Question

这段英语怎么翻译

Research on rendering in a Chinese painting stylehas mainly considered simulation of the interactionof water, ink, paper and brushes. Strassmannproposed a hairy brush model aimed at reproducingJapanese sumi-e; Chinese painting is similar.Position and pressure are sampled to give controlpoints determining the stroke location and width.Much subsequent work has used a similar approachto modeling strokes. For example, ref. discussedhow to draw trees in a Chinese style given an inputskeleton. Such methods model the brush ashaving various shapes, sizes and patterns in 2D toform the desired stroke. Lee gave a more sophisticated3D bristle model for oriental brush painting,which considers the bristles as having one endfixed in a handle perpendicular to the paper. Theirbending is modelled as the brush is applied to thepaper. Baxter,on the other hand, used springsto model 3D brush deformation.Most work on brush models concentrates on howto model the brush, rather than how to control thebrush. The user still needs to be skillful to make apainting. In contrast, we concentrate on the problemof automatically determining from the videowhere to place the brush strokes, as well as theother parameters needed to control e.g. their widthand opacity. In this respect, ref. is much moresimilar to our work, as it also uses knowledge ofexisting strokes to create animated Chinese paintings.However, their input is an image, not a video,and they base segmentation on similarly colored regions,which is not appropriate for flowing water.Interaction of brushes with the special Xuan paperused for Chinese painting is particularly important.Nelson gave a three-layer paper model andused a lattice Boltzmann equation to simulate inkflow and deposition. Using a more complex papermodel can provide more realistic brush stroke appearance.However, as a tradeoff between efficiencyand effect, we do not model the paper directly, butrather learn the characteristics of existing strokesalready drawn on paper, i.e. so that we modelthe results produced jointly by brush and paper inexisting drawings. This model also includes, forexample, random variations in the stroke width,further simulating interaction of brush and paper. Video textures are a constantly varying sequenceof images representing some random patternover time, such as smoke, or a waterfall forexample. Various authors have proposed synthesisand editing tools for video textures; some ofthese tools are also relevant to our problem. Forexample, Bhat analyses the speed of flowing texturesin video frames. However, unlike our method,his method needs laborious user assistance to helpmark the flow. To the best of our knowledge,none of previous methods render video textures ina Chinese-brush-stroke style.

Answer 1

Research on rendering in a Chinese painting stylehas mainly considered simulation of the interactionof water, ink, paper and brushes. Strassmannproposed a hairy brush model aimed at reproducingJapanese sumi-e; Chinese painting is similar.Position and pressure are sampled to give controlpoints determining the stroke location and width.Much subsequent work has used a similar approachto modeling strokes. For example, ref. discussedhow to draw trees in a Chinese style given an inputskeleton. Such methods model the brush ashaving various shapes, sizes and patterns in 2D toform the desired stroke. Lee gave a more sophisticated3D bristle model for oriental brush painting,which considers the bristles as having one endfixed in a handle perpendicular to the paper. Theirbending is modelled as the brush is applied to thepaper. Baxter,on the other hand, used springsto model 3D brush deformation.Most work on brush models concentrates on howto model the brush, rather than how to control thebrush. The user still needs to be skillful to make apainting. In contrast, we concentrate on the problemof automatically determining from the videowhere to place the brush strokes, as well as theother parameters needed to control e.g. their widthand opacity. In this respect, ref. is much moresimilar to our work, as it also uses knowledge ofexisting strokes to create animated Chinese paintings.However, their input is an image, not a video,and they base segmentation on similarly colored regions,which is not appropriate for flowing water.Interaction of brushes with the special Xuan paperused for Chinese painting is particularly important.Nelson gave a three-layer paper model andused a lattice Boltzmann equation to simulate inkflow and deposition. Using a more complex papermodel can provide more realistic brush stroke appearance.However, as a tradeoff between efficiencyand effect, we do not model the paper directly, butrather learn the characteristics of existing strokesalready drawn on paper, i.e. so that we modelthe results produced jointly by brush and paper inexisting drawings. This model also includes, forexample, random variations in the stroke width,further simulating interaction of brush and paper. Video textures are a constantly varying sequenceof images representing some random patternover time, such as smoke, or a waterfall forexample. Various authors have proposed synthesisand editing tools for video textures; some ofthese tools are also relevant to our problem. Forexample, Bhat analyses the speed of flowing texturesin video frames. However, unlike our method,his method needs laborious user assistance to helpmark the flow. To the best of our knowledge,none of previous methods render video textures ina Chinese-brush-stroke style.

