Non-photorealistic rendering of portraits

We describe an image-based non-photorealistic rendering pipeline for creating portraits in two styles: The first is a somewhat “puppet” like rendering, that treats the face like a relatively uniform smooth surface, with the geometry being emphasised by shading. The second style is inspired by the artist Julian Opie, in which the human face is reduced to its essentials, i.e. homogeneous skin, thick black lines, and facial features such as eyes and the nose represented in a cartoon manner. Our method is able to automatically generate these stylisations without requiring the input images to be tightly cropped, direct frontal view, and moreover perform abstraction while maintaining the distinctiveness of the portraits (i.e. they should remain recognisable)

Assistive visual content creation tools via multimodal correlation analysis

Visual imagery is ubiquitous in society and can take various formats: from 2D sketches and photographs to photorealistic 3D renderings and animations. The creation processes for each of these mediums have their own unique challenges and methodologies that artists need to overcome and master. For example, for an artist to depict a 3D scene in a 2D drawing they need to understand foreshortening effects to position and scale objects accurately on the page; or, when modeling 3D scenes, artists need to understand how light interacts with objects and materials, to achieve a desired appearance. Many of these tasks can be complex, time-consuming, and repetitive for content creators. The goal of this thesis is to develop tools to alleviate artists from some of these issues and to assist them in the creation process. The key hypothesis is that understanding the relationships between multiple signals present in the scene being created enables such assistive tools. This thesis proposes three assistive tools. First, we present an image degradation model for depth-augmented image editing to help evaluate the quality of the image manipulation. Second, we address the problem of teaching novices to draw objects accurately by automatically generating easy-to-follow sketching tutorials for arbitrary 3D objects. Finally, we propose a method to automatically transfer 2D parametric user edits made to rendered 3D scenes to global variations of the original scene

Higher level techniques for the artistic rendering of images and video

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Biometric Systems

Biometric authentication has been widely used for access control and security systems over the past few years. The purpose of this book is to provide the readers with life cycle of different biometric authentication systems from their design and development to qualification and final application. The major systems discussed in this book include fingerprint identification, face recognition, iris segmentation and classification, signature verification and other miscellaneous systems which describe management policies of biometrics, reliability measures, pressure based typing and signature verification, bio-chemical systems and behavioral characteristics. In summary, this book provides the students and the researchers with different approaches to develop biometric authentication systems and at the same time includes state-of-the-art approaches in their design and development. The approaches have been thoroughly tested on standard databases and in real world applications

Traversing postdigital art: reimagining humanness between the spaces of paint and pixels

This practice-led study explores the area of ‘Postdigital’ (PD) visual arts that is characterised by the visible inclusion and balance of the human hand in combination with digital technologies to create artworks. As artists can now create using algorithms and pixels instead of physical media, such as paint, there is a concern that the transience and infinite reproducibility of digital media is eroding the uniqueness, tactile materiality and authorship of artists’ work. It removes us from the art object, and changes the reality of making and experiencing art. This sense of digital disenchantment is the focus of many PD artists work (Cramer 2014). My long-standing art practice, which traverses both analogue and digital media, has provided me with important insights into the artist’s presence in the PD art world. In my practice I combine digital and traditional media to create a transitional zone between the real and virtual and haptic and generative. This is in order to decrease the perceived dissonance and demarcation between the traditional and digital by including specific references to the human element within these works. The inclusion of the human hand, such as by including intentional aesthetic ‘glitches’, which are normally used by PD artists to highlight the unintentional system errors, failures and disruptions of digital, becomes a critical essential part of the artworks and encourages the viewer to consider the artist’s presence in a form which is usually devoid of such elements. Using bricolage and visual ethnographic methodologies, I explore themes such as privacy and surveillance, feminism, the environment, globalisation and the impact of technology through my practice which draws from traditional practice to create PD artworks and incorporates my presence as the artist. Given the limited research available on PD art practice (Roestenburg 2018) this study is also informed by a visual analysis of selected PD works, an international and national survey with PD artists and a series of in-depth interviews about their art practice. Drawing from this data, a set of guiding principles has been developed to assist the viewer in appreciating the particular characteristics and qualities inherent in PD art, including the critical importance of humanness in this type of artwork

The Machine as Art/ The Machine as Artist

The articles collected in this volume from the two companion Arts Special Issues, “The Machine as Art (in the 20th Century)” and “The Machine as Artist (in the 21st Century)”, represent a unique scholarly resource: analyses by artists, scientists, and engineers, as well as art historians, covering not only the current (and astounding) rapprochement between art and technology but also the vital post-World War II period that has led up to it; this collection is also distinguished by several of the contributors being prominent individuals within their own fields, or as artists who have actually participated in the still unfolding events with which it is concerne