唐敏 林建贞 董金祥 基于经验的虚拟毛笔模型,计算机研究与发展,2003,40(8)：1244.1251
[19]Wang Xiu jin, Sun Ji zhou, Simulating For Chinese Painting Based on Image Analogies, VRA12003. pages 157-161
[20]孙美君 李丹 孙济洲 基于纹理合成的中国山水画系统仿真 系统仿真学报,2004,16(10),2317-2320.
[21]Der-Lor Way, Zen-Chung Shih, "The Synthesis of Rock Textures in Chinese Landscape Painting". COMPUTER GRAPH/CS Forum Volume 20, Number 3, PP. C123-C131,2001.
[22]Yu Jinhui, Luo Guoming, Peng Qunsheng. Image-based synthesis of Chinese landscape painting. Journal of Computer Science and Technology.2003, 18(1):22-28.
[23]0. Kallmes and H. Corte. The structure of paper in, the statistical geometry of an ideal two dimensional fiber network. Tappi Journal, 43(9):737-752,1960.
[24]颜色光学基础理论 束越新著 山东科学技术出版社,532-564.
[25]C. S. Haase and GW. Meyer. Modeling pigmented materials for realistic image synthesis. ACM Transactions on Graphics (TOG),11(4):305-335, 1992.
[26]Shiegefumi Yamamoto, Xiao yang Mac, Atsumi Imamiya, "Colored Pencil Filter with Custom Colors". Proceedings of the 12th Pacific Conference on Computer Graphics and Application,2004:329-338
[27]D. Rudolf, D. Mould, E. Neufeld, "Simulating Wax Crayons",11th Pacific Conference on Computer Graphics and Applications,2003, PP 163-173.
[28]Tom Van Laerhoven, Frank Van Reeth. Real—time Simulation of Watery Paint
[29]Tom Van Laerhoven, Frank Van Reeth. Real-time Simulation of Thin Paint Media.
[30]白海飞 基于物理建模的“水墨扩散叠加”效果仿真研究：硕士学位论文,天津；天津大学,2005.
[31]孙美君 中国水墨画仿真中毛笔模型的研究与设计：硕士学位论文 天津；天津大学,2005
[32]Tom VanLaerhoven, Frank Van Reeth. A Paper model for real time watercolor simulation.
[33]李弼程 智能图像处理技术 电子工业出版社,2004.
[34]连之伟 热质交换原理与设备 北京：中国建筑工业出版社,2001.
[35]Cluster, E. L. Diffusion Mass Transfer in Fluid System, Second Edition, Cambrige University Press,1997.
[2]王克文 山水画技法述要 上海：人民美术出版社,1986.70-77
[3]S.Strassmann. Hairy brushes. In Proceedings of the 13th annual conference on Computer graphics and interactive techniques, ACM Press, 1986.225-232.
[4]J. Lee. Simulating oriental black-ink painting. IEEE Computer Graphics & Application,1999.19(3):74-81.
[5]H. T. F Wong and H. H. S. Ip. Virtual brush:a model-based synthesis of Chinese calligraphy, Computers and Graphics,24(1), PP.99-113, February 2000.
[6]B. Baxter, V. Scheib, M. Lin and D. Manocha. DAB:Interactive haptic painting with 3D virtual brushes, SIGGRAPH 2001 Proceedings, PP.461-468, August 2001.
[7]Ching Chan, Ergun Akleman. Two methods for creating Chinese painting. In: Proceedings of the 1 0th Pacific Conference on Computer Graphics and Applications (PG02), Beijing,2002.403-413.
[8]N. S. H. Chu and C. L. Tai. An efficient brush model for physical-based 3D painting. PP.43--421, Proc. Of Pacific Graphics 02.
[9]Q. Guo and T. Kunii. Modeling the diffuse painting of sumie. Modeling in Computer Graphics, pages 329-338,1991.
[10]Qing lian Guo Tosiyasu L. Kunii, Nijimi Rendering Algorithm for Creating Quality Black Ink Paintings, Proceedings of Computer Graphics International 2003(CG12003, Tokyo), PP.152-159,2003.7.
