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\begin{document}

\title{Rendering and Presentation of 3D digital ink landscape painting}



\author[1]{Xunxiang Li}%
\author[1]{Yufang Huang}%
\affil[1]{Wenzhou University}%


\vspace{-1em}



  
  \date{June 09, 2024}


\begingroup
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\selectlanguage{english}
\begin{abstract}
:Explore the digital rendering mode with texturing brush and ink
effect, analyze and simulate the brush and ink characteristics of
traditional Chinese ink painting, especially the art of landscape
painting, and try to integrate the texture of wrinkle method synthesis
map and modeling technology based on particle deposition and stacking
(overlapping) to render, thus realizing the computer simulation of small
freehand brushwork and large freehand brushwork (splash ink) ink effects
in traditional landscape painting. This research inherits and develops
the aesthetic theory and thought of traditional ink painting art, and
makes some beneficial exploration in the field of digital freehand ink
painting, which has positive reference value and promotion significance
for the development of Chinese ink painting.%
\end{abstract}%



\sloppy


\textbf{Rendering and Presentation of 3D digital ink landscape painting}

Xunxiang Li,Yufang Huang

\emph{(College of Fine Arts and Design, Wenzhou University, Wenzhou
325035, China)}

\emph{Lixunxiang@163.com}

\textbf{Abstract:}Explore the digital rendering mode with texturing
brush and ink effect, analyze and simulate the brush and ink
characteristics of traditional Chinese ink painting, especially the art
of landscape painting, and try to integrate the texture of wrinkle
method synthesis map and modeling technology based on particle
deposition and stacking (overlapping) to render, thus realizing the
computer simulation of small freehand brushwork and large freehand
brushwork (splash ink) ink effects in traditional landscape painting.
This research inherits and develops the aesthetic theory and thought of
traditional ink painting art, and makes some beneficial exploration in
the field of digital freehand ink painting, which has positive reference
value and promotion significance for the development of Chinese ink
painting.\textbf{Keywords:}Freehand brushwork, Chinese ink landscape
painting, Rendering and Presentation

\subsection*{Introduction}

{\label{introduction}}

At present, the most successful research in the field of digital ink
painting art both domestically and internationally is mainly based on
virtual two-dimensional flat space ink effect painting (also known as
watercolor). For Chinese ink and wash painting, especially for ``Shan
shui'', the model theory and algorithm of the paper inking effect has
great reference value, but it cannot perfectly express the 3D dynamic
ink and wash effect{[}1{]}{[}2{]}{[}3{]}{[}4{]}{[}5{]}.

Due to the complexity, diversity and uncertainty of Chinese traditional
landscape painting, its simulation is extremely difficult, so the
digital simulation of 3D digital ink landscape painting is extremely
challenging. For the field of 3D ink rendering, how to simulate the
''vivid charm and dripping with ink water '' artistic effect of Chinese
ink and wash painting, especially big freehand and small freehand ink
and wash landscape painting, through computer programs is a topic of
high research value. Because traditional Chinese ink painting
presentation tends to reflect artistic spirituality, such as the appeal
of flower and bird painting, the charm of landscape painting, the
vividness of figure painting, etc., how these ''hidden'' or
''potential'' artistic spirits are realized through computer program
algorithms, and how to combine and choose between art and science, seems
to be crucial. The ultimate goal of Rendering and Presentation of 3D
digital ink landscape painting is to reflect the beauty of ''artistic
conception'' in the aesthetic theory of Chinese landscape painting
through a digital presentation, that is, ''vigorous and colorful'' as
said by Mr. Huang Binhong, a landscape painting master {[}5{]}.This
paper attempts to use 3D modeling and rendering software Maya to
simulate landscape painting and solve the above problems.

