CompAesth 08: Workshop on Computational Aesthetics

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https://diglib.eg.org/handle/10.2312/319

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Pictorial Analysis of Line-drawings
(The Eurographics Association, 2008) Hurtut, Thomas; Gousseau, Yann; Cheriet, Farida; Schmitt, Francis; Douglas W. Cunningham and Victoria Interrante and Paul Brown and Jon McCormack
We present in this paper an approach to the analysis of the pictorial content of artistic line-drawings. The pictorial content is the combination of the stylistic content and of the visual features of the represented subject. This paper focuses on the pictorial content hold by line strokes in line-drawings. To this aim, we propose a parameterfree method to detect the hierarchical set of stroke contours. This structure allows to estimate the radius of the drawing tool that has been used. This information then efficiently tunes several methods to extract strokes curvature information, endpoints, stroke junctions and corners. The efficiency of the proposed methods is illustrated with several experiments.
Improving Scans of Black and White photographs by Recovering the Print Maker's Artistic Intent
(The Eurographics Association, 2008) German, Daniel M.; Douglas W. Cunningham and Victoria Interrante and Paul Brown and Jon McCormack
In this paper we propose a method that reverse engineers the aesthetic decisions made by a print maker to produce a print from a negative, namely cropping, contrast selection, and dodging-and-burning. It then re-applies this process to the electronic negative in order to achieve an electronic version of such print with better tonal range and detail than one produced by scanning the print. We then extend this method to restore a print by combining scans of different versions of the same image.
Inadvertent - Ars Accidentalis
(The Eurographics Association, 2008) Germen, Murat; Douglas W. Cunningham and Victoria Interrante and Paul Brown and Jon McCormack
Even though art is the product of an intentional act of fabrication, the serendipitous spill of an ink or paint, the unforeseen slip of a pen or brush, sudden shake of a camera in the analog realm have the potential of generating an unconscious lead in the planned course of action. The consequential shift in direction may completely change the aesthetics and content of an artwork. An artist should always be open to such 'accidental' dimension which will help him / her to take the original idea out of its initial framework and recontextualize it for a new conception. The outcomes of software "failures" in digital technology made a similar type of aesthetics emerge: Glitch aesthetics. The "dirty" and sometimes "chaotic" nature of glitches made things look much more organic and human, as opposed to mechanically computerized. This unrefined aesthetics has recently become so popular among designers that some of them have made specific websites as tributes to the process. Despite the fact that the accidental dimension in art looks more compatible with analog practices, there are various instances it finds its niche in the digital world as well. Mystifying benefits like freedom from preconceptions, momentary skepticism about planned course of action, avoiding mechanical thinking / prejudices, reaching a more natural / authentic result, discovering unusual and unique aesthetical domains, etc. will always make 'ars accidentalis' an indispensable part of art practice.
Perceptual and Computational Categories in Art
(The Eurographics Association, 2008) Wallraven, Christian; Cunningham, Douglas W.; Fleming, Roland; Douglas W. Cunningham and Victoria Interrante and Paul Brown and Jon McCormack
The categorization of art (paintings, literature) into distinct styles such as expressionism, or surrealism has had a profound influence on how art is presented, marketed, analyzed, and historicized. Here, we present results from several perceptual experiments with the goal of determining whether such categories also have a perceptual foundation. Following experimental methods from perceptual psychology on category formation, naive, non-expert participants were asked to sort printouts of artworks from different art periods into categories. Converting these data into similarity data and running a multi-dimensional scaling (MDS) analysis, we found distinct perceptual categories which did in some cases correspond to canonical art periods. Initial results from a comparison with several computational algorithms for image analysis and scene categorization are also reported.
Arty Shapes
(The Eurographics Association, 2008) Song, Yi-Zhe; Rosin, Paul L.; Hall, Peter M.; Collomosse, John; Douglas W. Cunningham and Victoria Interrante and Paul Brown and Jon McCormack
This paper shows that shape simplification is a tool useful in Non-Photorealistic rendering from photographs, because it permits a level of abstraction otherwise unreachable. A variety of simple shapes (e.g. circles, triangles, squares, superellipses and so on) are optimally fitted to each region within a segmented photograph. The system automatically chooses the shape that best represents the region; the choice is made via a supervised classifier so the 'best shape' depends on the subjectivity of a user. The whole process is fully automatic, aside from the setting of two user variables to control the number of regions in a pair of segmentations - and even these can be left fixed for many images. A gallery of results shows how this work reaches towards the art of later Matisse, of Kandinsky, and other artists who favored shape simplification in their paintings.
