.
Computer-Generated Watercolor
Cassidy J. Curtis, Sean E. Anderson, Joshua E. Seims, Kurt W. Fleischer, David H. Salesin.
Proceedings of the 24th annual conference on Computer graphics and interactive techniques (SIGGRAPH'97), pp. 421--430, New York, NY, USA, ACM Press/Addison-Wesley Publishing Co.,
1997. [BibTeX]
Performance-Driven Hand-Drawn Animation
Ian Buck, Adam Finkelstein, Charles Jacobs, Allison W. Klein, David H. Salesin, Joshua E. Seims, Richard Szeliski, Kentaro Toyama.
1st International Symposium on Non-Photorealistic Animation and Rendering (NPAR'00), pp. 101--108, Annecy, France, June 05 - 07,
2000. [BibTeX]
Putting the artist in the loop
Author(s): Joshua E. Seims.
Article: ACM SIGGRAPH Computer Graphics, Vol. 33, No. 1, pp. 52--53, February,
1999.
[BibTeX] 
Abstract:
"1 don't care so much whether my color is exactly
the same, as long as it looks beautiful on my
canvas, as beautJful as it does in nature."
--Van Gogh [7]
Until the advent of impressionism, a painting's
canvas was supposed to be a featureless
window inca another world, a world that
appears just like nature.The art salons of the
time ridiculed impressionism, both because
they deemed impressionism's themes (people
in parks, a pair of shoes in the corner) trivial,
and because the painting style did not reflect
reality.This new style differed from photorealistic
painting in that the canvas wa~ no longer
invisible. Instead, the texture of the layers of
paint on the canvas was an inherent part of
the art_ Artists did not faithfully replicate the
colors of nature, they exaggerated them
Rgure I: Monet's Four Trees. See page 94 ~ar color/moire.
(sometimes, as in Fauvism, to an extreme
degree).