Controlling Perceptual Factors in Neural Style Transfer

Neural Style Transfer has shown very exciting results enabling new forms of image manipulation. Here we extend the existing method to introduce control over spatial location, colour information and across spatial scale. We demonstrate how this enhances the method by allowing high-resolution controlled stylisation and helps to alleviate common failure cases such as applying ground textures to sky regions. Furthermore, by decomposing style into these perceptual factors we enable the combination of style information from multiple sources to generate new, perceptually appealing styles from existing ones. We also describe how these methods can be used to more efficiently produce large size, high-quality stylisation. Finally we show how the introduced control measures can be applied in recent methods for Fast Neural Style Transfer.Comment: Accepted at CVPR201

cGAN-based Manga Colorization Using a Single Training Image

The Japanese comic format known as Manga is popular all over the world. It is traditionally produced in black and white, and colorization is time consuming and costly. Automatic colorization methods generally rely on greyscale values, which are not present in manga. Furthermore, due to copyright protection, colorized manga available for training is scarce. We propose a manga colorization method based on conditional Generative Adversarial Networks (cGAN). Unlike previous cGAN approaches that use many hundreds or thousands of training images, our method requires only a single colorized reference image for training, avoiding the need of a large dataset. Colorizing manga using cGANs can produce blurry results with artifacts, and the resolution is limited. We therefore also propose a method of segmentation and color-correction to mitigate these issues. The final results are sharp, clear, and in high resolution, and stay true to the character's original color scheme.Comment: 8 pages, 13 figure

Seasonal Adaptation of Vegetation Color in Satellite Images

Remote sensing techniques like NDVI (Normal Difference vegetative Index) when applied to phenological variations in aerial images, ascertained the seasonal rise and decline of photosynthetic activity in different seasons, resulting in different color tones of vegetation. The rise and fall of NDVI values decide the biological response, either the green up or brown down [1]. Vegetation in green up period appears with more vegetative vigor and during brown down period it has a dry appearance. This paper proposes a novel method that identifies vegetative patterns in satellite images and then alters vegetation color to simulate seasonal changes based on training image pairs. The proposed method first generates a vegetation map for pixels corresponding to vegetative areas, using ISODATA clustering, morphological operations and vegetation classification. It then generates seasonal color adaptation of a target input image based on a pair of training images, which depict the same area but were captured in different seasons, using image analogies technique. The vegetation map ensures that only the colors of vegetative areas in the target image are altered and also improves the performance of the original image analogies technique. The proposed method can be used in flight simulations and other applications

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