\subsection*{2 Modeling of Landscape
Painting}

{\label{modeling-of-landscape-painting}}

The mountain stone modeling is the first problem to be solved in the
modeling of Chinese ink landscape painting. Due to the self-similarity
of the mountain stone contour, it is the most typical fractal theory. At
present, most of the 3D mountain stone landscape models are constructed
by using the generation method of fractal graphics. However, this paper
mainly uses the particle deposition method of non-fractal technology to
model and render mountains and trees in Maya. {[}6{]}{[}7{]}\begin{CJK}{UTF8}{gbsn}。

\end{CJK}\selectlanguage{english}The principle of ink wash wrinkle texturing, which simulates mountains
and rocks by using particle deposition and stacking (overlapping)
technology, belongs to a particle deposition algorithm {[}8{]}{[}9{]}.
The idea of the particle deposition algorithm is to make particles fall
in sequence and simulate their flow on the surface composed of a
previously fallen particle. A sufficient number of particles falling
will produce a flow linear structure that looks like a viscous fluid.
The formation mechanism is that a single particle is dropped from a high
place, as shown in Figure 1 (a), and then the second particle is dropped
on top of the first particle, and moves it until it is still, that is,
until the height of its adjacent particles is no lower than it, as shown
in Figure 1 (b), continue to drop the particle, and periodically change
the drop point until a stacking effect of appropriate size is formed, as
shown in Figure 1 (c). Particle stacking is another way of deposition,
which can describe different stacking (overlapping) results generated by
the deposition of different particle attributes.\selectlanguage{english}
\begin{figure}[H]
\begin{center}
\includegraphics[width=0.70\columnwidth]{figures/image1/image1}

\end{center}
\end{figure}

In the process of particle deposition and stacking (overlapping),
particles can penetrate each other (overlapping), or they can only be
sticky or binding (stacking). Under the constraints of gravity, buoyancy
and viscosity, randomly generated particles will stack into various
ever-changing shapes. Sometimes, the unpredictability of shapes is just
the need for the richness of mountain and stone shapes. Figure 2 shows
several potential movements and tectonic trends generated during
particle deposition figure and stacking under the constraints of gravity
and viscosity. When rendering, the ever-changing rendering effect is
generated due to the different particle sizes, transparency, stacking
(or overlapping) density, and boundary fusion degree. Figure 3 is a set
of the left, middle, and right rock modeling views based on 3D particle
stacking (overlapping) technology built by the author.\selectlanguage{english}
\begin{figure}[H]
\begin{center}
\includegraphics[width=0.70\columnwidth]{figures/image3/image3}

\end{center}
\end{figure}\selectlanguage{english}
\begin{figure}[H]
\begin{center}
\includegraphics[width=0.70\columnwidth]{figures/image4/image4}

\end{center}
\end{figure}



\textbf{3 Rendering of Chinese Ink Landscape Painting}

Three-dimensional digital landscape painting that simulates the freehand
ink effect needs to solve several problems: first, it is necessary to
analyze the characteristics of freehand brushwork ink effect based on an
in-depth understanding of traditional freehand landscape painting;
Second, the computer simulation process must be decomposed and
integrated into program processing. Traditional landscape painting can
be divided into meticulous landscape painting (such as the Green
Landscape painting) and freehand landscape painting in terms of painting
style. Freehand brushwork landscape painting can also be divided into
heavyweight freehand brushwork landscape painting and lightweight
freehand brushwork landscape painting. In traditional landscape painting
works, there are few pure heavyweight freehand brushwork, and more is
the combination of heavyweight freehand brushwork and lightweight
freehand brushwork, which creates a feeling of misty rain, emptiness,
richness and deep beauty. This is a rendering technology that combines
procedural texture with a procedural model. Therefore, the 3D rendering
technology of Chinese ink landscape painting includes wrinkle texture
synthesis technology, rock and tree rendering technology.

\textbf{3.1 Texture Synthesis Technology of Freehand Ink Painting}

Texture synthesis is a popular technique for processing self-similar
images. It is a method to generate an output image with unlimited size
from a given input sample image. The output image is very similar to the
original sample by visual observation, but not strictly consistent. It
is through some small samples of mountain stone texturing that the
author synthesizes a large block of complete mountain stone texturing
texture, which solves the problem of the richness of texturing texture.
Because the texturing method of Chinese landscape painting is formed by
the combination of texturing, wiping, dyeing and spotting on suitable
paper with a brush dipped in ink, which is rich in changes. The
texturing method is usually composed of fine lines, which are closely
combined. Sometimes the lines are rendered layer by layer, and sometimes
only the texturing is wiped without stippling, thus forming the local
self similarity of the texturing method texture. However, the texture
structure of texturing method is not very obvious, and the shape is
irregular. Given these characteristics of the texturing method of
landscape painting, and considering the complexity of the algorithm, we
try to use the natural texture synthesis method {[}10{]} {[}11{]}
proposed by Ashikhmin, and combine the characteristics of the texturing
method rendering of Chinese landscape painting to improve and optimize
the algorithm accordingly. Finally, considering that the wrinkled
texture of landscape painting has a certain directionality, in the final
rendering, we use an alpha mask channel to guide its synthesis in
three-dimensional space, aiming to achieve an artistic effect of
freehand mountain and water painting similar to vivid charm, incisive
ink and rich colors.

