From a single still image, a looping video could be generated by imparting subtle motion to objects in the image. The results are a hybrid of photography and video. They contain gentle motion in some objects, while the rest of the image remains still. Existing techniques are successful in animating such images. However, there are still some drawbacks that need to be investigated, such as too-large computation time necessary to retrieve the matched videos or the challenges of controlling the desired motion not only in terms of a single region but also in terms of consistency in regions. In this work, we address these issues by proposing an interactive system with a novel warping method. The key idea of our approach is to utilize user’s annotations to impart motion to certain objects. With two proposed phases in terms of preserve-curve-warping and cycle warping, a looping video is generated. We demonstrate the effectiveness of our method via various experimental challenging results and evaluations. We show that with a simple and lightweight method, our system is able to deal with animating a still image’s problems and results in realistic motion and appealing videos. In addition, using our proposed system, it is easy to create plausible animation using simple user annotations without referencing the video database or machine learning models and allows ordinary users with minimal expertise to produce compelling results.

Wire sculptures are objects sculpted by the use of wires. In this article, we propose practical methods to create 3D virtual wire sculptural art from a given 3D model. In contrast, most of the previous 3D wire art results are reconstructed from input 2D wire art images. Artists usually tend to design their wire art with a single wire if possible. If not possible, they try to create it with the least number of wires. To follow this general design trend, our proposed method generates 3D virtual wire art with the minimum number of continuous wire lines. To achieve this goal, we first adopt a greedy approach to extract important edges of a given 3D model. These extracted important edges become the basis for the subsequent lines to roughly represent the shape of the input model. Then, we connect them with the minimum number of continuous wire lines by the order obtained by optimally solving a traveling salesman problem with some constraints. Finally, we smooth the obtained 3D wires to simulate the real 3D wire results by artists. In addition, we also provide a user interface to control the winding of wires by their design preference. Finally, we experimentally show our 3D virtual wire results and evaluate these created results. As a result, the proposed method is computed effectively and interactively, and results are appealing and comparable to real 3D wire art work.

Hypnotic line art is a modern form in which white narrow curved ribbons, with the width and direction varying along each path over a black background, provide a keen sense of 3D objects regarding surface shapes and topological contours. However, the procedure of manually creating such line art work can be quite tedious and time-consuming. In this article, we present an interactive system that offers a What-You-See-Is-What-You-Get (WYSIWYG) scheme for producing hypnotic line art images by integrating and placing evenly-spaced streamlines in tensor fields. With an input picture segmented, the user just needs to sketch a few illustrative strokes to guide the construction of a tensor field for each part of the objects therein. Specifically, we propose a new method which controls, with great precision, the aesthetic layout and artistic drawing of an array of streamlines in each tensor field to emulate the style of hypnotic line art. Given several parameters for streamlines such as density, thickness, and sharpness, our system is capable of generating professional-level hypnotic line art work. With great ease of use, it allows art designers to explore a wide variety of possibilities to obtain hypnotic line art results of their own preferences.

Brushstrokes are viewed as the artist’s “handwriting” in a painting. In many applications such as style learning and transfer, mimicking painting, and painting authentication, it is highly desired to quantitatively and accurately identify brushstroke characteristics from old masters’ pieces using computer programs. However, due to the nature of hundreds or thousands of intermingling brushstrokes in the painting, it still remains challenging. This article proposes an efficient algorithm for brush Stroke extraction based on a Deep neural network, i.e., DStroke. Compared to the state-of-the-art research, the main merit of the proposed DStroke is to automatically and rapidly extract brushstrokes from a painting without manual annotation, while accurately approximating the real brushstrokes with high reliability. Herein, recovering the faithful soft transitions between brushstrokes is often ignored by the other methods. In fact, the details of brushstrokes in a master piece of painting (e.g., shapes, colors, texture, overlaps) are highly desired by artists since they hold promise to enhance and extend the artists’ powers, just like microscopes extend biologists’ powers. To demonstrate the high efficiency of the proposed DStroke, we perform it on a set of real scans of paintings and a set of synthetic paintings, respectively. Experiments show that the proposed DStroke is noticeably faster and more accurate at identifying and extracting brushstrokes, outperforming the other methods.

