{"title":"Occlusion aware digital colouring for comics","authors":"Matthew Thorne, C. Kaplan","doi":"10.1145/2628257.2628353","DOIUrl":null,"url":null,"abstract":"A common workflow for modern comic artists is to create an inked line drawing using traditional tools. Then the drawing is scanned as black and white line art and coloured digitally using an application such as Photoshop [Abel and Madden 2012]. The first step of digital colouring, called flatting, assigns symbolic colours to each region in an image which a colourist can use to apply final colours and other effects. There is little direct support for flatting in software, which results in a manual, labour intensive process for artists. Further, an object in a drawing may be split into multiple regions due to occlusions, requiring an artist to assign the same colour to each region of the object. This work describes a quantitative framework that allows occlusion cues, derived from vision research, to be computed and compared with each other. This framework is used to simplify comic flatting, allowing an artist to flat multiple regions in a single click. Simple gestural tools that can be used to add additional guidance to occlusion processing are also provided.","PeriodicalId":102213,"journal":{"name":"Proceedings of the ACM Symposium on Applied Perception","volume":"1 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2014-08-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Proceedings of the ACM Symposium on Applied Perception","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1145/2628257.2628353","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
Abstract
A common workflow for modern comic artists is to create an inked line drawing using traditional tools. Then the drawing is scanned as black and white line art and coloured digitally using an application such as Photoshop [Abel and Madden 2012]. The first step of digital colouring, called flatting, assigns symbolic colours to each region in an image which a colourist can use to apply final colours and other effects. There is little direct support for flatting in software, which results in a manual, labour intensive process for artists. Further, an object in a drawing may be split into multiple regions due to occlusions, requiring an artist to assign the same colour to each region of the object. This work describes a quantitative framework that allows occlusion cues, derived from vision research, to be computed and compared with each other. This framework is used to simplify comic flatting, allowing an artist to flat multiple regions in a single click. Simple gestural tools that can be used to add additional guidance to occlusion processing are also provided.
现代漫画艺术家的常见工作流程是使用传统工具创建墨水线条图。然后,绘图扫描为黑白线条艺术,并使用Photoshop等应用程序进行数字着色[Abel and Madden 2012]。数码上色的第一步,被称为平坦,为图像中的每个区域分配象征性的颜色,调色师可以使用这些颜色来应用最终的颜色和其他效果。在软件中几乎没有直接支持平面化,这导致美术人员需要手工、劳动密集型的过程。此外,由于遮挡,绘图中的对象可能被分割成多个区域,这需要艺术家为对象的每个区域分配相同的颜色。这项工作描述了一个定量框架,允许从视觉研究中获得的遮挡线索进行计算和相互比较。这个框架被用来简化漫画的平坦化,允许艺术家在一次点击中平坦多个区域。简单的手势工具,可以用来添加额外的指导遮挡处理也提供。