Manipulating Attributes of Natural Scenes via Hallucination

In this study, we explore building a two-stage framework for enabling users to directly manipulate high-level attributes of a natural scene. The key to our approach is a deep generative network which can hallucinate images of a scene as if they were taken at a different season (e.g. during winter), weather condition (e.g. in a cloudy day) or time of the day (e.g. at sunset). Once the scene is hallucinated with the given attributes, the corresponding look is then transferred to the input image while preserving the semantic details intact, giving a photo-realistic manipulation result. As the proposed framework hallucinates what the scene will look like, it does not require any reference style image as commonly utilized in most of the appearance or style transfer approaches. Moreover, it allows to simultaneously manipulate a given scene according to a diverse set of transient attributes within a single model, eliminating the need of training multiple networks per each translation task. Our comprehensive set of qualitative and quantitative results demonstrate the effectiveness of our approach against the competing methods.Comment: Accepted for publication in ACM Transactions on Graphic

The effect of 3D realism and meaning making: A conceptual model

Field studies show that computer graphics, as in this case the 3D model of a heritage building, are only iconic representations rich perceived differently by individuals. Still, there is lack of evidence on how realistic 3D in contributes to the meaning making process.This article discusses on the proposed conceptual model for 3D realism towards meaning-making.It elaborates on principles of realism and 3D realism, meaning-making theories and processes and related works in the area.Based on four elements of 3D realism, it attempts to identify possible relationship with meaning making.The research methodology is outlined to achieve the intended research outcomes.The findings of this study would contribute to understanding of the ability to learning via 3D content

Automated pebble mosaic stylization of images

Digital mosaics have usually used regular tiles, simulating the historical "tessellated" mosaics. In this paper, we present a method for synthesizing pebble mosaics, a historical mosaic style in which the tiles are rounded pebbles. We address both the tiling problem, where pebbles are distributed over the image plane so as to approximate the input image content, and the problem of geometry, creating a smooth rounded shape for each pebble. We adapt SLIC, simple linear iterative clustering, to obtain elongated tiles conforming to image content, and smooth the resulting irregular shapes into shapes resembling pebble cross-sections. Then, we create an interior and exterior contour for each pebble and solve a Laplace equation over the region between them to obtain height-field geometry. The resulting pebble set approximates the input image while presenting full geometry that can be rendered and textured for a highly detailed representation of a pebble mosaic

Virtual historical landscapes

Using 3D computer graphics technology, we are able to create virtual reconstructions of (almost completely) disappeared landscapes. The applications of these virtual historic landscapes range from landscape archaeology, edutainment to landscape planning. Although computer graphics technology matured and photo-realistic representations are achieved, the creation of realistic virtual reconstructions remains problematic. For a realistic user experience, we need to know which cues influence the user perception. However, poor-defined visualization requirements for 3D virtual historic landscapes leave us with the question ‘How good is good enough?’ This article discusses the search for a decisive variable to let users perceive the virtual historic landscape, focusing on image quality and contents of the virtual historic landscape. The virtual reconstruction of Palace Honselaarsdijck, a 17th century real-estate of stadtholder Frederick Henry (1584-1647), and its surrounding landscape is used as a case study. Using old maps, image processing and GIS software the historic terrain model was generated. By application of a 3D historic object library, the virtual landscape was decorated with wind mills, houses, churches and so forth. Finally, the virtual historic landscape was completed with atmospheres, water and vegetation. The result is a full-decorated and rendered virtual historic landscape. From a preliminary user test, the researchers learned that the contents of the virtual historic landscape are more important than the image quality. Future work will focus on what the identifying landscape features for a realistic user experience are, and how to communicate uncertainty inside the virtual landscape. The expectation is  that the work contributes to the realization of virtual historic landscape on a large-scale to communicate landscape information to the broad public

Visual Aesthetics in Digital Games: A Comparative Analysis Between Photorealism and Stylized Graphicsgraphics

This dissertation starts from the assumption that every digital game has some kind of visual display. Based on that, it investigates photorealistic and stylized graphics, two popular visual styles in digital games, in order to comprehend the process of creating a prototype that incorporates those styles, as well as the technological artistic challenges of implementing each style in a solo development scenario, with the goal of assisting in the practice of designing this type of content. A literature review on digital game appearance and the development of both photorealistic and stylized styles was conducted to ground the development of a prototype. The result of the prototype creation is documented, so its findings can lead to the expansion of knowledge that can be used in practice and can inform practitioners and other designers

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

ART SPACE: AN EXPERIMENTAL DIGITAL ART GAME

The article examines the discourse concerning modern game theory and suggests a new method of research and knowledge transfer in the field of digital art game creation. The method is embodied in the new game Art Space that utilizes current research results in the field of contemporary aesthetics. Art Space is an experimental digital game that is being created in collaboration between researcher, Dr.art. Ieva Gintere (Vidzeme University of Applied Sciences, Latvia) and the game artist, Mag.art. Kristaps Biters (Liepāja University, Latvia) within the framework of a post-doctoral project. The concept of this new art game arises from the historical heritage of modern art. The aim of the game is knowledge transfer: the author has been carrying out research into contemporary digital games in order to transfer the results of the research to develop an appreciation and understanding of aesthetics in Art Game’s players. The game links aesthetics to art games by identifying modern trends such as pixel art, glitch, noise, and others. Due to the dearth of written information on the subject of modern art heritage in digital games, the study presents an innovative approach to art gaming explaining modern art’s cultural backgrounds. The methods used are audio-visual and stylistic analyses of games as well as studies of the existing literature. The project hopes to raise the interest of the wider public concerning contemporary art and music, point out the newest creative tendencies in art, and suggest potential changes in the language of art in the near future. This paper continues previously published research that helped to create the concept and design of Art Space, and focuses on the trends of photorealism and futurism.

Visualisation, VISC and scientific insight

CISRG discussion paper ;

THE REALISM OF ALGORITHMIC HUMAN FIGURES A Study of Selected Examples 1964 to 2001

It is more than forty years since the first wireframe images of the Boeing Man revealed a stylized hu-man pilot in a simulated pilot's cabin. Since then, it has almost become standard to include scenes in Hollywood movies which incorporate virtual human actors. A trait particularly recognizable in the games industry world-wide is the eagerness to render athletic muscular young men, and young women with hour-glass body-shapes, to traverse dangerous cyberworlds as invincible heroic figures. Tremendous efforts in algorithmic modeling, animation and rendering are spent to produce a realistic and believable appearance of these algorithmic humans. This thesis develops two main strands of research by the interpreting a selection of examples. Firstly, in the computer graphics context, over the forty years, it documents the development of the creation of the naturalistic appearance of images (usually called photorealism ). In particular, it de-scribes and reviews the impact of key algorithms in the course of the journey of the algorithmic human figures towards realism . Secondly, taking a historical perspective, this work provides an analysis of computer graphics in relation to the concept of realism. A comparison of realistic images of human figures throughout history with their algorithmically-generated counterparts allows us to see that computer graphics has both learned from previous and contemporary art movements such as photorealism but also taken out-of-context elements, symbols and properties from these art movements with a questionable naivety. Therefore, this work also offers a critique of the justification of the use of their typical conceptualization in computer graphics. Although the astounding technical achievements in the field of algorithmically-generated human figures are paralleled by an equally astounding disregard for the history of visual culture, from the beginning 1964 till the breakthrough 2001, in the period of the digital information processing machine, a new approach has emerged to meet the apparently incessant desire of humans to create artificial counterparts of themselves. Conversely, the theories of traditional realism have to be extended to include new problems that those active algorithmic human figures present