Seamless Integration of Labels into Interactive Virtual 3D Environments Using Parameterized Hulls
(The Eurographics Association, 2008) Maass, Stefan; Döllner, Jürgen; Douglas W. Cunningham and Victoria Interrante and Paul Brown and Jon McCormack
This paper presents an approach for the automated, dynamic placement of labels attached to objects of 3D scenes. These labels are seamlessly integrated into the 3D scene by textured polygons aligned to parameterized hulls, which generalize an object's geometry. This way, the labels follow the principle shape of the annotated objects, emphasize the label-object relationship, reduce ambiguities of interpretation, and achieve visual concise and aesthetic results. The algorithm first sets up candidate positions across the hull. Cascaded filtering and presorting steps reject early improper placement candidates and order the remaining ones according to their quality. Then, they are iteratively tested to find positions that allow for a visible and legible label placement. If more than one position exists, the selection is controlled by a layout strategy, for which we present efficient evaluation techniques and discuss the impact on the aesthetic appearance. As proof of concept, we have implemented a 3D viewer that annotates building models of 3D city models. Compared to view plane-based labeling approaches, our approach achieves a strong visual relation between label and annotated object, treats labels as first-class objects of virtual 3D environments, and offers a high degree of customization and stylization.
Fast Visualisation and Interactive Design of Deterministic Fractals
(The Eurographics Association, 2008) Banisch, Sven; Sbert, Mateu; Douglas W. Cunningham and Victoria Interrante and Paul Brown and Jon McCormack
This paper describes an interactive software tool for the visualisation and the design of artistic fractal images. The software (called AttractOrAnalyst) implements a fast algorithm for the visualisation of basins of attraction of iterated function systems, many of which show fractal properties. It also presents an intuitive technique for fractal shape exploration. Interactive visualisation of fractals allows that parameter changes can be applied at run time. This enables real-time fractal animation. Moreover, an extended analysis of the discrete dynamical systems used to generate the fractal is possible. For a fast exploration of different fractal shapes, a procedure for the automatic generation of bifurcation sets, the generalizations of the Mandelbrot set, is implemented. This technique helps greatly in the design of fractal images. A number of application examples proves the usefulness of the approach, and the paper shows that, put into an interactive context, new applications of these fascinating objects become possible. The images presented show that the developed tool can be very useful for artistic work.
Expressive Trajectories
(The Eurographics Association, 2008) Velho, Luiz; Martins, Julio; Bodanzky, Alice; Paterman, Ilana; Cordeiro, Analivia; Douglas W. Cunningham and Victoria Interrante and Paul Brown and Jon McCormack
This paper presents Expressive Trajectories, a project for Interactive Digital Art and Contemporary Dance. The project has two main components: X-Motion, a real-time interactive system for live performances; and Choreographisms, an interface abstraction for graphical interpretation of motion-paths. This framework is demonstrated through an experiment that includes a choreography of the artist-collaborator for the piece Unsquare Dance.
Mimicking Hand-Drawn Pencil Lines
(The Eurographics Association, 2008) Meraj, Zainab; Wyvill, Brian; Isenberg, Tobias; Gooch, Amy A.; Guy, Richard; Douglas W. Cunningham and Victoria Interrante and Paul Brown and Jon McCormack
In applications such as architecture, early design sketches often mislead the target audience [SSRL96]. Approximate human-drawn sketches are typically accepted as a better way of demonstrating fundamental design concepts. To this end we have designed an algorithm that creates lines that perceptually resemble human-drawn lines. Our algorithm works directly with input point data and physically based mathematical model of human arm movement. Further, the algorithm does not rely on a database of human drawn lines, nor does it require any input other than the end points of the lines to generate a line of arbitrary length. The algorithm will generate any number of aesthetically pleasing and natural looking lines, where each one is unique. The algorithm was designed by conducting various user studies on human line sketches, and analyzing the lines to produce basic heuristics. We found that an observational analysis of human lines made a bigger impact on the algorithm than a statistical analysis. A further study has shown that the algorithm produces lines that are perceptually indistinguishable from straight hand-drawn pencil lines.
