Artistic rendering enhancing global structure

Non-photorealistic rendering techniques usu- ally produce abstracted images. Most existing methods consider local rendering primitives, and global struc- tures may be easily obscured. Inspired by artists, we propose a novel image abstraction method that con- siders preserving or even enhancing global structures in the input images. Linear structures are particularly considered due to their wide existence and the avail- ability of techniques for their reliable detection. Based on various computer vision techniques, the algorithm is fully automatic. As demonstrated in the paper, artistic looking results are obtained for various types of images. The technique is orthogonal to many non-photorealistic rendering techniques and can be combined with them

Painterly rendering techniques: A state-of-the-art review of current approaches

In this publication we will look at the different methods presented over the past few decades which attempt to recreate digital paintings. While previous surveys concentrate on the broader subject of non-photorealistic rendering, the focus of this paper is firmly placed on painterly rendering techniques. We compare different methods used to produce different output painting styles such as abstract, colour pencil, watercolour, oriental, oil and pastel. Whereas some methods demand a high level of interaction using a skilled artist, others require simple parameters provided by a user with little or no artistic experience. Many methods attempt to provide more automation with the use of varying forms of reference data. This reference data can range from still photographs, video, 3D polygonal meshes or even 3D point clouds. The techniques presented here endeavour to provide tools and styles that are not traditionally available to an artist. Copyright © 2012 John Wiley & Sons, Ltd

Enhancing Perception of Complex Sculptural Forms using Interactive Real-time Ray tracing

This paper looks at experiments into using real-time ray tracing to significantly enhance shape perception of complex three-dimensional digitally created structures. The author is a computational artist whose artistic practice explores the creation of intricate organic three-dimensional forms using simulation of morphogenesis. The generated forms are often extremely detailed, comprising tens of millions of cellular primitives. This often makes depth perception of the resulting structures difficult. His practice has explored various techniques to create presentable artefacts from the data, including high resolution prints, animated videos, stereoscopic installations, 3D printing and virtual reality. The author uses ray tracing techniques to turn the 3D data created from his morphogenetic simulations into visible artefacts. This is typically a time-consuming process, taking from seconds to minutes to create a single frame. The latest generation of graphics processing units offer dedicated hardware to accelerate ray tracing calculations. This potentially allows the generation of ray traced images, including self-shadowed complex structures and multiple levels of transparency, from new viewpoints at frame rates capable of real-time interaction. The author presents the results of his experiments using this technology with the aim of providing significantly enhanced perception of his generated three-dimensional structures by allowing user-initiated interaction to generate novel views, and utilizing depth cues such as stereopsis, depth from motion and defocus blurring. The intention is for these techniques to be usable to present new exhibitable works in a gallery context

Could the doctrine of moral rights be used as a basis for understanding the notion of control within data protection law?

This is an Accepted Manuscript of an article published by Taylor & Francis Group in Information & Communications Technology Law on 1 April 2018, available online at:https://doi.org/10.1080/13600834.2018.1458449. Under embargo until 1 October 2019.This article considers the notion of individual control of personal data as envisaged by the European data protection framework and makes the argument that it is a poorly-understood and under-developed concept, but that our understanding of it may be improved by way of analyses and comparisons with the doctrine of moral rights, an important constituent element of intellectual property law. The article starts by examining the concept of personal data itself, and why an enhanced level of individual control over personal data is thought to be a desirable regulatory objective. Following this, the article examines the scholarly literature pertaining to individual control of personal data, as well as a range of relevant EU policy documents. Having done so, the article argues that the notion of control is muddled and confused from both theoretical and practical perspectives. Following this, the article considers the doctrine of moral rights, and through an exploration of its theoretical and practical elements highlights why it may be of assistance in terms of enhancing our understanding of individual control in the data protection context.Peer reviewedFinal Accepted Versio

Psyche and Planet: Multiplicity of Systems Mirroring Modes of Being and Bonding via Eco Arts Therapeutic Practices

