There is a significant flaw in today's painting software: the colors do not mix like actual paints. E.g., blue and yellow make gray instead of green. This is because the software is built around the RGB representation, which models the mixing of colored lights. Paints, however, get their color from pigments, whose mixing behavior is predicted by the Kubelka-Munk model (K-M). Although it was introduced to computer graphics almost 30 years ago, the K-M model has never been adopted by painting software in practice as it would require giving up the RGB representation, growing the number of per-pixel channels substantially, and depriving the users of painting with arbitrary RGB colors. In this paper, we introduce a practical approach that enables mixing colors with K-M while keeping everything in RGB. We achieve this by establishing a latent color space, where RGB colors are represented as mixtures ofprimary pigments together with additive residuals. The latents can be manipulated with linear operations, leading to expected, plausible results. We describe the conversion between RGB and our latent representation, and show how to implement it efficiently.

In this paper, we present a learning-based method to the keyframe-based video stylization that allows an artist to propagate the style from a few selected keyframes to the rest of the sequence. Its key advantage is that the resulting stylization is semantically meaningful, i.e., specific parts of moving objects are stylized according to the artist's intention. In contrast to previous style transfer techniques, our approach does not require any lengthy pre-training process nor a large training dataset. We demonstrate how to train an appearance translation network from scratch using only a few stylized exemplars while implicitly preserving temporal consistency. This leads to a video stylization framework that supports real-time inference, parallel processing, and random access to an arbitrary output frame. It can also merge the content from multiple keyframes without the need to perform an explicit blending operation. We demonstrate its practical utility in various interactive scenarios, where the user paints over a selected keyframe and sees her style transferred to an existing recorded sequence or a live video stream.

Abstract We present StyleBlit—an efficient example‐based style transfer algorithm that can deliver high‐quality stylized renderings in real‐time on a single‐core CPU. Our technique is especially suitable for style transfer applications that use local guidance ‐ descriptive guiding channels containing large spatial variations. Local guidance encourages transfer of content from the source exemplar to the target image in a semantically meaningful way. Typical local guidance includes, e.g., normal values, texture coordinates or a displacement field. Contrary to previous style transfer techniques, our approach does not involve any computationally expensive optimization. We demonstrate that when local guidance is used, optimization‐based techniques converge to solutions that can be well approximated by simple pixel‐level operations. Inspired by this observation, we designed an algorithm that produces results visually similar to, if not better than, the state‐of‐the‐art, and is several orders of magnitude faster. Our approach is suitable for scenarios with low computational budget such as games and mobile applications.

We introduce a new example-based approach to video stylization, with a focus on preserving the visual quality of the style, user controllability and applicability to arbitrary video. Our method gets as input one or more keyframes that the artist chooses to stylize with standard painting tools. It then automatically propagates the stylization to the rest of the sequence. To facilitate this while preserving visual quality, we developed a new type of guidance for state-of-art patch-based synthesis, that can be applied to any type of video content and does not require any additional information besides the video itself and a user-specified mask of the region to be stylized. We further show a temporal blending approach for interpolating style between keyframes that preserves texture coherence, contrast and high frequency details. We evaluate our method on various scenes from real production setting and provide a thorough comparison with prior art.

We introduce a novel approach to example-based stylization of portrait videos that preserves both the subject's identity and the visual richness of the input style exemplar. Unlike the current state-of-the-art based on neural style transfer [Selim et al. 2016], our method performs non-parametric texture synthesis that retains more of the local textural details of the artistic exemplar and does not suffer from image warping artifacts caused by aligning the style exemplar with the target face. Our method allows the creation of videos with less than full temporal coherence [Ruder et al. 2016]. By introducing a controllable amount of temporal dynamics, it more closely approximates the appearance of real hand-painted animation in which every frame was created independently. We demonstrate the practical utility of the proposed solution on a variety of style exemplars and target videos.

Natural images often exhibit symmetries that should be taken into account when editing them. In this paper we present Nautilus --- a method for automatically identifying symmetric regions in an image along with their corresponding symmetry transformations. We compute dense local similarity symmetry transformations using a novel variant of the Generalised PatchMatch algorithm that uses Metropolis-Hastings sampling. We combine and refine these local symmetries using an extended Lucas-Kanade algorithm to compute regional transformations and their spatial extents. Our approach produces dense estimates of complex symmetries that are combinations of translation, rotation, scale, and reflection under perspective distortion. This enables a number of automatic symmetry-aware image editing applications including inpainting, rectification, beautification, and segmentation, and we demonstrate state-of-the-art applications for each of them.

