{"status":"ok","message-type":"work","message-version":"1.0.0","message":{"indexed":{"date-parts":[[2025,6,19]],"date-time":"2025-06-19T04:26:34Z","timestamp":1750307194440,"version":"3.41.0"},"reference-count":17,"publisher":"Association for Computing Machinery (ACM)","issue":"6","license":[{"start":{"date-parts":[[2011,12,1]],"date-time":"2011-12-01T00:00:00Z","timestamp":1322697600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/www.acm.org\/publications\/policies\/copyright_policy#Background"}],"content-domain":{"domain":["dl.acm.org"],"crossmark-restriction":true},"short-container-title":["ACM Trans. Graph."],"published-print":{"date-parts":[[2011,12]]},"abstract":"<jats:p>\n            We present a method for rendering 3D paintings by compositing brush strokes embedded in space. The challenge in compositing 3D brush strokes is reconciling conflicts between their\n            <jats:italic>z<\/jats:italic>\n            -order in 3D and the order in which the strokes were painted, while maintaining temporal and spatial coherence. Our algorithm smoothly transitions between compositing closer strokes over those farther away and compositing strokes painted later over those painted earlier. It is efficient, running in\n            <jats:italic>O<\/jats:italic>\n            (\n            <jats:italic>n<\/jats:italic>\n            log\n            <jats:italic>n<\/jats:italic>\n            ) time, and simple to implement. We demonstrate its effectiveness on a variety of 3D paintings.\n          <\/jats:p>","DOI":"10.1145\/2070781.2024166","type":"journal-article","created":{"date-parts":[[2011,11,30]],"date-time":"2011-11-30T13:58:46Z","timestamp":1322661526000},"page":"1-6","update-policy":"https:\/\/doi.org\/10.1145\/crossmark-policy","source":"Crossref","is-referenced-by-count":7,"title":["Mixed-order compositing for 3D paintings"],"prefix":"10.1145","volume":"30","author":[{"given":"Ilya","family":"Baran","sequence":"first","affiliation":[{"name":"Disney Research Zurich"}]},{"given":"Johannes","family":"Schmid","sequence":"additional","affiliation":[{"name":"Disney Research Zurich, and ETH Zurich"}]},{"given":"Thomas","family":"Siegrist","sequence":"additional","affiliation":[{"name":"Disney Research Zurich, and ETH Zurich"}]},{"given":"Markus","family":"Gross","sequence":"additional","affiliation":[{"name":"Disney Research Zurich, and ETH Zurich"}]},{"given":"Robert W.","family":"Sumner","sequence":"additional","affiliation":[{"name":"Disney Research Zurich"}]}],"member":"320","published-online":{"date-parts":[[2011,12,12]]},"reference":[{"key":"e_1_2_2_1_1","doi-asserted-by":"publisher","DOI":"10.1016\/j.cag.2010.04.003"},{"key":"e_1_2_2_2_1","unstructured":"Daniels E. Lappas A. and Katanics G. T. 2001. Method and apparatus for three-dimensional painting. US Patent 6268865.  Daniels E. Lappas A. and Katanics G. T. 2001. Method and apparatus for three-dimensional painting . US Patent 6268865."},{"key":"e_1_2_2_3_1","doi-asserted-by":"publisher","DOI":"10.1145\/97879.97902"},{"key":"e_1_2_2_4_1","doi-asserted-by":"publisher","DOI":"10.1145\/280814.280951"},{"key":"e_1_2_2_5_1","doi-asserted-by":"publisher","DOI":"10.1145\/566654.566648"},{"volume-title":"ACM SIGGRAPH 2003 Course Notes.","author":"Katanics G. T.","key":"e_1_2_2_6_1","unstructured":"Katanics , G. T. , and Lappas , A . 2003. Deep Canvas: Integrating 3D Painting and Painterly Rendering. In Theory and Practice of Non-Photorealistic Graphics: Algorithms, Methods, and Production Systems , ACM SIGGRAPH 2003 Course Notes. Katanics, G. T., and Lappas, A. 2003. Deep Canvas: Integrating 3D Painting and Painterly Rendering. In Theory and Practice of Non-Photorealistic Graphics: Algorithms, Methods, and Production Systems, ACM SIGGRAPH 2003 Course Notes."},{"key":"e_1_2_2_7_1","doi-asserted-by":"publisher","DOI":"10.1145\/364338.364370"},{"key":"e_1_2_2_8_1","doi-asserted-by":"publisher","DOI":"10.1145\/258734.258893"},{"key":"e_1_2_2_9_1","doi-asserted-by":"publisher","DOI":"10.1145\/1730804.1730825"},{"key":"e_1_2_2_10_1","doi-asserted-by":"publisher","DOI":"10.1145\/1124728.1124732"},{"key":"e_1_2_2_11_1","doi-asserted-by":"publisher","DOI":"10.1109\/38.31463"},{"key":"e_1_2_2_12_1","doi-asserted-by":"publisher","DOI":"10.1145\/1531326.1531390"},{"key":"e_1_2_2_13_1","doi-asserted-by":"publisher","DOI":"10.1145\/237170.237288"},{"key":"e_1_2_2_14_1","doi-asserted-by":"publisher","DOI":"10.1145\/800031.808606"},{"key":"e_1_2_2_15_1","doi-asserted-by":"publisher","DOI":"10.1145\/2010324.1964923"},{"key":"e_1_2_2_16_1","unstructured":"Smith A. R. 1995. Alpha and the history of digital compositing. In Microsoft Technical Memo #7.  Smith A. R. 1995. Alpha and the history of digital compositing. In Microsoft Technical Memo #7 ."},{"key":"e_1_2_2_17_1","doi-asserted-by":"publisher","DOI":"10.1145\/800224.806813"}],"container-title":["ACM Transactions on Graphics"],"original-title":[],"language":"en","link":[{"URL":"https:\/\/dl.acm.org\/doi\/10.1145\/2070781.2024166","content-type":"unspecified","content-version":"vor","intended-application":"text-mining"},{"URL":"https:\/\/dl.acm.org\/doi\/pdf\/10.1145\/2070781.2024166","content-type":"unspecified","content-version":"vor","intended-application":"similarity-checking"}],"deposited":{"date-parts":[[2025,6,18]],"date-time":"2025-06-18T10:06:03Z","timestamp":1750241163000},"score":1,"resource":{"primary":{"URL":"https:\/\/dl.acm.org\/doi\/10.1145\/2070781.2024166"}},"subtitle":[],"short-title":[],"issued":{"date-parts":[[2011,12]]},"references-count":17,"journal-issue":{"issue":"6","published-print":{"date-parts":[[2011,12]]}},"alternative-id":["10.1145\/2070781.2024166"],"URL":"https:\/\/doi.org\/10.1145\/2070781.2024166","relation":{},"ISSN":["0730-0301","1557-7368"],"issn-type":[{"type":"print","value":"0730-0301"},{"type":"electronic","value":"1557-7368"}],"subject":[],"published":{"date-parts":[[2011,12]]},"assertion":[{"value":"2011-12-12","order":2,"name":"published","label":"Published","group":{"name":"publication_history","label":"Publication History"}}]}}