595 research outputs found

    Painterly rendering using human vision

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    Painterly rendering has been linked to computer vision, but we propose to link it to human vision because perception and painting are two processes that are interwoven. Recent progress in developing computational models allows to establish this link. We show that completely automatic rendering can be obtained by applying four image representations in the visual system: (1) colour constancy can be used to correct colours, (2) coarse background brightness in combination with colour coding in cytochrome-oxidase blobs can be used to create a background with a big brush, (3) the multi-scale line and edge representation provides a very natural way to render fi ner brush strokes, and (4) the multi-scale keypoint representation serves to create saliency maps for Focus-of-Attention, and FoA can be used to render important structures. Basic processes are described, renderings are shown, and important ideas for future research are discussed

    Fine arts edutainment: the amateur painter

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    A new scheme for painterly rendering (NPR) has been developed. This scheme is based on visual perception, in particular themulti-scale line/edge representation in the visual cortex. The Amateur Painter (TAP) is the user interface on top of the rendering scheme. It allows to (semi)automatically create paintings from photographs, with different types of brush strokes and colour manipulations. In contrast to similar painting tools, TAP has a set of menus that reflects the procedure followed by a normal painter. In addition, menus and options have been designed such that they are very intuitive, avoiding a jungle of sub-menus with options from image processing that children and laymen do not understand. Our goal is to create a tool that is extremely easy to use, with the possibility that the user becomes interested in painting techniques, styles, and fine arts in general

    Controlling Perceptual Factors in Neural Style Transfer

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    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

    Higher level techniques for the artistic rendering of images and video

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    EThOS - Electronic Theses Online ServiceGBUnited Kingdo

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

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    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" ā€” 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 ā€” 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 : - ā€¢ The Expressive Marks system ā€¢ Magic Painter system ā€¢ The Piranesi system (which includes the EPixel and Sketcher systems) ā€¢ A large portfolio of images generated throughout the exploration

    Hybrid filter blending to maintain facial expressions in rendered human portraits

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    Artistic rendering of human portraits is different and more challenging than that of landscapes or flowers. Issues are eye, nose, and mouth regions (i.e., facial features) where we need to represent their natural emotions. Shades or darkness around eyes, or shininess at nose tips may negatively impact the rendering result if not properly dealt with. Similarly, a lighter colour around the mouth region caused by lighting might produce some disturbing artefacts. The proposed computerised method attempts to be adaptive to those sensitive areas by utilising a face analysis module. First, the program detects main facial segments and features. Then it utilises a blending of various filtering parameters aiming at an adequate final portrait that represents the subject's original facial expression, while still supporting a non-photorealistic artistic rendering as the perceived impression

    Can Computers Create Art?

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    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

    Using Texture Synthesis for Non-Photorealistic Shading from Paint Samples

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    This paper presents several methods for shading meshes from scanned paint samples that represent dark to light transitions. Our techniques emphasize artistic control of brush stroke texture and color. We ļ¬rst demonstrate how the texture of the paint sample can be separated from its color gradient. We demonstrate three methods, two real-time and one off-line for producing rendered, shaded images from the texture samples. All three techniques use texture synthesis to generate additional paint samples. Finally, we develop metrics for evaluating how well each method achieves our goal in terms of texture similarity, shading correctness and temporal coherence

    An Approach To Painterly Rendering

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    An often overlooked key component of 3D animations is the rendering engine. However, some rendering techniques are hard to implement or are too restrictive in terms of the imagery they can produce. The goal of this thesis is to make easy-to-use software that artists can use to create stylistic animations and that also minimizes technical constraints placed on the art. For this project, I present a tool that allows artists to create temporally coherent, painterly animations using Autodesk Maya and Corel Painter. I then use that tool to create proof of concept animations. This new rendering technique offers artists a different avenue through which they can showcase their art and also offers certain freedoms that current computer graphics techniques lack. Accompanying this paper are some animations demonstrating possible outcomes, and they are located on the Texas A&M online library catalog system. The painting system used for this project expands upon an algorithm designed by Barbara Meier of the Disney Research Group that involves spreading particles across a surface and using those particles to define brush strokes. The first step is to infer the general syntax of Painterā€™s commands by using Painter and its ability to record a painting made by an artist. The next step is to use the commands and syntax that Painter uses in the automated creation of scripts to generate paintings used for the animation. As this thesis is designed to showcase a rendering technique, I found animations made by fellow candidates for the Master of Science and Master of Fine Arts degrees in Visualization bearing qualities accented by a painterly treatment and rendered them using this technique
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