We present an approach to example-based stylization of 3D renderings that better preserves the rich expressiveness of hand-created artwork. Unlike previous techniques, which are mainly guided by colors and normals, our approach is based on light propagation in the scene. This novel type of guidance can distinguish among context-dependent illumination effects, for which artists typically use different stylization techniques, and delivers a look closer to realistic artwork. In addition, we demonstrate that the current state of the art in guided texture synthesis produces artifacts that can significantly decrease the fidelity of the synthesized imagery, and propose an improved algorithm that alleviates them. Finally, we demonstrate our method's effectiveness on a variety of scenes and styles, in applications like interactive shading study or autocompletion.

In this paper we present a novel approach to appearance transfer for fluid animations based on flow-guided texture synthesis. In contrast to common practice where pre-captured sets of fluid elements are combined in order to achieve desired motion and look, we bring the possibility of fine-tuning motion properties in advance using CG techniques, and then transferring the desired look from a selected appearance exemplar. We demonstrate that such a practical work-flow cannot be simply implemented using current state-of-the-art techniques, analyze what the main obstacles are, and propose a solution to resolve them. In addition, we extend the algorithm to allow for synthesis with rich boundary effects and video exemplars. Finally, we present numerous results that demonstrate the versatility of the proposed approach.

Abstract We present an example‐based approach to rendering hand‐colored animations which delivers visual richness comparable to real artwork while enabling control over the amount of perceived temporal noise. This is important both for artistic purposes and viewing comfort, but is tedious or even intractable to achieve manually. We analyse typical features of real hand‐colored animations and propose an algorithm that tries to mimic them using only static examples of drawing media. We apply the algorithm to various animations using different drawing media and compare the quality of synthetic results with real artwork. To verify our method perceptually, we conducted experiments confirming that our method delivers distinguishable noise levels and reduces eye strain. Finally, we demonstrate the capabilities of our method to mask imperfections such as shower‐door artifacts.

We present a new approach for generating global illumination renderings of hand-drawn characters using only a small set of simple annotations. Our system exploits the concept of bas-relief sculptures, making it possible to generate 3D proxies suitable for rendering without requiring side-views or extensive user input. We formulate an optimization process that automatically constructs approximate geometry sufficient to evoke the impression of a consistent 3D shape. The resulting renders provide the richer stylization capabilities of 3D global illumination while still retaining the 2D hand-drawn look-and-feel. We demonstrate our approach on a varied set of hand-drawn images and animations, showing that even in comparison to ground-truth renderings of full 3D objects, our bas-relief approximation is able to produce convincing global illumination effects, including self-shadowing, glossy reflections, and diffuse color bleeding.

In this paper we propose a reinterpretation of the brush and the fill tools for digital image painting. The core idea is to provide an intuitive approach that allows users to paint in the visual style of arbitrary example images. Rather than a static library of colors, brushes, or fill patterns, we offer users entire images as their palette, from which they can select arbitrary contours or textures as their brush or fill tool in their own creations. Compared to previous example-based techniques related to the painting-by-numbers paradigm we propose a new strategy where users can generate salient texture boundaries by our randomized graph-traversal algorithm and apply a content-aware fill to transfer textures into the delimited regions. This workflow allows users of our system to intuitively create visually appealing images that better preserve the visual richness and fluidity of arbitrary example images. We demonstrate the potential of our approach in various applications including interactive image creation, editing and vector image stylization.

Finding minimal cuts on graphs with a grid-like structure has become a core task for solving many computer vision and graphics related problems. However, computation speed and memory consumption oftentimes limit the effective use in applications requiring high resolution grids or interactive response. In particular, memory bandwidth represents one of the major bottlenecks even in today's most efficient implementations. We propose a compact data structure with cache-efficient memory layout for the representation of graph instances that are based on regular N-D grids with topologically identical neighborhood systems. For this common class of graphs our data structure allows for 3 to 12 times higher grid resolutions and a 3- to 9-fold speedup compared to existing approaches. Our design is agnostic to the underlying algorithm, and hence orthogonal to other optimizations such as parallel and hierarchical processing. We evaluate the performance gain on a variety of typical problems including 2D/3D segmentation, colorization, and stereo. All experiments show an unconditional improvement in terms of speed and memory consumption, with graceful performance degradation for graphs with increasing topological irregularities.