Image Analogies
Aaron Hertzmann, Charles Jacobs, Nuria Oliver, Brian Curless, David H. Salesin.
SIGGRAPH '01: Proceedings of the 28th annual conference on Computer graphics and interactive techniques, pp. 327--340, New York, NY, USA, ACM,
2001. [BibTeX]
Image-Based Motion Blur for Stop Motion Animation
Gabriel J. Brostow, Irfan Essa.
SIGGRAPH 2001, pp. 561--566,
2001. [BibTeX]
Modeling Subdivision Control Meshes for Creating Cartoon Faces
Sajan Skaria, Ergun Akleman, Frederic I. Parke.
Proceedings of the International Conference on Shape Modeling and Applications (SMI'01), pp. 216--225, Genova, Italy, May,
2001. [BibTeX]
Non-Invasive, Interactive, Stylized Rendering
Alex Mohr, Michael Gleicher.
2001 ACM Symposium on Interactive 3D Graphics,
2001. [BibTeX]
Non-Photorealistic Rendering
Amy A. Gooch, Bruce Gooch.
AK Peters, Ltd., July 1,
2001. [BibTeX]
Non-Photorealistic Rendering using Watercolor Inspired Textures and Illumination
Erik Lum, Kwan-Liu Ma.
9th Pacific Conference on Computer Graphics and Applications (PG'01), October 16-18,
2001. [BibTeX]
Optimization of Paintbrush Rendering of Images by Dynamic MCMC Methods
Tamás Szirányi, Zoltán Tóth.
Proceedings of the Third International Workshop on Energy Minimization Methods in Computer Vision and Pattern Recognition (EMMCVPR'01), Vol. 2134, Lecture Notes in Computer Science, pp. 201--215, London, UK,
2001. [BibTeX]
Paint By Relaxation
Aaron Hertzmann.
Computer Graphics International (CGI'01),
2001. [BibTeX]
Paint by Relaxation
Aaron Hertzmann.
NYU CS, No. 2000-801,
2001. [BibTeX]
Painterly Objects
Author(s): E. Scott Larsene.
Misc:
2001.
[BibTeX] 
Abstract:
We present an animatable Painterly Object. We use a volume of occupancy
probabilities to determine where and how paint is applied.
This probability density function approach to modeling gives the
artist control over (and the option of) a painterly style. Probabilities
in the volume are initialized by the modeler and are changed as
paint is applied. Applied paint is stored within the volume so paint
that has been applied remains (in 3D) when neighboring strokes are
made and when the scene is re-rendered (e.g. animation, etc.). The
desired painterly effects can be achieved either natively in 3D or
they can be applied in 2D and stored in 3D. Automated 3D application
of 3D paint to a 3D object is a significant result of this work.
The result is a 3D object that appears painterly and allows pleasing
animation and scene changes along with hybridization of painterly
and non-painterly objects into a single scene without compositing
techniques.