{
  "version": 1,
  "sources": [
    {
      "id": "edges",
      "title": "How to Paint Lost and Found Edges in Watercolour",
      "author": "Louise De Masi",
      "published": "2023-11-23",
      "url": "https://www.louisedemasi.com/tips/2023/11/23/how-to-paint-lost-and-found-edges-in-watercolour",
      "kind": "artist_instruction",
      "locator": "Hard / Soft / Lost / Broken edges",
      "finding": "乾いた紙で明確な縁、湿った紙で柔らかい縁。消失は近接する色や明度のつながりでも起こる。",
      "limits": "材料・湿度ごとの定量データではない。",
      "accessed": "2026-09-07"
    },
    {
      "id": "wet",
      "title": "Working Wet on Wet",
      "author": "Louise De Masi",
      "published": "2023-04-19",
      "url": "https://www.louisedemasi.com/tips/2023/4/19/working-wet-on-wet",
      "kind": "artist_instruction",
      "locator": "How do you determine how much water",
      "finding": "紙の表面の光沢と絵具の濃さを観察し、広い塗りと細部で含水状態を変える。",
      "limits": "実際の光沢に対応する現在の数値閾値は未校正。",
      "accessed": "2026-09-07"
    },
    {
      "id": "drybrush",
      "title": "What is Dry Brushing in Watercolour?",
      "author": "Louise De Masi",
      "published": "2023-05-18",
      "url": "https://www.louisedemasi.com/tips/2023/5/18/what-is-dry-brushing-in-watercolour",
      "kind": "artist_instruction",
      "locator": "How do you do / hold / paper",
      "finding": "少量の絵具を含む湿った筆を乾いた凹凸のある紙に軽く運び、紙の谷を塗り残す。",
      "limits": "dry=1というデジタル設定を支持する資料ではない。",
      "accessed": "2026-09-07"
    },
    {
      "id": "glaze",
      "title": "How to do the Watercolour Glazing Technique",
      "author": "Louise De Masi",
      "published": "2023-06-28",
      "url": "https://www.louisedemasi.com/tips/2023/6/28/how-to-do-the-watercolour-glazing-technique",
      "kind": "artist_instruction",
      "locator": "How do you glaze / Tips",
      "finding": "下塗りを十分乾かしてから薄い透明色を少ない筆数で重ねる。",
      "limits": "現在のRGB光学濃度と実顔料の混色は同一でない。",
      "accessed": "2026-09-07"
    },
    {
      "id": "water",
      "title": "Painting Water",
      "author": "John Lovett",
      "published": null,
      "url": "https://www.johnlovett.com/painting-water",
      "kind": "artist_instruction",
      "locator": "Points to Remember",
      "finding": "下向きの反射と水平の筆跡を使い分け、反射の明暗幅や彩度を抑える考え方。",
      "limits": "反射の明暗に関する助言は絵画上の指針。全水面の光学法則に一般化しない。",
      "accessed": "2026-09-07"
    },
    {
      "id": "brush",
      "title": "Brush Techniques",
      "author": "John Lovett",
      "published": null,
      "url": "https://www.johnlovett.com/brush-techniques",
      "kind": "artist_instruction",
      "locator": "Controlled Release / Graded Wash",
      "finding": "筆の角度による絵具の放出調整と、順次薄くするウォッシュの実践例。",
      "limits": "現在の丸い接地モデルには傾き・毛束・水のビードがない。",
      "accessed": "2026-09-07"
    },
    {
      "id": "boundary",
      "title": "Watercolour Edges: Taming the Wobbly and Avoiding the Ugly",
      "author": "Louise De Masi",
      "published": "2024-04-29",
      "url": "https://www.louisedemasi.com/tips/2024/4/29/watercolour-edges",
      "kind": "artist_instruction",
      "locator": "The Dreaded Hard Edge",
      "finding": "塗る形の縁まで水を置かず、乾いた帯を残して水と絵具の境界を調整する実践例。",
      "limits": "常に濡れ境界で完全停止する保証ではない。",
      "accessed": "2026-09-07"
    },
    {
      "id": "paper",
      "title": "What paper should I use for watercolour?",
      "author": "Winsor & Newton",
      "published": null,
      "url": "https://uk.winsornewton.com/blogs/guides/best-paper-for-watercolour",
      "kind": "manufacturer_guide",
      "locator": "Paper surface comparison",
      "finding": "細密描写向きの滑らかなhot pressと、粒状感・質感向きのcold pressを区別する。",
      "limits": "メーカー解説。元画像の紙銘柄や加工を特定できる資料ではない。",
      "accessed": "2026-09-07"
    },
    {
      "id": "curtis1997",
      "title": "Computer-Generated Watercolor",
      "author": "Cassidy J. Curtis et al.",
      "published": "1997",
      "url": "https://grail.cs.washington.edu/wp-content/uploads/2015/08/curtis-1997-cgw.pdf",
      "kind": "simulation_paper",
      "locator": "SIGGRAPH 1997 pp421–430; sections4.1,4.3,4.5,4.6",
      "finding": "紙の高さ・保水容量、表面流、顔料の定着と再移動、毛管層を分けたモデル。湿り領域は毛管流で拡大しうる。",
      "limits": "著者自身が厳密な物理再現ではないと明記。現アプリに移植済みではない。",
      "accessed": "2026-09-07"
    },
    {
      "id": "droplets2019",
      "title": "Pattern formation by droplet evaporation and imbibition in watercolor paintings",
      "author": "Jorge González-Gutiérrez et al.",
      "published": "2019-09-19",
      "url": "https://arxiv.org/abs/1909.09098",
      "kind": "experimental_preprint",
      "locator": "arXiv1909.09098v1; Results, Methods, Figs4–7; HTML full text reviewed",
      "finding": "液滴実験では紙表面の水の分布と乾燥段階によって沈着模様が変わる。水の総量だけでは形を説明できない。",
      "limits": "特定の紙・液滴条件。任意の筆運びへの数値移植や全材料での一般化は未検証。HTML表示日ではなくarXiv提出日を使用。",
      "accessed": "2026-09-07"
    },
    {
      "id": "chu2002",
      "title": "An Efficient Brush Model for Physically-Based 3D Painting",
      "author": "Nelson S.-H. Chu and Chiew-Lan Tai",
      "published": "2002",
      "url": "https://cse.hkust.edu.hk/VCB/PG02.pdf",
      "kind": "simulation_paper",
      "locator": "Pacific Graphics 2002; sections4,5.1",
      "finding": "骨格と表面の変形で筆の曲がり・広がり・紙との摩擦を扱う。",
      "limits": "書画向けの経験的モデル。論文の試作には紙内の墨拡散が未統合。",
      "accessed": "2026-09-07"
    },
    {
      "id": "wetbrush2015",
      "title": "Wetbrush: GPU-Based 3D Painting Simulation at the Bristle Level",
      "author": "Zhili Chen, Byungmoon Kim, Daichi Ito, Huamin Wang",
      "published": "2015",
      "url": "https://wanghmin.github.io/publication/chen-2015-wgb/",
      "kind": "simulation_paper",
      "locator": "ACM TOG34(6); author abstract and PDF first page",
      "finding": "毛と塗料の相互作用、粒子と格子表現間の受け渡しをGPUで計算。",
      "limits": "厚い3D塗料を含むCUDA研究。水彩やWebGPUへそのまま適用できる証拠ではない。全文読了ではない。",
      "accessed": "2026-09-07"
    }
  ],
  "reproduction": "出典は短い要約とリンクのみ。著者の作例画像・本文・有料動画をデータセットへ複製していない。"
}