Deposits of clastic carbonate-dominated (calciclastic) sedimentary slope systems in the rock record have been identified mostly as linearly-consistent carbonate apron deposits, even though most ancient clastic carbonate slope deposits fit the submarine fan systems better. Calciclastic submarine fans are consequently rarely described and are poorly understood. Subsequently, very little is known especially in mud-dominated calciclastic submarine fan systems. Presented in this study are a sedimentological core and petrographic characterisation of samples from eleven boreholes from the Lower Carboniferous of Bowland Basin (Northwest England) that reveals a >250 m thick calciturbidite complex deposited in a calciclastic submarine fan setting. Seven facies are recognised from core and thin section characterisation and are grouped into three carbonate turbidite sequences. They include: 1) Calciturbidites, comprising mostly of highto low-density, wavy-laminated bioclast-rich facies; 2) low-density densite mudstones which are characterised by planar laminated and unlaminated muddominated facies; and 3) Calcidebrites which are muddy or hyper-concentrated debrisflow deposits occurring as poorly-sorted, chaotic, mud-supported floatstones. These

Phd by thesis

[서평]「Component Software」 - Beyond Object-Oriented Programming -

http://iihm.imag.fr/publs/2003/Calvary-IwC2003.pdf

A Unifying Reference Framework for multi-target user interfaces

USer Interface eXtensible Markup Language (USIXML) consists in a User Interface Description Language (UIDL) allowing designers to apply a multi-path development of user interfaces. In this development paradigm, a user interface can be specified and produced at and from different, and possibly multiple, levels of abstraction while maintaining the mappings between these levels if required. Thus, the development process can be initiated from any level of abstraction and proceed towards obtaining one or many final user interfaces for various contexts of use at other levels of abstraction. In this way, the model-to-model transformation, which is the cornerstone of Model-Driven Architecture (MDA), can be supported in multiple configurations, based on composition of three basic transformation types: abstraction, reification, and translation.

http://www.info-ab.uclm.es/personal/VictorManuelLopez/mipagina/archivos/Limbourg-DSVIS-EHCI2004.pdf

USIXML: a language supporting multi-path development of user interfaces

We present TapSense, an enhancement to touch interaction that allows conventional surfaces to identify the type of object being used for input. This is achieved by segmenting and classifying sounds resulting from an object's impact. For example, the diverse anatomy of a human finger allows different parts to be recognized including the tip, pad, nail and knuckle - without having to instrument the user. This opens several new and powerful interaction opportunities for touch input, especially in mobile devices, where input is extremely constrained. Our system can also identify different sets of passive tools. We conclude with a comprehensive investigation of classification accuracy and training implications. Results show our proof-of-concept system can support sets with four input types at around 95% accuracy. Small, but useful input sets of two (e.g., pen and finger discrimination) can operate in excess of 99% accuracy.

TapSense: enhancing finger interaction on touch surfaces

Existing work on applications for thin watery paint is mostly focused on automatic generation of painterly-style images from input images, ignoring the fact that painting is a process that intuitively should be interactive. Efforts to create real-time interactive systems are limited to a single paint medium and results often suffer from a trade-off between real-timeness and simulation complexity. We report on the design of a new system that allows the real-time, interactive creation of images with thin watery paint. We mainly target the simulation of watercolor, but the system is also capable of simulating gouache and Oriental black ink. The motion of paint is governed by both physically based and heuristic rules in a layered canvas design. A final image is rendered by optically composing the layers using the Kubelka–Munk diffuse reflectance model. All algorithms that participate in the dynamics phase and the rendering phase of the simulation are implemented on graphics hardware. Images made with the system contain the typical effects that can be recognized in images produced with real thin paint, like the dark-edge effect, watercolor glazing, wet-on-wet painting and the use of different pigment types. Copyright © 2005 John Wiley & Sons, Ltd.

/pdf/real-time-simulation-of-watery-paint-1u13ykn1ha.pdf

Real‐time simulation of watery paint

This paper presents FluidPaint, a novel digital paint system using real wet brushes. A new interactive canvas, accurately registering brush footprints and paint strokes in high precision has been developed. It is based on the real-time imaging of brushes and other painting instruments as well as the real-time co-located rendering of the painting results. This new painting user interface enhances the user experience and the artist's expressiveness. User tests demonstrate the intuitive nature of FluidPaint, naturally integrating interface elements of traditional painting in a digital paint system.

FluidPaint: an interactive digital painting system using real wet brushes

Since the introduction of computers, a lot of effort has gone into the research on applications that enable a user to create images for their artistic value. In case of interactive systems that try to provide a digital equivalent of the traditional painting process, however, most still produce images that appear too artificial and lack the “natural look” and complexity that can be found in real paintings. Especially capturing the ambient behavior of watery paints like watercolor, gouache and Oriental ink, which run, drip and diffuse, is a challenging task to perform in real-time. For this reason, artists still prefer to use traditional methods. The advantages of such a paint system are numerous, however, as it allows to fully exploit the flexibility of the digital domain, and perform all sorts of “non-physical” operations. In this dissertation we present a physically-based, interactive paint system that supports the creation of images with watery paint. We mainly target watercolor paint medium, but the model is general enough to simulate also related media like gouache and Oriental ink. In order to create a software system that is easy to maintain, change and extend, we first outline a component-based framework that is able to curb the complexity of building physically-based applications. The framework uses XML to provide a uniform description of the system’s composition out of components. The cornerstone of the paint system is embodied by the canvas model, which adopts specialized algorithms, both physically-based and empiricallybased, on three different layers for the purpose of simulating paint behavior. Two implementations of the canvas model are presented: the first relies on a high-performance cluster (HPC) to perform a parallel simulation, while the second uses programmable graphics hardware. The second implementation is extended to a full virtual paint environment: “WaterVerve”, which features the Kubelka-Munk diffuse reflectance algorithm for rendering paint, a deformable 3D brush model and a set of artistic tools that fully exploit the physically-

An Extensible Simulation Framework Supporting Physically-based Interactive Painting

Real-time simulation of watery paint: Natural Phenomena and Special Effects

We present a system for drawing pastel media in real-time as an effective alternative to most existing digital solutions that basically allow for drawing arbitrary strokes in a particular style. Our approach is focused on the simulation of the natural material itself and on its interaction with the drawing surface and the drawing tool.

Upon free-form drawing, a bidirectional transfer of pigment takes place. In one direction, the paper surface is dusted with new pigment particles broken off the tip (i.e., the end of the drawing tool). A large part of these particles will be deposited or blended together with previously deposited ones whereas the remainder does not contribute to the drawing and is blown off. On the other hand, a certain amount of previously deposited pigment is scraped off and picked up again soiling the tip. This is noticeable in the next strokes to be drawn. Furthermore, both the tip and the paper surface are subject to weathering depending on the exerted pressure and friction of the drawing tool, and the bumpiness of the paper. As a result, the paper surface becomes slightly damaged, limiting the deposition of new pigment. The tip, on the other hand, becomes blunt making new strokes wider.

From a stylistic point of view, similarly to traditional drawings our results convey the artists’ characteristics (e.g., the way of wielding the brush, skillfulness, feeling for the medium). Therefore, we believe that our system allows an artist to create realistically looking pastel images without losing his/her personal touch.

Tom Van Laerhoven

Papers

Real‐time simulation of watery paint

FluidPaint: an interactive digital painting system using real wet brushes

An Extensible Simulation Framework Supporting Physically-based Interactive Painting

Real-time simulation of watery paint: Natural Phenomena and Special Effects

From dust till drawn: A real-time bidirectional pastel simulation