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The X Window System
 ACM Transactions on Graphics, Vol
, 1986
"... The X Window System, Version 11, is the standard window system on Linux and UNIX systems. X11, designed in 1987, was “state of the art ” at that time. From its inception, X has been a network transparent window system in which X client applications can run on any machine in a network using an X serv ..."
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Cited by 336 (2 self)
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The X Window System, Version 11, is the standard window system on Linux and UNIX systems. X11, designed in 1987, was “state of the art ” at that time. From its inception, X has been a network transparent window system in which X client applications can run on any machine in a network using an X server running on any display. While there have been some significant extensions to X over its history (e.g. OpenGL support), X’s design lay fallow over much of the 1990’s. With the increasing interest in open source systems, it was no longer sufficient for modern applications and a significant overhaul is now well underway. This paper describes revisions to the architecture of the window system used in a growing fraction of desktops and embedded systems 1
A Solid Model Based Virtual Hairy Brush
 Proc. of Eurographics 2002, Saarbrucken
, 2002
"... We present the detailed modeling of the hairy brush used typically in Chinese calligraphy. The complex model, which includes also a model for the ink and the paper, covers the various stages of the brush going through a calligraphy process. The model relies on the concept of writing primitives, wh ..."
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Cited by 11 (4 self)
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We present the detailed modeling of the hairy brush used typically in Chinese calligraphy. The complex model, which includes also a model for the ink and the paper, covers the various stages of the brush going through a calligraphy process. The model relies on the concept of writing primitives, which are the smallest units of hair clusters, to reduce the load on the simulation. Each such primitive is constructed through the general sweeping operation in CAD and described by a NURBS surface. The writing primitives dynamically adjust themselves during the virtual writing process, leaving an imprint on the virtual paper as they move. The behavior of the brush is an aggregation of the behavior of all the writing primitives. A software system based on the model has been built and tested, which can be used as a standalone system for creating calligraphic artwork in real time or integrated as a specialeffect feature into a design software program. Samples of imitation artwork from using the system were obtained and found to be nearly indistinguishable from the real artwork.
Rasterization of Nonparametric Curves
 ACM Transactions on Graphics
, 1990
"... We examine a class of algorithms for rasterizing algebraic curves based on an implicit form that can be evaluated cheaply in integer arithmetic using finite differences. These algorithms run fast and produce "optimal" digital output, where previously known algorithms have had serious limitations. We ..."
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Cited by 6 (2 self)
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We examine a class of algorithms for rasterizing algebraic curves based on an implicit form that can be evaluated cheaply in integer arithmetic using finite differences. These algorithms run fast and produce "optimal" digital output, where previously known algorithms have had serious limitations. We extend previous work on conic sections to the cubic and higher order curves, and we solve an important undersampling problem.
Rasterizing Curves of Constant Width
 Journal of the ACM
, 1989
"... This paper gives a fast, lineartime algorithm for generating highquality pixel representations of curved lines. The results are similar to what is achieved by selecting a circle whose diameter is the desired line width, and turning on all pixels covered by the circle as it moves along the desired ..."
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Cited by 5 (1 self)
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This paper gives a fast, lineartime algorithm for generating highquality pixel representations of curved lines. The results are similar to what is achieved by selecting a circle whose diameter is the desired line width, and turning on all pixels covered by the circle as it moves along the desired curve. However, we replace the circle by a carefully chosen polygon whose deviations from the circle represent subpixel corrections designed to improve the aesthetic qualities of the rasterized curve. For nonsquare pixels, equally good results are obtained when an ellipse is used in place of the circle. We introduce the class of polygons involved, give an algorithm for generating them, and show how to construct the set of pixels covered when such a polygon moves along a curve. The results are analyzed in terms of a mathematical model for the uniformity and accuracy of line width in the rasterized image. Rasterizing Curves of Constant Width John D. Hobby 1. Introduction A basic problem in...
Smoothing Digitized Contours
 Theoretical Foundations of Computer Graphics and CAD
, 1988
"... . We give a fast lineartime algorithm for finding a smooth polygonal approximation to a digitized contour such that the digitization of the polygonal contour matches the original input. The polygonal contour has the minimum possible number of inflections and obeys a localized bestfit property. Mos ..."
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Cited by 1 (1 self)
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. We give a fast lineartime algorithm for finding a smooth polygonal approximation to a digitized contour such that the digitization of the polygonal contour matches the original input. The polygonal contour has the minimum possible number of inflections and obeys a localized bestfit property. Most of the vertices lie on a grid whose resolution is only twice that of the pixel grid, and the algorithm can be modified to force all vertices to obey this restriction. Key Words. smoothing, digitized image, polygonal outline, polygonization 1. Introduction. In graphics and computer typesetting, black and white images are commonly represented as arrays of pixels, and it is convenient to manipulate such images via the contours that describe blackwhite boundaries. For instance, if pixels are thought of as unit squares that tile the plane, the contours that describe the digitized image of a letter "R" might appear as in Figure 1a. Of course, the smoother contours shown in Figure 1b are a muc...
A Note on Digitized Angles
, 1990
"... nted on a highresolution phototypesetter, and the problem became much less noticeable than it had been on the laserprinted proofs. There still was a glitch, but I decided not to hold up Chris's graduation for the sake of a misplaced pixel. I remembered this incident at the end of 1983, when I was ..."
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Cited by 1 (0 self)
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nted on a highresolution phototypesetter, and the problem became much less noticeable than it had been on the laserprinted proofs. There still was a glitch, but I decided not to hold up Chris's graduation for the sake of a misplaced pixel. I remembered this incident at the end of 1983, when I was getting ready to write a new version of the METAFONT system for digital art [3]. I didn't want my system to have such a flaw. But to my surprise, I learned that the problem is actually unavoidable in raster output: It is almost impossible to bisect a digitized angle exactly, except in very special circumstances. The two "halves" of the angle will necessarily appear somewhat different from each other, unless the resolution is quite high. Therefore Van Wyk (and Kernighan) were vindicated. Similar problems are bound to occur in MacDraw and in any other drawing package. For example, one of the things I noticed was the following curious fact. Consider the 45 ffi
Parameterized Arabic font development for AlQalam. TUGboat
, 2008
"... ameer dot sherif (at) gmail dot com, hfahmy (at) arith dot stanford dot edu ..."
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ameer dot sherif (at) gmail dot com, hfahmy (at) arith dot stanford dot edu
THEORY and PRACTICE Keynote address for the 11th World Computer Congress (Information Processing 89)
, 1989
"... [SLIDE 0 to be shown during introduction of the speaker] Good morning! I want to welcome you all to the San Francisco Bay area and to nearby Silicon Valley, where I live at Stanford University. [SLIDE 1] In recent years the people around here have been taking advantage of an idea that originated, I ..."
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[SLIDE 0 to be shown during introduction of the speaker] Good morning! I want to welcome you all to the San Francisco Bay area and to nearby Silicon Valley, where I live at Stanford University. [SLIDE 1] In recent years the people around here have been taking advantage of an idea that originated, I think, in the international road signs that have spread from Europe to the rest of the world: the idea of icons, as graphic representations of information. Icons have now become so pervasive, in fact, that I think people might soon be calling this place Silly Icon Valley! The title of my talk this morning is Theory and Practice, and in order to be uptodate I want to begin by showing you two icons that might make suitable pictographs for the notions of theory and practice. I didn’t have any trouble finding such images, because the reference section of our local telephone directory contains lots of icons these days. Looking at those pages, I immediately spotted an image that seems just right to depict theory: [SLIDE 2] A light bulb of inspiration. And what about practice?