Ashikhmin proposed the synthesis method of natural texture. The
so-called natural texture refers to the texture composed of some very
similar but irregular small units in shape and size. Ashikhmin uses the
correlation principle to limit the search scope to the neighborhood of
the current point. The method of synthesizing natural texture also uses
the L-shaped neighborhood of the current point, and the neighborhood
size is Neighb-siz. It is not in direct proportion to the texture
quality, and the optimal value depends on the texture structure.
Excessive neighborhood not only affects the synthesis speed but also
leads to a large number of repeated regions. when the texture is smooth,
the neighborhood needs to be increased. Firstly, a large number of
texturing methods in landscape paintings are collected and stored in the
system as input sample images. For simplicity, we first assume that both
the input sample image and the output image to be synthesized have
regular sizes. Using the principle of correlation, the algorithm limits
the search range to the neighborhood of the current point. According to
the L-neighborhood point, candidate pixels are obtained after the
corresponding position in the input image is shifted by a corresponding
amount. We define an array structure for each pixel in the output image
to store the position of the pixel in the input sample image, to
facilitate the search for matching points of neighboring pixels. Suppose
we copy the q point in the sample image to the pixel P in the output
image, we can establish a data structure s (.) with p as the index,
which has the following equation:

\emph{S} (\emph{p} )=\emph{q}

In the calculation process, for each pixel synthesized, its position in
the input sample image is recorded in the structure. The algorithm first
initializes the array that records the positions of matching
points\textbackslash{}sout,and sets it as a random point in the input
image. For each pixel in the output image, it is calculated according to
the scanning line order. In the output image, consider the
L-neighborhood of the current point, and for each point in the
neighborhood, according to the position of the matching point in the
array, after offsetting the corresponding position, select the point as
the candidate point, to form a list of candidate points and clear the
duplicate candidate points. Select the point with the least
L-neighborhood error with the current point of the output image from the
selected point, copy it to the current point of the output image, and
record the position. If necessary, perform secondary or multiple
syntheses until a satisfactory texture image is obtained. Figure 4 is
the texturing texture effect picture synthesized by the author through
texturing sampling for a traditional Chinese landscape painting.\selectlanguage{english}
\begin{figure}[H]
\begin{center}
\includegraphics[width=0.70\columnwidth]{figures/image7/image7}

\end{center}
\end{figure}

\par\null

\subsubsection*{3.2 Rendering Techniques of Chinese Ink Landscape
Painting}

{\label{rendering-techniques-of-chinese-ink-landscape-painting}}

The above texture synthesis algorithms are all output images with
regular contours, which are just the preparation stage of digital ink
landscape painting simulation. If these textures and stone models are
directly used for texture mapping, only ordinary mountain and stone
textures can be produced, and the effect of incisive ink and vivid charm
cannot be achieved. Because the shape of the rocks in freehand landscape
painting is both imaginary and realistic, it will produce an effect of
misty rain and misty sky. The synthetic texturing texture must produce a
fusion effect of texture and mountain stone adaptively according to the
virtual and real effect of mountain stone. Therefore, we propose to
introduce the concept of an alpha mask channel in the synthesis process,
thereby realizing the virtual fusion effect of the model inside the
irregular stone contour and the texturing texture.