Through discerning the art of life, this thesis is a review of literature which looks at how psyche and planet processing systems mirror one another and merge through eco arts therapeutic practices. It is an inquiry into philosophic ideas behind the nature of sensibility, perceptibility, and experience. As art mirrors the self and nature mirrors the self, a twofold entry-point opens, where one travels into accordance with all planes of consciousness. The literature investigates relationships amongst the arts, science, biology, and interspecies and ecological sentience to address collective conditions of deception, displacement, etc. It examines how directing attention to self and planet through eco arts therapeutic practices facilitates restorative powers, conscious harmonious flow, reciprocal dynamic functioning, communion, and embodiment of life-giving resources, etc. Theoretical contributions are delved into involving ecopsychology, transpersonal psychology, quantum physics, systems theory, hermeneutics, phenomenology, relational and intersubjectivity theories, self-reflexive consciousness, ecosomatics, and the idea of a collective disorder termed nature deficit disorder. Methodological contributions involve studies treating educationally, behaviorally, contextually, playfully and artistically, communally, relationally amongst interspecies, with biophilia, etc. Ultimately, this literature review generates space for enhancing perceptual being and contextual belonging through creativity

Artistic adjustment of image spectral slope

The Fourier spectral slope of 31 artworks was compared to the spectral slope of closely matched photographic images. The artworks were found to display a relatively narrow range of spectral slopes relative to the photographs. Two accounts for this range compression were investigated. The first proposes that the band-pass nature of the visual system’s psychophysical ‘window of visibility’ is responsible. Simulation of this effect by application of an appropriate spatial filter to the original photographs could not explain the range compression, unless one assumed a consistent relation between the visual angle subtended by the scene at the artist’s eye, and the scene’s spectral slope (such that scenes with a steep slope subtended larger angles than scenes with a shallow slope). The second account involves more complex ‘artistic’ filtering which smoothes out textural details while preserving edges. Application of two such filters to the photographs was able to reproduce the spectral slope range compression evident in artworks. Both explanations posit a central role for the artist’s visual system in adjusting image spectral slope, which can be modelled using visual filters

Line drawings for face portraits from photos using global and local structure based GANs

Despite significant effort and notable success of neural style transfer, it remains challenging for highly abstract styles, in particular line drawings. In this paper, we propose APDrawingGAN++, a generative adversarial network (GAN) for transforming face photos to artistic portrait drawings (APDrawings), which addresses substantial challenges including highly abstract style, different drawing techniques for different facial features, and high perceptual sensitivity to artifacts. To address these, we propose a composite GAN architecture that consists of local networks (to learn effective representations for specific facial features) and a global network (to capture the overall content). We provide a theoretical explanation for the necessity of this composite GAN structure by proving that any GAN with a single generator cannot generate artistic styles like APDrawings. We further introduce a classification-and-synthesis approach for lips and hair where different drawing styles are used by artists, which applies suitable styles for a given input. To capture the highly abstract art form inherent in APDrawings, we address two challenging operations — (1) coping with lines with small misalignments while penalizing large discrepancy and (2) generating more continuous lines — by introducing two novel loss terms: one is a novel distance transform loss with nonlinear mapping and the other is a novel line continuity loss, both of which improve the line quality. We also develop dedicated data augmentation and pre-training to further improve results. Extensive experiments, including a user study, show that our method outperforms state-of-the-art methods, both qualitatively and quantitatively

Reconstructing vectorised photographic images

We address the problem of representing captured images in the continuous mathematical space more usually associated with certain forms of drawn ('vector') images. Such an image is resolution-independent so can be used as a master for varying resolution-specific formats. We briefly describe the main features of a vectorising codec for photographic images, whose significance is that drawing programs can access images and image components as first-class vector objects. This paper focuses on the problem of rendering from the isochromic contour form of a vectorised image and demonstrates a new fill algorithm which could also be used in drawing generally. The fill method is described in terms of level set diffusion equations for clarity. Finally we show that image warping is both simplified and enhanced in this form and that we can demonstrate real histogram equalisation with genuinely rectangular histograms