Relief is an art form part way between 3D sculpture and 2D painting. We present a novel approach for generating a texture-mapped high-relief model from a single brush painting. Our aim is to extract the brushstrokes from a painting and generate the individual corresponding relief proxies rather than recovering the exact depth map from the painting, which is a tricky computer vision problem, requiring assumptions that are rarely satisfied. The relief proxies of brushstrokes are then combined together to form a 2.5D high-relief model. To extract brushstrokes from 2D paintings, we apply layer decomposition and stroke segmentation by imposing boundary constraints. The segmented brushstrokes preserve the style of the input painting. By inflation and a displacement map of each brushstroke, the features of brushstrokes are preserved by the resultant high-relief model of the painting. We demonstrate that our approach is able to produce convincing high-reliefs from a variety of paintings(with humans, animals, flowers, etc.). As a secondary application, we show how our brushstroke extraction algorithm could be used for image editing. As a result, our brushstroke extraction algorithm is specifically geared towards paintings with each brushstroke drawn very purposefully, such as Chinese paintings, Rosemailing paintings, etc.

We introduce an interactive user-driven method to reconstruct high-relief 3D geometry from a single photo. Particularly, we consider two novel but challenging reconstruction issues: i) common non-rigid objects whose shapes are organic rather than polyhedral/symmetric, and ii) double-sided structures, where front and back sides of some curvy object parts are revealed simultaneously on image. To address these issues, we develop a three-stage computational pipeline. First, we construct a 2.5D model from the input image by user-driven segmentation, automatic layering, and region completion, handling three common types of occlusion. Second, users can interactively mark-up slope and curvature cues on the image to guide our constrained optimization model to inflate and lift up the image layers. We provide real-time preview of the inflated geometry to allow interactive editing. Third, we stitch and optimize the inflated layers to produce a high-relief 3D model. Compared to previous work, we can generate high-relief geometry with large viewing angles, handle complex organic objects with multiple occluded regions and varying shape profiles, and reconstruct objects with double-sided structures. Lastly, we demonstrate the applicability of our method on a wide variety of input images with human, animals, flowers, etc.

This paper addresses a challenging single-view modeling and animation problem with cartoon images. Our goal is to model the hairs in a given cartoon image with consistent layering and occlusion, so that we can produce various visual effects from just a single image. We propose a novel 2.5D modeling approach to deal with this problem. Given an input image, we first segment the hairs of the cartoon character into regions of hair strands. Then, we apply our novel layering metric, which is derived from the Gestalt psychology, to automatically optimize the depth ordering among the hair strands. After that, we employ our hair completion method to fill the occluded part of each hair strand, and create a 2.5D model of the cartoon hair. By using this model, we can produce various visual effects, e.g., we develop a simplified fluid simulation model to produce wind blowing animations with the 2.5D hairs. To further demonstrate the applicability and versatility of our method, we compare our results with real cartoon hair animations, and also apply our model to produce a wide variety of hair manipulation effects, including hair editing and hair braiding.

A novel content-aware warping approach is introduced for video retargeting. The key to this technique is adapting videos to fit displays with various aspect ratios and sizes while preserving both visually salient content and temporal coherence. Most previous studies solve this spatiotemporal problem by consistently resizing content in frames. This strategy significantly improves the retargeting results, but does not fully consider object preservation, sometimes causing apparent distortions on visually salient objects. We propose an object-preserving warping scheme with object-based significance estimation to reduce this unpleasant distortion. In the proposed scheme, visually salient objects in 3D space-time space are forced to undergo as-rigid-as-possible warping, while low-significance contents are warped as close as possible to linear rescaling. These strategies enable our method to consistently preserve both the spatial shapes and temporal motions of visually salient objects and avoid overdeformations on low-significance objects, yielding a pleasing motion-aware video retargeting. Qualitative and quantitative analyses, including a user study and experiments on complex videos containing diverse cameras and dynamic motions, show a clear superiority of our method over related video retargeting methods.

This paper introduces double-sided 2.5D graphics, aiming at enriching the visual appearance when manipulating conventional 2D graphical objects in 2.5D worlds. By attaching a back texture image on a single-sided 2D graphical object, we can enrich the surface and texture detail on 2D graphical objects and improve our visual experience when manipulating and animating them. A family of novel operations on 2.5D graphics, including rolling, twisting, and folding, are proposed in this work, allowing users to efficiently create compelling 2.5D visual effects. Very little effort is needed from the user's side. In our experiment, various creative designs on double-sided graphics were worked out by the recruited participants including a professional artist, which show and demonstrate the feasibility and applicability of our proposed method.