\textbf{3.2.1 Acquisition and definition of alpha}

The alpha mask channel is a channel image that is consistent with the
basic appearance of the mountain stone by defining the particle density,
hardness and fusion degree in the particle stacking (or overlapping)
model according to the needs of digital landscape painting freehand
effect. The mask channel image participates in the rendering process of
texture and model composite mapping. In order to achieve a better fit
between the texturing texture and the shape of the mountain stone, that
is, the ink and texturing texture can blend and complement each other,
or some places only display light ink without texturing lines, and some
places only display texturing lines without light ink. In Maya software,
we redefine and set threshold values for the black, white, and gray
levels in the alpha mask channel, and set the weight value of the
texturing texture display degree between the block gray value
0\textless{}RGB\textless{}255. Among them, the RGB gray value starts
from 255 to 0, and the display degree of texturing texture rendering
gradually weakens. When the texturing texture display degree of the
darkest block (that is, pure black with RGB of 0, 0, 0) is 0\%, The
texturing texture of the whitest block (that is, pure white with RGB 255
255 255) is 100\%. Figure 5-A and Figure 5-B show the RGB gray value of
each block of the mask image of the alpha channel and the texture
display corresponding to the gray value. The final alpha mask channel
image generated by custom rendering is shown in Figure 6.\selectlanguage{english}
\begin{figure}[H]
\begin{center}
\includegraphics[width=0.70\columnwidth]{figures/image11/image11}

\end{center}
\end{figure}\selectlanguage{english}
\begin{figure}[H]
\begin{center}
\includegraphics[width=0.70\columnwidth]{figures/image15/image15}

\end{center}
\end{figure}

\textbf{3.2.2 Texturing rendering synthesis of ink Mountain stone}

Based on the above, we carry out texturing rendering synthesis of 3D ink
mountain stones with the style of splash-ink effect. This synthesis is
done in Maya's internal 3D rendering engine. We only need to input the
texturing image synthesized above and define the rendering index of the
stone model stacked with particles. The system will automatically
generate the mask image with alpha channel and finally render and
synthesize the complete freehand landscape painting effect map. Figure 7
shows the freehand brushwork landscape painting effect of different
texturing methods by using the band folding texturing map and under the
framework of unified rock modeling and alpha mask channel rendering
image. Figure 8 shows the work generated by this technology (the
magnified effect of Figure 7-D).\selectlanguage{english}
\begin{figure}[H]
\begin{center}
\includegraphics[width=0.70\columnwidth]{figures/image16/image16}

\end{center}
\end{figure}\selectlanguage{english}
\begin{figure}[H]
\begin{center}
\includegraphics[width=0.70\columnwidth]{figures/image26/image26}

\end{center}
\end{figure}

\subsubsection*{3.2.3 Further Experiment of Ink and Wash Rendering
Effect}

{\label{further-experiment-of-ink-and-wash-rendering-effect}}

Based on the above rendering technology of digital freehand landscape
painting using particle deposition and stacking (overlapping)
technology, we conducted further rendering experiments, such as trying
to simulate the effect of heavy freehand splash ink landscape painting
with dripping ink and vivid charm. Before rendering, it is necessary to
predict the effect of freehand brushwork (or splash ink) of digital
mountains and stones according to the presentation intention of digital
landscapes and to create the desired rendering effect of mountain and
stone models by defining the particle density, hardness and fusion
degree in the particle stacking model. Table 1 is a group of comparisons
after repeated experiments on the ink and texture effects of mountain
stones in freehand landscape painting based on the above technologies.
Each group of images is divided into two layers for comparison. The
upper layer is mainly for various pure ink rendering effects of mountain
stone models, and the lower layer is the final rendering after adding
texturing texture. Figure a shows the state when the particle softening
is - 0.9 and the density is 0.5, which is a process of particle
positioning and deposition; Figure b shows the state when the particles
soften to - 0.5 and the density is 0.5. At this time, the particles have
not been fused, and the texture and model have not been organically
combined; Figure c shows the state when the particle softening is 0 and
the density is 1. At this time, the particles have started to fuse, but
the fusion is not sufficient. There are obvious traces. The texture has
started to combine with the model, but there are still some hard edges;
Figure d shows the state when the particle softening is 0.3 and the
density is 1. At this time, the particles are further fused, and the
combination of texture and model is relatively sufficient, but the
splash effect has not been fully reflected; Figure e shows the state
when the particle softening is 0.7 and the density is 1; Figure f shows
the state when the particle softening is 1 and the density is 1.
Finally, the author repeatedly reviewed the ink splashing effect and
believed that both Figure e and Figure f were successful, and their ink
splashing effects had their own advantages, one was tight and
meticulous, and the other was loose and incisive, which could be chosen
according to personal aesthetic preferences. On the basis of Table 1,
further define and set the threshold value for the black, white and gray
layers in the alpha mask channel, and set the weight value of the
texturing texture display degree between the block gray value
130\textless{}RGB\textless{}255, where the RGB gray value below 130 is
defined as no texture display, and the rest remains unchanged. Finally,
we can render a splash ink landscape painting with a large freehand
effect, as shown in Figure 9.\selectlanguage{english}
\begin{longtable}[]{@{}lllllll@{}}
\toprule
Without texture & & & & & &\tabularnewline
\midrule
\endhead
Without texture With texture Parameters Figure a. -0.9; 0.5 Figure b.
-0.5; 0.5 Figure c. 0; 1 Figure d. 0.3; 1 Figure e. 0.7; 1 Figure f. 1;
1 & & & & & &\tabularnewline
\bottomrule
\end{longtable}\selectlanguage{english}
\begin{figure}[H]
\begin{center}
\includegraphics[width=0.70\columnwidth]{figures/image49/image49}

