CompAesth 12: Workshop on Computational Aesthetics

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https://diglib.eg.org/handle/10.2312/315

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Accurate and Discernible Photocollages
(The Eurographics Association, 2012) Miller, Jordan; Mould, David; Douglas Cunningham and Donald House
We propose a system for arranging images from a database into a collage that resembles some target image. These collages exploit large scale visual correspondences between the target image and the images in the database. We ensure that images of multiple sizes are used and are combined so that boundaries between images are not immediately apparently; as a result, the final collage consists of irregularly shaped image sections. The final collages contain a dynamic mixture of textures, images, and shapes that is in contrast to the geometric and regular character of many photomosaic techniques. In service of these tasks, we propose a fast scale-based method for querying an image library, a novel method for composing multiple images using geodesic distance Voronoi tesselations, and a novel base/detail method for shifting the colors of the final collage so that the target image is more accurately represented.
Duotone Surfaces
(The Eurographics Association, 2012) Garigipati, Pradeep; Akleman, Ergun; Douglas Cunningham and Donald House
In this paper, we present a method to divide any given surface into two regions with two properties: (1) they are visually interlocked since the boundary curve covers the whole surface by meandering over it and (2) the areas of these two regions are approximately the same. We obtain the duotone surfaces by coloring these regions with two different colors. We show that it is always possible to obtain two such regions for any given mesh surface. Our approach is based on a useful property of vertex insertion schemes such as Catmull-Clark subdivision: If such a vertex insertion scheme is applied to a mesh, the vertices of resulting quadrilateral mesh are always two colorable. Using this property, we can always classify vertices of meshes that are obtained by a vertex insertion scheme into two groups. We show that it is always possible to create a single curve that covers the whole surface such that all vertices in the first group are on one side of the curve while the other group of vertices are on the other side of the same curve. This single curve serves as a boundary that defines two regions in the surface. If the initial distribution of the vertices on the surface is uniform, the areas of the two regions are approximately the same. We have implemented this approach by appropriately mapping textures on each quadrilateral. The resulting textured surfaces look aesthetically pleasing since they closely resemble planar TSP (traveling salesmen problem) art and Truchet-like curves.
Sketches by Paul the Robot
(The Eurographics Association, 2012) Tresset, Patrick A.; Leymarie, F. Fol; Douglas Cunningham and Donald House
In this paper we describe Paul, a robotic installation that produces observational sketches of people. The sketches produced have been considered of interest by fine art professionals in recent art fairs and exhibitions, as well as by the public at large. We identify factors that may account for the perceived qualities of the produced sketches. A technical overview of the system is also presented.
Surface Covering Curves
(The Eurographics Association, 2012) Xing, Q.; Akleman, Ergun; Taubin, Gabriel; Chen, J.; Douglas Cunningham and Donald House
In this work, we present the concept of surface covering curves that can be used to construct wire sculptures or surface textures. We show that any mesh surface can be converted to a single closed 3D curve that follows the shape of the mesh surface. We have developed two methods to construct corresponding 3D ribbons and yarns from the mesh structure and the connectivity of the curve. The first method constructs equal thickness ribbons (or equal diameter yarns). The second method creates ribbons with changing thickness (or yarns with changing diameter) that can densely cover the mesh surface. Since each iteration of any subdivision scheme results in a denser mesh, the procedure outlined above can be used to obtain a denser and denser curve. These curves can densely cover a mesh surface in limit. Therefore, this approach along with a subdivision scheme provides visual results that are similar to space filling curves that are created by fractal algorithms. Unlike space filling curves which fills a square or a cube, our curves cover a surface, and henceforth, we called them "surface covering curves". Space covering curves also resemble TSP (traveling salesmen problem) art and Truchet-like curves that are embedded on surfaces.