Art Catalogue
(The Eurographics Association, 2008) different authors; Douglas W. Cunningham and Victoria Interrante and Paul Brown and Jon McCormack
Computational Aesthetics '08: Arts Programme
Applications of High Precision Imaging Polarimetry
(The Eurographics Association, 2008) Neumann, Laszlo; Hegedus, Ramon; Horváth, Gábor; Garcia, Rafael; Douglas W. Cunningham and Victoria Interrante and Paul Brown and Jon McCormack
We propose the use of imaging polarimetry for general photography, which is a relatively young technique allowing the determination of polarized components of the light coming from extended objects or scenes. In this paper high resolution and accurate methods are introduced to determine the two linearly polarized components (Q;U) of light. The CIE Luv color space is used in this work to visualize the triplet of (I;Q;U) polarization image components. The structure of this color space is also highly appropriate to represent other attributes of linearly polarized light, such as the polarized intensity, degree and the angle of polarization. The accurately measured polarization components can also be efficiently used for image enhancement. In this direction, a new, polarization-based de-reflection method is proposed. This method is an optimal pixel-wise extension of the widely used photographical polarization filtering. Our method is also capable of amplifying the specular effects. Another application is de-hazing, which removes the linearly polarized component of the haze present in natural scenes, and results in a sharp and color-corrected image. Furthermore, the different combinations of visible and infrared polarization channels enable great possibilities in further de-hazing and to create artistic images.
Watercolor Illustrations of CAD Data
(The Eurographics Association, 2008) Luft, Thomas; Kobs, Frank; Zinser, Walter; Deussen, Oliver; Douglas W. Cunningham and Victoria Interrante and Paul Brown and Jon McCormack
In this paper we describe a project that integrates a non-photorealistic rendering pipeline into an existing CAD system. The pipeline enables the customers of the CAD company to create aesthetically appealing renderings in addition to the classical CAD output. Since these customers are operating in the high-quality segment of furniture and interior design, the visual style of the sales brochure is highly important. We concentrate on watercolor drawings, since they are a traditional medium to present artistic interpretations of architectural and CAD data. To create a convincing and aesthetic reproduction of this style, we propose two techniques: First, we introduce a tone-based lighting to separate the traditional shading of a rendering into tone and intensity, which supports traditional color palettes for watercolor paintings, and second, we exploit ambient occlusion information to render traditional stylistic means such as abstraction and indication.
Composition in Perspectives
(The Eurographics Association, 2008) Fourquet, Elodie; Douglas W. Cunningham and Victoria Interrante and Paul Brown and Jon McCormack
Composition is a key element of image aesthetics. However composition is hard to control when working in three dimensions to create a two dimensional image. A framework that derives perspective from a planar pattern is proposed and implemented. The third dimension is elevated from a tiled floor into a planar square pattern. Key points on the image allow users to modify the spatial geometry of the scene. Thus, this paper presents a new view on perspective, where there is no concrete third dimension, but where the third dimension is inferred from lines and points in the image plane from which apparent depth relationships of the scene are constructed. In describing the framework, the computational relation between elements such as vanishing point, distance points and floor lines inside the geometric grid, are exposed to demonstrate the characteristics of building a realistic, yet, composed, image based on the practices of Renaissance painters.
Informational Dialogue with Van Gogh's Paintings
(The Eurographics Association, 2008) Rigau, Jaume; Feixas, Miquel; Sbert, Mateu; Douglas W. Cunningham and Victoria Interrante and Paul Brown and Jon McCormack
From the pioneering work by Birkhoff, several measures have been proposed to quantify the aesthetic content of art. After Bense's application of information theory to Birkhoff's ideas, the concept of informational aesthetics appears. In this paper, we analyze a selection of van Gogh's paintings using a set of informational aesthetic measures based on the entropy of the palette, the compressibility of the image, and an information channel to capture the basic structure of the painting. The values of these measures match fairly well against the different styles in van Gogh's work and allow a quantitative description of these periods. In addition, we present two new measures which quantify the information associated with both color and canvas regions and enable us to visualize the most salient colors and elements of a painting.We believe that informational aesthetic measures can contribute to discovering relevant characteristics of a painting or of a painter's style.