研究绘制国画中stylehas主要考虑仿真的interactionof水，墨，纸和笔。strassmannproposed毛的刷子模型旨在reproducingjapanese1；中国画是类似的。位置和压力采样给控制点确定中风的位置和宽度。许多随后的工作已经使用了类似的做法建模招。例如，参考discussedhow画树在中国风格给予inputskeleton。这种方法模型刷ashaving各种形状，大小和模式在二维形成所需的行程。李给更sophisticated3d鬃模式东方水墨画，其中认为刷毛有一个endfixed在手柄垂直于纸。theirbending是仿照作为刷适用于文章。百特，另一方面，使用三维模型变形springsto刷。大多数工作集中于如何模型刷模式刷，而不是如何控制画笔。用户仍然需要善于做画。相反，我们集中的问题，自动确定从videowhere把笔触，以及其他参数来控制他们的宽度和不透明度。在这方面，参考多moresimilar我们的工作，因为它也利用现有中风知识创作中国画。然而，其输入的图像，不是一个视频，他们同样颜色的区域分割，这是不恰当的流水。互动刷子与特殊轩paperused中国绘画是特别重要的。内尔森给三层纸模型和晶格玻尔兹曼方程模拟inkflow沉积。使用更复杂的papermodel可以提供更现实的笔触表现。然而，由于之间的权衡效率和效果，我们没有直接的纸模型，而学习的特点，现有的strokesalready画在纸上，即借鉴的结果使我们联合制作的毛笔和纸inexisting图纸。该模型还包括，例如，随机变化的笔画宽度，进一步模拟互动用笔和纸。视频纹理是一个不断变化的序列图像代表一些随机patternover时间，如烟雾，或瀑布，例如。作者提出了各种synthesisand编辑工具视频纹理；其中一些工具也与我们有关的问题。例如，泰铢，分析的流动速度，texturesin视频帧。然而，与我们的方法，他的方法需要费力的用户援助helpmark流动。据我们所知，没有以往的方法使视频纹理，在chinese-brush-stroke风格。

Answer 2

研究绘制国画中stylehas主要考虑仿真的interactionof水，墨，纸和笔。strassmannproposed毛的刷子模型旨在reproducingjapanese1；中国画是类似的。位置和压力采样给控制点确定中风的位置和宽度。许多随后的工作已经使用了类似的做法建模招。例如，参考discussedhow画树在中国风格给予inputskeleton。这种方法模型刷ashaving各种形状，大小和模式在二维形成所需的行程。李给更sophisticated3d鬃模式东方水墨画，其中认为刷毛有一个endfixed在手柄垂直于纸。theirbending是仿照作为刷适用于文章。百特，另一方面，使用三维模型变形springsto刷。大多数工作集中于如何模型刷模式刷，而不是如何控制画笔。用户仍然需要善于做画。相反，我们集中的问题，自动确定从videowhere把笔触，以及其他参数来控制他们的宽度和不透明度。在这方面，参考多moresimilar我们的工作，因为它也利用现有中风知识创作中国画。然而，其输入的图像，不是一个视频，他们同样颜色的区域分割，这是不恰当的流水。互动刷子与特殊轩paperused中国绘画是特别重要的。内尔森给三层纸模型和晶格玻尔兹曼方程模拟inkflow沉积。使用更复杂的papermodel可以提供更现实的笔触表现。然而，由于之间的权衡效率和效果，我们没有直接的纸模型，而学习的特点，现有的strokesalready画在纸上，即借鉴的结果使我们联合制作的毛笔和纸inexisting图纸。该模型还包括，例如，随机变化的笔画宽度，进一步模拟互动用笔和纸。视频纹理是一个不断变化的序列图像代表一些随机patternover时间，如烟雾，或瀑布，例如。作者提出了各种synthesisand编辑工具视频纹理；其中一些工具也与我们有关的问题。例如，泰铢，分析的流动速度，texturesin视频帧。然而，与我们的方法，他的方法需要费力的用户援助helpmark流动。据我们所知，没有以往的方法使视频纹理

Answer 3

研究在中国绘画stylehas渲染模拟主要考虑interactionof水、墨、纸和笔。多毛的刷子模型Strassmannproposed旨在reproducingJapanese sumi-e;中国绘画是相似的。位置和压力给controlpoints样本确定中风位置和宽度。随后的工作多使用了类似的approachto建模中风。例如,参号discussedhow画树inputskeleton中式给予。这些方法模式