SAMBA: Steadied Choreographies
(The Eurographics Association, 2012) Rossignac, Jarek; Luffel, Mark; Vinacua, Alvar; Douglas Cunningham and Donald House
Given the start positions of a group of dancers, a choreographer specifies their end positions and says: ''Run!'' Each dancer has the choice of his/her motion. These choices influence the perceived beauty (or grace) of the overall choreography. We report experiments with an automatic approach, SAMBA, that computes a pleasing choreography. Rossignac and Vinacua focused on affine motions, which, in the plane, correspond to choreographies for three independent dancers. They proposed the inverse of the Average Relative Acceleration (ARA) as a measure of grace and their Steady Affine Morph (SAM) as the most graceful interpolating motion. Here, we extend their approach to larger groups. We start with a discretized (uniformly time-sampled) choreography, where each dancer moves with constant speed. Each SAMBA iteration steadies the choreography by tweaking the positions of dancers at all intermediate frames towards corresponding predicted positions. The prediction for the position of dancer at a given frame is computed by using a novel combination of a distance weighted, least-squares registration between a previous and a subsequent frame and of a modified SAM interpolation. SAMBA is fully automatic, converges in a fraction of a second, and produces pleasing and interesting motions.
A Technique for Art Direction of Physically Based Fire Simulation
(The Eurographics Association, 2012) Bangalore, Ashwin; House, Donald H.; Douglas Cunningham and Donald House
This paper presents a new approach to the art direction of individual flames in a physically based fire simulation. Fire, due to its warm colors and constant movement, often becomes the main attraction to the viewer's eye in a scene. Therefore, being able to control a fire simulation to obtain a desired look or shape is crucial if simulation is to be used to create a fire effect. Our technique provides control over this chaotic natural phenomenon at a fine level, enabling the artist to add character to flames and create highly stylized visuals. The fire system itself is a fully physics-based two-gas system, where flames are advected along convection currents generated by combustion. Our method provides artistic control of these convection currents, using a set of imported curves drawn by an artist. A full description of the implementation and performance of the fire system, and our control method is presented. The technique is illustrated with examples of highly stylized flame artwork rendered using our system.
Developing a System of Screen-less Animation for Experiments in Perception of Movement
(The Eurographics Association, 2012) MacGillivray, Carol; Mathez, B.; Leymarie, F. Fol; Douglas Cunningham and Donald House
Experiments that test perceptual illusions and movement perception have relied predominantly on observing participant response to screen-based phenomena. There are a number of inherent problems to this experimental method as it involves flicker, ignores depth perception and bypasses the proprioceptive system, in short it is psychophysically distinct from dynamic real life (veridical) perception. Indeed there still is much disagreement regarding perception of apparent (screen- based) motion despite the fact that we view it in a myriad of ways on an everyday basis. With the aim of furthering our understanding and evaluation of veridical movement perception, the team sought to develop a replicable technique that included embodied, multi-sensory perception but eliminated the screen. They approached this by taking time-based techniques from animation and converting them to the spatial; grouping static objects according to Gestalt principles, to create sequential visual cues that, when lit with projected light, demand selective attention. This novel technique has been called the 'diasynchronic' technique and the system; the 'Diasynchronoscope'. The name Diasynchronoscope comes from combining diachronic, (the study of a phenomenon as it changes through time) with synchronous and scope (view). In being so named, it evokes the early animation simulators such as the phenakistoscope and the zoetrope, regarded as direct ancestors of the project in acting both as art objects and experimental media. This paper documents the creation of this new, experimental medium in choreographed time and discusses its potential as a novel tool for investigating aesthetics in movement.
Integrarte: Digital Art Using Body Interaction
(The Eurographics Association, 2012) Castro, Barbara P.; Velho, L.; Kosminsky, D.; Douglas Cunningham and Donald House
This paper emphasizes the participation of the whole body in the interaction process in art, which becomes essential in the development of new insights and artistic expressions. We approach the postmodernism and the post-medium condition, having in mind the remediation process between digital and analog media to rethink the possibilities of interactive art through new technologies. We focus in the body as a living medium, to introduce the INTEGRARTE project, an installation about body experience through movement visualizations and sounds.