\end{center}
\end{figure}

\subsubsection*{3.3 Other particle-based rendering
technologies}

{\label{other-particle-based-rendering-technologies}}

The above mainly discussed the modeling technology of mountain stone, an
important component of landscape painting. Other modeling techniques
based on particle deposition described below are only a supplement and
example of the above modeling methods. These modeling concepts are
completely consistent with the above mountain stone modeling based on
particle deposition and stacking (overlapping) technology, except that
some landscape painting objects, such as ink trees and raindrop
textures, do not necessarily need textures, or only need a color ink
setting method similar to shallow landscape painting.

1)Particle\textbackslash{}sout-based tree rendering

Suppose that particle deposition is stacked according to the tree growth
model of the extended L system to generate a particle swarm, and the
particle size is adaptively constrained according to the tree shape
defined by the extended L system, then the boundary formed by the
periphery of the particle swarm can produce a shape similar to a tree.
Figure 10 shows the particle tree generated by particle stacking. In
addition, we made a comparison between normal rendering and ink
rendering. In ink rendering, set the color of the overall shader to
grayish black, the transparency of the tube shader to completely
transparent, the color to grayish black, and the tip fade to about 0.6.
Set the softening degree of the brush to above medium level, as shown in
Figure 11.\selectlanguage{english}
\begin{figure}[H]
\begin{center}
\includegraphics[width=0.70\columnwidth]{figures/image52/image52}

\end{center}
\end{figure}\selectlanguage{english}
\begin{figure}[H]
\begin{center}
\includegraphics[width=0.70\columnwidth]{figures/image59/image59}

\end{center}
\end{figure}

2)Modeling and rendering of 3d wrinkle texture in Chinese ink landscape
painting

Cow-hair wrinkle texture: Cow-hair texturing in traditional landscape
painting is a kind of brushwork lines similar to cow hair. In Maya, we
try to simulate the 3D modeling and rendering of Cow-hair wrinkle
texture by changing the linear way of particle stacking and the
randomness of density and staggered distribution. In addition, we set
the color of Cow-hair wrinkle texture according to the needs. The upper
Color 1 is set as the ochre stone color in the color of Chinese
painting, and the lower Color 2 is set as the ink color. Through gradual
blending, this effect is very similar to the traditional Light-color ink
painting method. The final effect is shown in Figure 12:\selectlanguage{english}
\begin{figure}[H]
\begin{center}
\includegraphics[width=0.70\columnwidth]{figures/image65/image65}

\end{center}
\end{figure}

Rain-drop wrinkle texture: similar to the modeling concept of Cow-hair
wrinkle texture, but the particles deposited by Rain-drop wrinkle
texture are more symmetrical and regular in shape, and the particle
groups are in a state of aggregation, dispersion and non-uniform random
distribution. In addition, we can also control the length of the rain
spots and the sharpness of the head and tail linearly. The Rain-drop
wrinkle texture only needs the change of ink color, not the texture, and
the final effect is shown in Figure 13.\selectlanguage{english}
\begin{figure}[H]
\begin{center}
\includegraphics[width=0.70\columnwidth]{figures/image71/image71}

\end{center}
\end{figure}

\subsubsection*{4 The presentation Scheme of Digital 3D Ink and Wash
Landscape
Painting}

{\label{the-presentation-scheme-of-digital-3d-ink-and-wash-landscape-painting}}

\textbf{4.1 The} \textbf{final presentation process of digital 3D ink
landscape painting}