Modeling and Synthesis of Aperture Effects in Cameras
(The Eurographics Association, 2008) Lanman, Douglas; Raskar, Ramesh; Taubin, Gabriel; Douglas W. Cunningham and Victoria Interrante and Paul Brown and Jon McCormack
In this paper we describe the capture, analysis, and synthesis of optical vignetting in conventional cameras. We analyze the spatially-varying point spread function (PSF) to accurately model the vignetting for any given focus or aperture setting. In contrast to existing "flat-field" calibration procedures, we propose a simple calibration pattern consisting of a two-dimensional array of point light sources - allowing simultaneous estimation of vignetting correction tables and spatially-varying blur kernels. We demonstrate the accuracy of our model by deblurring images with focus and aperture settings not sampled during calibration. We also introduce the Bokeh Brush: a novel, post-capture method for full-resolution control of the shape of out-of-focus points. This effect is achieved by collecting a small set of images with varying basis aperture shapes. We demonstrate the effectiveness of this approach for a variety of scenes and aperture sets.
The Aesthetics of the Underworld
(The Eurographics Association, 2008) Boukhelifa, Nadia; Duke, David J.; Douglas W. Cunningham and Victoria Interrante and Paul Brown and Jon McCormack
Although the development of computational aesthetics has largely concentrated on 3D geometry and illustrative rendering, aesthetics are equally an important principle underlying 2D graphics and information visualization. A canonical example is Beck's design of the London underground map, which not only produced an informative and practical artefact, but also established a design aesthetic that has been widely adopted in other applications. This paper contributes a novel hybrid view to the debate on aesthetics. It arises from a practical industrial problem, that of mapping the vast network of underground assets, and producing outputs that can be readily comprehended by a range of users, from back-office planning staff through to on-site excavation teams. This work describes the link between asset drawing aesthetics and tasks, and discusses methods developed to support the presentation of integrated asset data. It distinguishes a holistic approach to visual complexity, taking clutter as one component of aesthetics, from the graph-theoretic reductionist model needed to measure and remove clutter. We argue that ?de-cluttering' does not mean loss of information, but rather repackaging details to make them more accessible. In this respect, aesthetics have a fundamental role in implementing Schneiderman's mantra of 'overview, zoom & filter, details-on-demand' for information visualization.
Regularity and Randomness in Bridget Riley's Aarly Op Art
(The Eurographics Association, 2008) Dodgson, Neil A.; Douglas W. Cunningham and Victoria Interrante and Paul Brown and Jon McCormack
I investigate the trade-off between regularity and randomness in Bridget Riley's early Op art, focusing on White Discs 2 (1964) and Fragment 6/9 (1965). I build on this to investigate the trade-off more generally. I analyse these two works and undertake three experimental investigations based on my observations. I first consider different types of randomness and the effect they have on the generated artwork. I then look at whether the introduction of randomness can be left to the computer or needs the artist's direction. For best æsthetic effect, there is some evidence that the choices made are not truly random. Finally, I consider how much randomness needs to be added to a regular pattern in order to produce a work that balances regularity and randomness in an aesthetically pleasing way. There is evidence that around two-thirds of the pattern needs to be retained.
Animating Persian Floral Patterns
(The Eurographics Association, 2008) Etemad, Katayoon; Samavati, Faramarz F.; Prusinkiewicz, Przemyslaw; Douglas W. Cunningham and Victoria Interrante and Paul Brown and Jon McCormack
In this paper we describe Persian floral patterns and explore techniques for animating them. We present several approaches for this dynamic recreation: visualizing pattern symmetries, illustrating their design process, and simulating plant growth. For creating a pleasant illusion of a never-ending movie, we also explore an infinitely cycling effect for self-similar patterns. The construction of animating patterns is started by interactive modeling of plant elements using NURBS. We then use procedural techniques to control the animation.

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