Feedback-guided Stroke Placement for a Painting Machine
(The Eurographics Association, 2012) Deussen, Oliver; Lindemeier, Thomas; Pirk, Sören; Tautzenberger, Mark; Douglas Cunningham and Donald House
In this paper we present and evaluate painterly rendering techniques that work within a visual feedback loop of eDavid, our painting robot. The machine aims at simulating the human painting process. Two such methods are compared for different objects. One uses a predefined set of stroke candidates, the other creates strokes directly using line integral convolution. The aesthetics of both methods are discussed, results are shown.
Random Discrete Colour Sampling
(The Eurographics Association, 2012) Lieng, Henrik; Richardt, Christian; Dodgson, Neil A.; Douglas Cunningham and Donald House
Apparently-random distributions of colours in a discrete setting have been used by many artists and craftsmen in the past century. Manual colourisation is a tedious and difficult process. Automatic colourisation, on the other hand, tends not to not look 'random' to a human, as randomly-generated clusters and patterns stimulate human perception and break the appearance of randomness. We propose an algorithm that minimises these apparent patterns, making the distribution of colours look as if they have been distributed randomly by a human. We show that our approach is superior to current solutions, especially for small numbers of colours. Our algorithm is easily extendible to non-regular patterns in any coordinate system.
Evaluating Visual Aesthetics in Photographic Portraiture
(The Eurographics Association, 2012) Khan, Shehroz S.; Vogel, Daniel; Douglas Cunningham and Donald House
We propose and demonstrate a strategy to quantify aesthetic quality in photographs. Our approach is to develop a small set of classification features by tuning general compositional principles to a targeted image domain where saliency can be better understood. We demonstrate this strategy with photographic portraits of individuals, but it can be extended to other domains. Our technique leverages a refined method of using templates as spatial composition feature look-up tables. Compared to the traditional approach using a large set of global and local features extracted with little salient knowledge, classifiers using features extracted with our approach are better predictors of human aesthetic judgments.
Exploring the Effect of Color Palette in Painterly Rendered Character Sequences
(The Eurographics Association, 2012) Seifi, Hasti; DiPaola, S.; Enns, J. T.; Douglas Cunningham and Donald House
In this paper we explore the consequences of different color palettes on the user's experience of emotion as conveyed by facial expression. Artists have used colors and painting techniques to convey emotions in their paintings for many years. Researchers have also found that colors and line properties affect users' emotions. Motivated by previous studies, we hypothesized that painterly rendering with an appropriate color palette would augment the perception of emotions in a facial character sequence. To test this hypothesis, we made sequences of an animated character undergoing four basic facial expressions, using carefully designed color palettes to render them in a painterly style. A series of user studies examined the effect of the color palettes on the perceived emotional expressiveness of the character. The results supported our hypotheses, verifying the importance of visual style and color on viewers' experience of animated facial character's emotions. Similar to how lighting and music are used, animators can use painterly rendering with suitable colors as a tool to enhance the emotional content of character sequences in games and animations.
The aMotion Toolkit: Painting with Affective Motion Textures
(The Eurographics Association, 2012) Lockyer, Matt; Bartram, Lyn; Douglas Cunningham and Donald House
Visual artists and designers frequently use carefully crafted motion textures patterns of ambient motion throughout a scene to imbue the atmosphere with affect. The design of such ambient visual cues is an elusive topic that has been studied by painters, theatre directors, scenic designers, lighting designers, filmmakers, producers, and artists for years. Recent research shows that such motion textures have the capacity to be both perceptually efficient and powerfully evocative, but adding them to scenes requires careful manipulation by hand : no tools currently exist to facilitate this integration. In this paper we describe the design and development of the aMotion toolkit: a palette of composable motion brushes for image and video based on our affective motion research. We discuss insights from an on-going qualitative study with professional visual effects de-signers into how such capabilities can enhance their current practice.
Determining an Aesthetic Inscribed Curve
(The Eurographics Association, 2012) Wyvill, Brian; Kry, P. G.; Seidel, R.; Mould, D.; Douglas Cunningham and Donald House
In this work we propose both implicit and parametric curves to represent aesthetic curves inscribed within Voronoi cells in R2. A user survey was conducted to determine, which class of curves are generally accepted as the more aesthetic. We present the curves, the survey results, and the implications for future work on simulating sponge like volumes.

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