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The LivePaper system augments ordinary pieces of paper with projected information. Pages, cards and books are placed on an instrumented tabletop to activate their enhancement. To the user, it appears as if the paper gains new visual and auditory features. Projected annotations track the orientation and location of pages as the user moves them on the desktop. A piece of paper that is removed, but then returned to the desk, regains the same features that it previously exhibited. The LivePaper system accomplishes this by using features extracted from written material on the page, not from glyphs or other artificial marks. The paper describes both the system as a whole, and a number of sample applications we have developed to illustrate the feasibility of the LivePaper system. These applications include an architectural visualization tool, which projects a 3D hidden-line rendering of walls onto a page. The user may rotate and move the page to view the rendering from different angles. Another application is an audio player, which begins playing when a page (such as a business card) is laid on the desk. The user may control playback with his or her finger via projected buttons. Other applications include page-sharing, remote collaboration, and World Wide Web page viewing. From the user's perspective, all of these applications are attributes of the particular page, not features of the tabletop. Particular attention is given to the design of interaction: LivePaper is object-oriented, because the individual sheets are treated as computational units, but it also provides functions that involve several objects. The design principles applied to handle the different kinds of functionality are explained and illustrated in the LivePaper system, but are also proposed for wider use in augmented reality.

A practical technique is presented for efficiently rendering oriental black ink paintings with realistic diffusion effects, being based on models which simulate a variety of paper types and black ink properties. Strokes can be generated by bristles or elastic brush models simulating those actually used in oriental black ink painting. Incorporation of paper modeling allows users to draw on a wide variety of papers having either randomly generated fiber meshes or uniform meshes commonly found in fabrics which are also frequently used. This accordingly provides a unique platform for real-time dynamic simulation of realistic ink diffusion in that the resultant diffusion images reflect the texture and the global change of gray tones as well as local temporal variations specific to a particular paper. Examples are presented demonstrating the capability of the proposed technique for handling different ink and paper properties.

This research investigated the space compositions of Chernikhov’s 101 Architectural Fantasies via computer-aided simulation to interpret the relationships between architectural components and spatial organization. An algorithmic approach and a perception approach were tested. Traditional analysis emphasized the simulation of corresponding objects by perspective deconstruction methods, which might not be able to show the exactly correct spatial relationship between objects. This research adopted photogrammetry to investigate the non-orthogonal spatial construction of 3D objects in 2D pictures. Research results showed that the algorithmic approach may derive different degrees of angles of parallel or intersected objects, and that observers tend to be misled by the effect of “orthogonal assumption” in terms of their own visual experiences. This finding revealed that Chernikhov had created unreasonable descriptions of space. This result was verified by the existence of false parallel and orthogonal relationships between drawn building parts. Three tests were conducted. Observers used a reverse verification process to analyze three-dimensional objects re-built in simulation. The verification mirrored a two-way construction relationship between 2D perspective and 3D models.