Rasterization techniques for Chinese outline fonts.

Kwong-ho Wu.Thesis (M.Phil.)--Chinese University of Hong Kong, 1994.Includes bibliographical references (leaves 72-75).Chapter 1 --- Introduction --- p.1Chapter 1.1 --- Outline Fonts --- p.2Chapter 1.1.1 --- Advantages and Disadvantages --- p.4Chapter 1.1.2 --- Representations --- p.4Chapter 1.1.3 --- Rasterization --- p.5Chapter 1.2 --- Introduction to This Thesis --- p.6Chapter 1.2.2 --- Organization --- p.7Chapter 1.2.1 --- Objectives --- p.7Chapter 2 --- Chinese Characters Fonts --- p.8Chapter 2.1 --- Large Character Set --- p.8Chapter 2.2 --- Font Styles --- p.8Chapter 2.3 --- Storage Problems --- p.9Chapter 2.4 --- Hierarchical Structure --- p.10Chapter 2.5 --- High Stroke Count --- p.11Chapter 3 --- Rasterization --- p.13Chapter 3.1 --- The Basic Rasterization --- p.13Chapter 3.1.1 --- Scan Conversion --- p.14Chapter 3.1.2 --- Filling Outline --- p.16Chapter 3.2 --- Font Rasterization --- p.17Chapter 3.2.1 --- Outline Scaling --- p.17Chapter 3.2.2 --- Hintings --- p.17Chapter 3.2.3 --- Basic Rasterization Approach for Chinese Fonts --- p.18Chapter 3.3 --- Hintings --- p.20Chapter 3.3.1 --- Phase Control --- p.20Chapter 3.3.2 --- Auto-Hints --- p.21Chapter 3.3.3 --- Storage of Hintings Information in TrueType Font and Postscript Font --- p.22Chapter 4 --- An Improved Chinese Font Rasterizer --- p.24Chapter 4.1 --- Floating Point Avoidance --- p.24Chapter 4.2 --- Filling --- p.25Chapter 4.2.1 --- Filling with Horizontal Scan Line --- p.25Chapter 4.2.2 --- Filling with Vertical Scan Line --- p.27Chapter 4.3 --- Hintings --- p.30Chapter 4.3.1 --- Assumptions --- p.30Chapter 4.3.2 --- Maintaining Regular Strokes Width --- p.30Chapter 4.3.3 --- Maintaining Regular Spacing Among Strokes --- p.34Chapter 4.3.4 --- Hintings of Single Stroke Contour --- p.42Chapter 4.3.5 --- Storing the Hinting Information in Font File --- p.49Chapter 4.4 --- A Rasterization Algorithm for Printing --- p.51Chapter 4.4.1 --- A Simple Algorithm for Generating Smooth Characters --- p.52Chapter 4.4.2 --- Algorithm --- p.54Chapter 4.4.3 --- Results --- p.54Chapter 5 --- Experiments --- p.56Chapter 5.1 --- Apparatus --- p.56Chapter 5.2 --- Experiments for Investigating Rasterization Speed --- p.56Chapter 5.2.1 --- Investigation into the Effects of Features of Chinese Fonts on Rasterization Time --- p.56Chapter 5.2.2 --- Improvement of Fast Rasterizer --- p.57Chapter 5.2.3 --- Details of Experiments --- p.57Chapter 5.3 --- Experiments for Rasterization Speed of Font File with Hints --- p.57Chapter 6 --- Results and Conclusions --- p.58Chapter 6.1 --- Observations --- p.58Chapter 6.1.1 --- Relationship Between Time for Rasterization and Stroke Count --- p.58Chapter 6.1.2 --- Effects of Style --- p.61Chapter 6.1.3 --- Investigation into the Observed Relationship --- p.62Chapter 6.2 --- Improvement of the Improved Rasterizer --- p.64Chapter 6.3 --- Gain and Cost of Inserting Hints into Font File --- p.68Chapter 6.3.1 --- Cost --- p.68Chapter 6.3.2 --- Gain --- p.68Chapter 6.4 --- Conclusions --- p.69Chapter 6.5 --- Future Work --- p.69Appendi

StrokeStyles: Stroke-based Segmentation and Stylization of Fonts

We develop a method to automatically segment a font’s glyphs into a set of overlapping and intersecting strokes with the aim of generating artistic stylizations. The segmentation method relies on a geometric analysis of the glyph’s outline, its interior, and the surrounding areas and is grounded in perceptually informed principles and measures. Our method does not require training data or templates and applies to glyphs in a large variety of input languages, writing systems, and styles. It uses the medial axis, curvilinear shape features that specify convex and concave outline parts, links that connect concavities, and seven junction types. We show that the resulting decomposition in strokes can be used to create variations, stylizations, and animations in different artistic or design-oriented styles while remaining recognizably similar to the input font

