Content-aware photo collage using circle packing

published_or_final_versio

圆组填充算法驱动的平面马赛克模拟

为了生成不规则嵌片排列紧凑的马赛克图案,提出一种基于圆组排列的平面马赛克模拟方法.首先借助嵌片多边形的直骨架得到一组逼近嵌片轮廓的圆;然后以圆半径的平方为权值,在平面上生成关于圆组的Power图,使每组圆各自对应一个Power区域;最后采用松弛法,将圆组在其对应Power区域内尽可能增长到最大.通过不断迭代生成Power图和放大圆组,最后得到嵌片紧凑排列的结果.实验结果表明,该方法得到的马赛克图案有较高的覆盖率,能适应不同嵌片,具有较强的鲁棒性和灵活性.国家自然科学基金(61472332);;福建省自然科学基金(2018J01104);;中央高校基本科研业务费专项基金(20720150002

改进区域划分的圆Packing变分算法

通过改进基于Power图的区域划分,提出一种收敛速度更快的圆packing算法.首先固定容器面积,将输入圆缩小一定的倍数,随机撒在容器中;之后对圆心点进行三角化,并根据相邻圆的半径比值对容器进行区域划分;再让所有圆在不超出自己区域边界的条件下尽量等比例增长至最大;最后将划分区域-长大的过程迭代下去,得到最大增长倍数.实验结果表明,该算法能够使得圆packing的过程更快地达到收敛.国家自然科学基金(61472332);;福建省自然科学基金(2018J01104

融合主题和视觉特征的图片拼贴画合成方法

为辅助设计师进行图片拼贴画艺术创作,提出一种融合主题和视觉特征的图片拼贴画合成方法.给定容器图片和素材图片集,将容器图片划分为若干子区域;并使用圆填充算法及Delaunay三角剖分算法生成子区域的Voronoi图,得到补丁集;之后,计算主题-颜色相似性矩阵,进行素材图片与补丁之间的映射;最后,使用颜色线性融合方法进一步优化拼贴画视觉效果.在保留图片视觉特征的同时,该方法亦能保证容器和素材之间具有相似的主题信息.与市面流行拼贴画制作软件的对比实验表明,该方法合成的图片拼贴画能取得更好的视觉效果,在数字媒体和装饰领域中均有着潜在的应用价值.国家自然科学基金(61772440);;\n光电控制技术重点实验室和航空科学基金联合资助项目(20165168007);;\n浙江大学CAD&CG国家重点实验室开放课题(A1706

Salience, qualities and narratives in the making of contemporary British hand-thrown tableware

This study investigates British workshop practices of making commercial tableware by hand on the potter’s wheel. It is a practice-led study of making processes situated within research on contemporary pottery and, more generally, on craft and design. Ethnographic Fieldwork was conducted in three professional workshops: Ewenny Pottery in Wales, the Leach Pottery in Cornwall and Maze Hill Pottery in London. Methods included producing pots by following procedures as close as possible to those observed on site. An interpretive mixed-method approach uncovers meanings in making operations from observation, video analysis and conversations with potters. The study employs an original framework based on the concept of salience: ‘manufacturing salience’ is defined as the relative importance of a given operation to produce tangible physical qualities in the ware; ‘cultural salience’ identifies narratives associated with its makers and production processes. The systematic analysis of the salience of pottery making operations locates the origins of qualities and narratives in the sequence involved in the production of mugs in the three case studies. This is used to generate a critical account of contemporary British pottery practices which discusses the interrelation among the physical qualities of hand-thrown tableware, the narratives associated with its production, and the operations required to make the pots. The findings reappraise the importance of phases widely described in literature (e.g. throwing, glazing and firing) and draw others to attention (e.g. making handles). They show brief operations such as opening out, centring and ribbing can illustrate a potter’s style of making associated with early training. The study contributes to craft research by making the co-production of qualities, narratives and processes accessible to inspection, and discussing it in relation to social, cultural and technical contexts. The critical discussion of professional pottery practices addresses limitations identified in literature and demonstrates the effectiveness of the study

To a Golden Land

Student Number : 8238599 - MA dissertation - School of Social Sciences - Faculty of HumanitiesThe story of the Jewish community in South Africa is a long and colourful one. The population is based entirely on immigrants who first began arriving in the late 1860s. Their presence in the country is characterised by a disproportionate visibility and as being distinct from other “Diaspora” communities. The community has shrunk by a third in the last thirty years, in a mirror image of the initial waves of immigrants to the country a century before. This sense of movement spanning a long period of time in the context of the historical phenomenon that is South African Jewry suggests itself to a documentary film. A cinematic treatment of the phenomenon of waves of Jewish immigration to and from South Africa requires approaching the subject matter from a number of directions simultaneously. The film genre “historical documentary” requires equal emphasis on the techniques of cinema as well as an historical approach. This document addresses each in turn, with Section 1 dealing with the historical framework underlying the film. Section 2 addresses the theory and practice of documentary film inasmuch as it pertains to the proposed film. This section also contains a review of existing film documentary approaches to the subject matter. Section 3 contains a scene by scene breakdown of the film. The appendix contains a literature review and supplemental notes. Overall Aim The starting point for the construction of the film is an attempt to develop an approach that deliberately eschews the conventional documentary technique used in the making of similar films. By ignoring the fact that film is a predominantly visual medium, films often fall into a trap of “over-textualising” i.e. their visual or metaphorical essence becomes subordinate to the text of the film. Since the text drives the narrative, this can result in a sapping of visual interest in favour of what is often a tedious voice-over. This film wishes to take advantage of film as a rich visual and symbolic medium. I aim to show that this approach need not lead to a loss of overall transmitted content, historical or otherwise. The maxim “less is more”, though seemingly cliché, applies in large part to the making of a historical documentary

An Exercise in Art Curriculum Design

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