[11]Cassidy Curtis, Scan E. Andersen, Joshua E. Seims, Kurt W. Fleischer and David H. Salesin, "Computer-Generated Watercolor, Computer Graphics(Proc. Siggraph),ACM SIGGRAPH, ACM Press, PP.421--430, August 1997.
[12]J. Lee. Diffusion rendering of black ink paintings using new paper and ink models. Computers& Graphics,25:295-308,2001.
[13]余斌 孙济洲 白海飞 孙美君 基于纸的物理建模的水墨画扩散效果仿真,系统仿真学报,2005,17(9),2305-2309
[14]T. Kunii, G V Nosovskij, and T. Hayashi. A diffusion model for computer animation of diffuse ink painting. In Computer Animation 95 Proc, pages 98-102,1995.
[15]Q. Zhang, Y Sato, J. Takahashi, K. Muraoka, and N. Chiba. Simple cellular automaton-based simulation of ink behavior and its application to suibokuga like 3d rendering of trees. The Journal of Visualization and Computer Animation,10:27-37,1999.
[16]Young Jung Yu, Do Hoon Lee. Interactive Rendering Technique for Realistic Oriental Painting. Journal of WSCG51 VOl. 11, No.1, pages 538-545,2003.
[17]Nelson S.-H. Chu and C.-L.Tai, MoXi:Real-Time Ink Dispersion in Absorbent Paper, ACM Transactions 011 Graphics (SIGGRAPH 2005 issue), VOl. 24, No.3, pages 504-511, August 2005.
[18]宓晓峰 唐敏 林建贞 董金祥 基于经验的虚拟毛笔模型,计算机研究与发展,2003,40(8)：1244.1251
[19]Wang Xiu jin, Sun Ji zhou, Simulating For Chinese Painting Based on Image Analogies, VRA12003. pages 157-161
[20]孙美君 李丹 孙济洲 基于纹理合成的中国山水画系统仿真 系统仿真学报,2004,16(10),2317-2320.
[21]Der-Lor Way, Zen-Chung Shih, "The Synthesis of Rock Textures in Chinese Landscape Painting". COMPUTER GRAPH/CS Forum Volume 20, Number 3, PP. C123-C131,2001.
[22]Yu Jinhui, Luo Guoming, Peng Qunsheng. Image-based synthesis of Chinese landscape painting. Journal of Computer Science and Technology.2003, 18(1):22-28.
[23]0. Kallmes and H. Corte. The structure of paper in, the statistical geometry of an ideal two dimensional fiber network. Tappi Journal, 43(9):737-752,1960.
[24]颜色光学基础理论 束越新著 山东科学技术出版社,532-564.
[25]C. S. Haase and GW. Meyer. Modeling pigmented materials for realistic image synthesis. ACM Transactions on Graphics (TOG),11(4):305-335, 1992.
[26]Shiegefumi Yamamoto, Xiao yang Mac, Atsumi Imamiya, "Colored Pencil Filter with Custom Colors". Proceedings of the 12th Pacific Conference on Computer Graphics and Application,2004:329-338
[27]D. Rudolf, D. Mould, E. Neufeld, "Simulating Wax Crayons",11th Pacific Conference on Computer Graphics and Applications,2003, PP 163-173.
[28]Tom Van Laerhoven, Frank Van Reeth. Real—time Simulation of Watery Paint
[29]Tom Van Laerhoven, Frank Van Reeth. Real-time Simulation of Thin Paint Media.
[30]白海飞 基于物理建模的“水墨扩散叠加”效果仿真研究：硕士学位论文,天津；天津大学,2005.
[31]孙美君 中国水墨画仿真中毛笔模型的研究与设计：硕士学位论文 天津；天津大学,2005
[32]Tom VanLaerhoven, Frank Van Reeth. A Paper model for real time watercolor simulation.
[33]李弼程 智能图像处理技术 电子工业出版社,2004.
[34]连之伟 热质交换原理与设备 北京：中国建筑工业出版社,2001.
[35]Cluster, E. L. Diffusion Mass Transfer in Fluid System, Second Edition, Cambrige University Press,1997.