Design revolutions: IASDR 2019 Conference Proceedings. Volume 4: Learning, Technology, Thinking

In September 2019 Manchester School of Art at Manchester Metropolitan University was honoured to host the bi-annual conference of the International Association of Societies of Design Research (IASDR) under the unifying theme of DESIGN REVOLUTIONS. This was the first time the conference had been held in the UK. Through key research themes across nine conference tracks – Change, Learning, Living, Making, People, Technology, Thinking, Value and Voices – the conference opened up compelling, meaningful and radical dialogue of the role of design in addressing societal and organisational challenges. This Volume 4 includes papers from Learning, Technology and Thinking tracks of the conference

AutoGraff: towards a computational understanding of graffiti writing and related art forms.

The aim of this thesis is to develop a system that generates letters and pictures with a style that is immediately recognizable as graffiti art or calligraphy. The proposed system can be used similarly to, and in tight integration with, conventional computer-aided geometric design tools and can be used to generate synthetic graffiti content for urban environments in games and in movies, and to guide robotic or fabrication systems that can materialise the output of the system with physical drawing media. The thesis is divided into two main parts. The first part describes a set of stroke primitives, building blocks that can be combined to generate different designs that resemble graffiti or calligraphy. These primitives mimic the process typically used to design graffiti letters and exploit well known principles of motor control to model the way in which an artist moves when incrementally tracing stylised letter forms. The second part demonstrates how these stroke primitives can be automatically recovered from input geometry defined in vector form, such as the digitised traces of writing made by a user, or the glyph outlines in a font. This procedure converts the input geometry into a seed that can be transformed into a variety of calligraphic and graffiti stylisations, which depend on parametric variations of the strokes

Typographic design for Chinese landscape poem, painting and Taoism

Chinese poetry, especially landscape poetry has been translated into English for many years. But rigid language translation could not carry the Tao beauty embedded in the Chinese landscape poetry from Chinese to English. This thesis study is to use western typography design to express Chinese landscape poetry. Chinese landscape painting will be used as an underlying structure upon which type will be placed to create a visual poem. Thus, appreciation of Chinese poetry will not just rely on English translation, but will also be supported by a visual vehicle to aid discovery of the inner beauty that has previously been lost in the translation between Chinese and English. The purpose of the literature review is to help understand the connection between Chinese landscape poetry and painting in the context of Chinese history and Taoism. It includes short history of Chinese landscape poetry, Taoism, Tao creativity in Chinese landscape poetry and painting, concrete poetry, as well as design elements and principles. After the literature review and methodology in which a list of design processes is given, typographic design experiments are made in project studies in which seven design solutions are analyzed and studied. Each design solution focuses on different design principles such as direction, repetition, shape association, and negative positive space. The result of this thesis study will provide a different perspective for people to understand Chinese landscape poetry and enhance their visual experience through reading poems

The discourse in early digital type design technologies

This thesis is concerned with the development of digital type design technologies and the discourse around them through new environments during a period of radical change and transition in the type manufacturing industry. It maps the emergence of a new field by exploring environments of discourse such as trade associations, academic institutions and the publication landscape, established as a response to new communities and identifies them as catalysts of change. The research considers different numerical models of letterform description devised through academic research, corporate research and commercial endeavours during a phase of type manufacturing that spans from the zenith of phototype setting to the introduction of office-based laserprinting, covering most of the 1970s and 1980s. A particular event, identified as a highpoint in this discourse and as a main catalyst of change, is the Association Typographique Internationale’s working seminar hosted at Stanford University in the summer of 1983. It marks a focus point in these discussions during a period of several linear and concurrent developments, and it reflects issues that maintained their relevance after the introduction of the digital PostScript format, which followed the period surveyed in this thesis. Although more than a dozen digital type design systems were developed by 1983, this study is particularly concerned with five systems considered for presentation at the Stanford working seminar. While some of these systems found no particular use, others had some commercial success or even became well established among an international list of type manufacturers. All five encapsulate the relevant issues discussed at Stanford; from a research standpoint they are equally significant in providing information on the challenges type designers faced at the time. As this research investigates a relatively short and recent period, it is characterised by a lack of certain archival material. In addition to a handful of academic archives, this thesis heavily draws on primary source material, on records and artefacts from personal collections, on oral history as a method to record the voices of contemporary witnesses, and uses these sources as an opportunity to discover hidden figures that have been overlooked in the past. This thesis explores debated issues such as maintaining standards, while introducing new ones; shared responsibilities, collaborations as well as conflicts between designers and engineers; challenges and opportunities for established manufacturers versus an emerging generation of independent designers; as well as implications that new technologies had on the essentials of designing and digitizing type, from learning new terminology to measuring quality, dealing with compatibility and the introduction of automated and parametric design

