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Now showing 1 - 4 of 4
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    Map Style Formalization: Rendering Techniques Extension for Cartography
    (The Eurographics Association, 2016) Christophe, Sidonie; Duménieu, Bertrand; Turbet, Jérémie; Hoarau, Charlotte; Mellado, Nicolas; Ory, Jérémie; Loi, Hugo; Masse, Antoine; Arbelot, Benoit; Vergne, Romain; Brédif, Mathieu; Hurtut, Thomas; Thollot, Joëlle; Vanderhaeghe, David; Pierre Bénard and Holger Winnemöller
    Cartographic design requires controllable methods and tools to produce maps that are adapted to users' needs and preferences. The formalized rules and constraints for cartographic representation come mainly from the conceptual framework of graphic semiology. Most current Geographical Information Systems (GIS) rely on the Styled Layer Descriptor and Semiology Encoding (SLD/SE) specifications which provide an XML schema describing the styling rules to be applied on geographic data to draw a map. Although this formalism is relevant for most usages in cartography, it fails to describe complex cartographic and artistic styles. In order to overcome these limitations, we propose an extension of the existing SLD/SE specifications to manage extended map stylizations, by the means of controllable expressive methods. Inspired by artistic and cartographic sources (Cassini maps, mountain maps, artistic movements, etc.), we propose to integrate into our system three main expressive methods: linear stylization, patch-based region filling and vector texture generation. We demonstrate how our pipeline allows to personalize map rendering with expressive methods in several examples.
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    Interactive NPAR: What Type of Tools Should We Create?
    (The Eurographics Association, 2016) Isenberg, Tobias; Pierre Bénard and Holger Winnemöller
    I argue that we need to increase our consideration of the interaction that is possible and/or needed for the NPAR algorithms we develop. Depending on the application domain of a given algorithmic contribution, different degrees of interaction are required to make it practically useful and, thus, relevant. The spectrum of interactivity ranges from (almost) fully automatic processing to levels of control that are similar to those of traditional tools-some of the approaches even needing to support the full spectrum. Only if these considerations are first-class members of the NPAR development process can we expect others to want to work with our tools and to use them on a regular basis.
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    Sketch and Shade : An interactive assistant for sketching and shading
    (Association for Computing Machinery, Inc (ACM), 2017) Parakkat, Amal Dev; Joshi, Sarang Anil; Pundarikaksha, Uday Bondi; Muthuganapathy, Ramanathan; Holger Winnemoeller and Lyn Bartram
    We present a drawing assistant for sketching and for assisting users in shading a hand drawn sketch. The augmented reality based system uses a sketch made by a professional and uses it to help inexperienced users to do sketching and shading. The input image is converted to a set of points based on simple heuristics for providing a “connect the dots'' interface for a user to aid sketching. With the help of a 2.5D mesh generated by our algorithm, the system assists the user by providing information about the colors that can be given in different parts of the sketch. The system was tested with users of different age groups and skill levels, indicating its usefulness.
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    Drawing Characteristics for Reproducing Traditional Hand-Made Stippling
    (The Eurographics Association, 2015) Martín, Domingo; Sol, Vicente del; Romo, Celia; Isenberg, Tobias; David Mould and Pierre Bénard
    We contribute an in-depth analysis of the characteristics of traditional stippling and relate these to common practices in NPAR stippling techniques as well as to the abilities and limitations of existing printing and display technology. In our work we focus specifically on the properties of stipple dots and consider the dimensions and attributes of pens and paper types used in artistic practice. With our analysis we work toward an understanding of the requirements for digital stippling, with the ultimate goal to provide tools to artists and illustrators that can replicate the stippling process faithfully in the digital domain. From the results of our study we provide a dataset for use in new example-based stippling techniques, derive a taxonomy of characteristics and conditions for the reproduction of stippling, and define future directions of work.