Exemplar capture guideline Jingwan Lu, Connelly Barnes, Stephen DiVerdi, Adam Finkelstein contact: jingwan.lu.cynthia@gmail.com To facilitate future research in data-driven painting synthesis, we will make our exemplar processing executable (ExPro) publicly available. The users can paint and capture their own exemplars and use ExPro to vectorize the strokes and extract useful information. =============================================================== Camera and Lighting: =============================================================== There is no requirement of camera calibration. Recommendated setup: Use overhead lighting (to avoid specular highlight) Put the canvas on the ground Mount the camera on a tripod pointing downward towards the canvas. Put the canvas in the middle of the picture with some spacing around. =============================================================== General guideline for capturing single stroke examples: =============================================================== 1. Paint several strokes all in one canvas. Use consistent color (suggest pure saturated color) and paint thickness for all the strokes. 2. Paint strokes with different size and curvature variations. 3. Short straight lines happen frequently in painting. To introduce variations in synthesis, paint a few different straight (or slightly curved) strokes. =============================================================== General guideline for capturing smearing and smudging examples: =============================================================== Single stroke guideline 1 applies. 1. For smearing, use pure saturated blue for the background stroke, pure saturated red for the foreground stroke. For smudging, use a pure saturated color for the background stroke, and some instrument (finger, tissue etc) to smudge across the background stroke. 2. Paint pairs of strokes with different relative thickness and crossing angles. 3. Put a few registration marks on the canvas and take a picture of the background stroke before smeared or smudged by the foreground stroke. (optional) 4. Capture the pairs of crossing strokes one by one. Put each pair in the middle of the picture. *5. If the background stroke is captured (result of step 3), align it with the picture including the foreground stroke (result of step 4) in Photoshop using the registration marks.