The final presentation of traditional ink and wash landscape painting is
divided into three steps: conception (determining the presentation
theme, content, composition, and expected artistic conception), drawing
(outline, texturing, wipe, dyeing, and spotting), and signature
(inscribing the theme name or poem, presentation time, author's name,
etc. in the appropriate blank space of the picture, and stamping the
seal). Among them, conception and drawing are the most critical two
steps. Generally, we believe that form, content and style determine the
success or failure of a landscape painting. Form, also known as the form
of expression, mainly refers to all visual expression methods related to
the expression of the content of the work through painting techniques,
namely, the above-mentioned outline, texturing, wipe, dyeing, and
spotting. The content of landscape painting is nothing more than
mountains and rocks, trees, clouds and water, human beings,
architecture, boat and other categories. The style is a general
aesthetic image in the form of expression, which is produced by the
interaction and influence of form and content, as well as the personal
aesthetic tendency and subjective will of the creator.

The final presentation of digital 3D ink landscape painting can also
follow the steps of traditional landscape painting presentation. As the
final display of digital 3D graphics cannot be separated from rendering
technology, we propose four major steps for the presentation of digital
3D ink and wash landscape painting: conception, 3D drawing, rendering,
and closing, as shown in Figure 14. In the actual digital art
presentation, the drawing content is modularized according to the
features of outline, texturing, wiping, dyeing, and spotting techniques,
and the form, content and style are unified. The 3D drawing is done in
the way of a modularized brush plug-in.

\textbf{4.2 Final Presentation of Digital 3D Ink and Wash Landscape
Painting}

For those with Chinese painting presentation experience and some
computer operation experience, using the modular 3D ink landscape
painting component developed by the author can quickly complete the
presentation of a digital ink landscape painting. For those who have no
traditional Chinese painting presentation experience, or even computer
operation experience, the author has developed a series of digital ink
landscape painting samples or templates containing complete theme ideas
and drawing content. With this template, as long as the variable values
such as the number of distribution, shape and appearance, volume and
size of mountain stone trees are changed, the texture of mountain stone
texturing method and the variety of trees in the template works are
adjusted, and the effects of thick, light, light, heavy and bleeding of
ink rendering are adjusted, a three-dimensional digital ink landscape
painting that is completely different from the template can be created.
Figure 15 is a series of templates for digital 3D ink landscape
painting; Figure 16 shows the presentation steps of digital 3D ink
landscape painting based on modularization; Figure 17 shows several
presentation results after modifying or replacing various parameters,
variables and textures of a template. Figure 18 is a three-dimensional
digital ink landscape painting sketch (lightweight freehand brushwork)
completely drawn with a modular program brush.

\par\null\selectlanguage{english}
\begin{figure}[H]
\begin{center}
\includegraphics[width=0.70\columnwidth]{figures/image97/image97}

\end{center}
\end{figure}

\subsection*{5 Conclusion}

{\label{conclusion}}

This research solves the problem of painting mountains, rocks, trees and
other objects in landscape painting through the deposition stack
(overlapping) rendering technology of particles. In addition, particle
rendering technology is used to simulate the texturing method (raindrop
texturing) in traditional Chinese painting. Compared with pure geometric
modeling and rendering technology, particle-based rendering technology
has greater flexibility and more traditional ink painting style and
characteristics. Use particle rendering technology to customize the
presentation of mountains, rocks and trees with Chinese painting ink
effect, to achieve an integrated and incisive dynamic 3D ink landscape
painting artistic effect. Of course, our research has just started, and
there are still many problems to be solved, such as how to draw 3D
digital ink landscape painting closer to the traditional presentation
mode, how to simulate more traditional texturing methods through digital
3D technology, and how to realistically simulate more complex and
diverse rock modeling. We will continue to explore this aspect in the
future digital art practice.

\textbf{Acknowledgments:} This paper is supported by the 2019 National
Social Science Foundation Art Program ''New Ways to Make Freehand Ink
Landscape Animation under Digital Technology'' (Project No.: 19BC030)
hosted by the author.

\subsubsection*{reference}

{\label{reference}}

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{[}2{]}.Der-Lor Way, Zen-Chung Shih. The synthesis of rock textures in
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{[}3{]} Baxter, B. , Scheib, V. , Lin, M. et a1.. DAB: interactive
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