Computer rotoscoping with the aid of color recognition

Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1980.MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH.Includes bibliographical references (leaves 40-42).Rotoscoping is explored as a computer animation technique. The optical videodisc serves as the image storage and input source. Image processing and tablet painting routines are applied to digitized frames. "Color recognition", the exploitation of digital color information, enables the tracking of objects, from frame to frame, based on their color. This system allows for semi-automatic, selective processing of images.by Rebecca Allen.M.S

Wet and Sticky: A Novel Model for Computer-Based Painting

The problems of computer based painting are considered from a fine arts stand point. A detailed criticism of existing approaches is provided. This criticism centres on the limited depth of existing models and the resultant limited complexity and relative poverty of their mark making capabilities. The notion of the importance of the accidental in art is highlighted and an argument is made for its inclusion in computer based painting models. An informal task analysis is carried out and a description is provided for the task of domain modeling. The results of this task analysis confirm the inadequacy of the existing computer based painting models. A novel paradigm, Wet & Sticky, is proposed which models the physical and behavioural characteristics of paint rather than just its colour properties. The initial proposals for the model require that it mimics the actions of gravity and the effects of ageing of upon different types of paint. An experimental development procedure is used to produce and refine a set of algorithms for an implementation of the new model, resulting in an increase in the complexity of the proposed model. The final model includes algorithms which simulate the actions of surface tension and diffusion. Details are given of the behavioural parameters and algorithms required by the model. This new model is capable of supporting the production of marks which possess a greater degree of complexity than possible with existing models. Throughout the development of the model the aim is to balance the requirements of producing a convincing visual and behavioural simulation of real paint, against the complexity of making a physically accurate simulation. The new model also provides the opportunity for new tools and techniques which are not only unsupportable with existing systems but also with traditional fine art painting methods. A selection of photographic results are included which provide support for the accuracy of the behaviour of the model

Can Computers Create Art?

This essay discusses whether computers, using Artificial Intelligence (AI), could create art. First, the history of technologies that automated aspects of art is surveyed, including photography and animation. In each case, there were initial fears and denial of the technology, followed by a blossoming of new creative and professional opportunities for artists. The current hype and reality of Artificial Intelligence (AI) tools for art making is then discussed, together with predictions about how AI tools will be used. It is then speculated about whether it could ever happen that AI systems could be credited with authorship of artwork. It is theorized that art is something created by social agents, and so computers cannot be credited with authorship of art in our current understanding. A few ways that this could change are also hypothesized.Comment: to appear in Arts, special issue on Machine as Artist (21st Century

The Simulation of the Brush Stroke Based on Force Feedback Technology

A novel simulation method of the brush stroke is proposed by applying force feedback technology to the virtual painting process. The relationship between force and the brush deformation is analyzed, and the spring-mass model is applied to construct the brush model, which can realistically simulate the brush morphological changes according to the force exerted on it. According to the deformation of the brush model at a sampling point, the brush footprint between the brush and the paper is calculated in real time. Then, the brush stroke is obtained by superimposing brush footprints along sampling points, and the dynamic painting of the brush stroke is implemented. The proposed method has been successfully applied to the virtual painting system based on the force feedback technology. In this system, users can implement the painting in real time with a Phantom Desktop haptic device, which can effectively enhance reality to users

Non-photorealistic rendering: a critical examination and proposed system.

In the first part of the program the emergent field of Non-Photorealistic Rendering is explored from a cultural perspective. This is to establish a clear understanding of what Non-Photorealistic Rendering (NPR) ought to be in its mature form in order to provide goals and an overall infrastructure for future development. This thesis claims that unless we understand and clarify NPR's relationship with other media (photography, photorealistic computer graphics and traditional media) we will continue to manufacture "new solutions" to computer based imaging which are confused and naive in their goals. Such solutions will be rejected by the art and design community, generally condemned as novelties of little cultural worth ( i.e. they will not sell). This is achieved by critically reviewing published systems that are naively described as Non-photorealistic or "painterly" systems. Current practices and techniques are criticised in terms of their low ability to articulate meaning in images; solutions to this problem are given. A further argument claims that NPR, while being similar to traditional "natural media" techniques in certain aspects, is fundamentally different in other ways. This similarity has lead NPR to be sometimes proposed as "painting simulation" — something it can never be. Methods for avoiding this position are proposed. The similarities and differences to painting and drawing are presented and NPR's relationship to its other counterpart, Photorealistic Rendering (PR), is then delineated. It is shown that NPR is paradigmatically different to other forms of representation — i.e. it is not an "effect", but rather something basically different. The benefits of NPR in its mature form are discussed in the context of Architectural Representation and Design in general. This is done in conjunction with consultations with designers and architects. From this consultation a "wish-list" of capabilities is compiled by way of a requirements capture for a proposed system. A series of computer-based experiments resulting in the systems "Expressive Marks" and 'Magic Painter" are carried out; these practical experiments add further understanding to the problems of NPR. The exploration concludes with a prototype system "Piranesi" which is submitted as a good overall solution to the problem of NPR. In support of this written thesis are : - • The Expressive Marks system • Magic Painter system • The Piranesi system (which includes the EPixel and Sketcher systems) • A large portfolio of images generated throughout the exploration

Genetic Programming for Non-Photorealistic Rendering

This thesis focuses on developing an evolutionary art system using genetic programming. The main goal is to produce new forms of evolutionary art that filter existing images into new non-photorealistic (NPR) styles, by obtaining images that look like traditional media such as watercolor or pencil, as well as brand new effects. The approach permits GP to generate creative forms of NPR results. The GP language is extended with different techniques and methods inspired from NPR research such as colour mixing expressions, image processing filters and painting algorithm. Colour mixing is a major new contribution, as it enables many familiar and innovative NPR effects to arise. Another major innovation is that many GP functions process the canvas (rendered image), while is dynamically changing. Automatic fitness scoring uses aesthetic evaluation models and statistical analysis, and multi-objective fitness evaluation is used. Results showed a variety of NPR effects, as well as new, creative possibilities

Kaijus as environments: design & production of a colossal monster functioning as a boss level

Boss fights are a staple in most video game genres. They are milestones in the adventure, designed and intended to test the skills that the player has acquired throughout their adventure. In some cases, they even define the whole experience of the game, especially one type of enemy that has appeared in several instances and every genre: colossal bosses, monsters of giant proportions usually used as a matter of spectacle and a simple yet effective way to showcase the sheer power that players have achieved up until that point in the adventure. Titles like God of War, Shadow of the Colossus and even many Super Mario titles use this concept in their video games in imaginative ways to create Kaiju-like creatures working as a living environment the player has to traverse to defeat them. However, what is the process behind creating a colossal boss that works as a breathing environment, and how can it be achieved? This project aims to study the process of colossal boss creation and design and apply level design and asset creation. To do this, the author will investigate the main aspects and key-defining features of these bosses, analyzing the strengths and weaknesses of existing bosses in videogames such as God of War 3’s Cronos and Shadow of the Colossus and Solar Ash’s bosses in terms of art production and game design. From this study and following the art process for creating creatures in the video game industry, the author will conceptualize, design and produce a working, playable prototype of a boss fight, showcased in the final presentation

Drawing in Space

This paper discusses the artwork for the thesis Drawing in Space. The title refers to the correlation between drawing on paper and fabricating in metal. For me these are highly similar processes. Contemporary artists are presented and referenced to convey inspiration and locate historical context. The paper discusses the importance of Street Art and video games in my decision making about color choices and linear qualities. Each sculpture will be analyzed individually and their connection to Street Art, video games and Contemporary art will be identified