A methodology for constructing compact Chinese font libraries by radical composition.

by Wai-Yip Tung.Thesis (M.Phil.)--Chinese University of Hong Kong, 1993.Includes bibliographical references (leaves 55-56).Chapter 1. --- Introduction --- p.1Chapter 1.1. --- Previous work --- p.2Chapter 1.1.1. --- A Chinese METAFONT --- p.2Chapter 1.1.2. --- Chinese character generator --- p.2Chapter 1.1.3. --- Chinese Character Design System CCDS --- p.2Chapter 1.2. --- Goals of the thesis --- p.3Chapter 1.3. --- Overview of the thesis --- p.3Chapter 2. --- Construction of Chinese Characters --- p.5Chapter 2.1 --- Introduction --- p.5Chapter 2.2. --- liu shu(六書）Six Principles of Chinese Character Construction --- p.5Chapter 2.3. --- Structural Analysis of Chinese Characters --- p.7Chapter 2.3.1. --- Left-Right Structure --- p.8Chapter 2.3.2. --- Top-Bottom Structure --- p.9Chapter 2.3.3. --- Inside-Outside Structure --- p.10Chapter 2.3.4. --- Singleton Structure --- p.10Chapter 2.4. --- Usage frequency of radicals --- p.11Chapter 2.5. --- Usage frequency of Bushou --- p.11Chapter 2.6. --- Usage frequency of Shengpang --- p.13Chapter 2.7. --- Summary --- p.15Chapter 3. --- Composition by Radicals --- p.17Chapter 3.1. --- Introduction --- p.17Chapter 3.2. --- Transforming radicals --- p.18Chapter 3.3. --- Quality of transformed radicals --- p.19Chapter 3.4. --- Lower level components --- p.20Chapter 3.5. --- Summary --- p.23Chapter 4. --- Automatic Hinting for Chinese Font --- p.24Chapter 4.1 --- Introduction --- p.24Chapter 4.2. --- Automatic hinting for Chinese font --- p.26Chapter 4.3. --- Stroke recognition --- p.30Chapter 4.3.1. --- Identify horizontal lines --- p.31Chapter 4.3.2. --- Identify stroke segments --- p.31Chapter 4.3.3. --- Stroke recognition --- p.32Chapter 4.4. --- Regularize stroke width --- p.33Chapter 4.5. --- Grid-fitting horizontal and vertical strokes --- p.33Chapter 4.6. --- Grid-fitting radicals --- p.37Chapter 4.7. --- Summary --- p.39Chapter 5. --- RADIT - A Chinese Font Editor --- p.41Chapter 5.1. --- Introduction --- p.41Chapter 5.2. --- RADIT basics --- p.41Chapter 5.2.1. --- Character selection window --- p.42Chapter 5.2.2. --- Character window --- p.42Chapter 5.2.3. --- Tools Palette --- p.43Chapter 5.2.4. --- Toolbar --- p.43Chapter 5.2.5. --- Zooming the character window --- p.44Chapter 5.3. --- Editing a character --- p.44Chapter 5.3.1. --- Selecting handles --- p.44Chapter 5.3.2. --- Adding lines and curves --- p.45Chapter 5.3.3. --- Delete control points --- p.45Chapter 5.3.4. --- Moving control points --- p.45Chapter 5.3.5. --- Cut and paste --- p.46Chapter 5.3.6. --- Undo --- p.46Chapter 5.4. --- Adding radicals to a character --- p.46Chapter 5.5. --- Rasterizing and grid-fitting a character --- p.47Chapter 5.5.1. --- Rasterizing a character --- p.48Chapter 5.5.2. --- Stroke detection and regularization --- p.48Chapter 5.5.3. --- Grid-fitting and rasterizing a character --- p.49Chapter 6. --- Conclusions --- p.50Appendix A: Sample Fonts --- p.52References --- p.5