Expressive - Posters, Artworks, ...

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ACM/EG Expressive Symposium 2025 Posters and Demos: Frontmatter
(The Eurographics Association, 2025) Berio, Daniel; Bruckert, Alexandre; Berio, Daniel; Bruckert, Alexandre
The Aesthetics of Routine
(The Eurographics Association, 2016) Correia, Ana Beatriz; Machado, Penousal; Ergun Akleman, Lyn Bartram, Anıl Çamcı, Angus Forbes, Penousal Machado
People that collect data about themselves are not necessarily interested on the data, but in the resulting information and how it can be used in order to learn something about them [Yau09]. This project proposes an artistic approach to the use of data from self-tracking applications. By combining an artistic perspective with an information visualization approach, we expand the frontier of the visual translation of data from self-tracking, with the goal of enabling the users to seem themselves in the artworks using their own data.
Alchimia: an Inexplicable or Mysterious Transmutation, a Seemingly Magical Process of Transformation, Creation, or Combination
(The Eurographics Association, 2016) Veiga, P. A.; Ergun Akleman, Lyn Bartram, Anıl Çamcı, Angus Forbes, Penousal Machado
Alchimia V2 is an interactive installation that relies on a single spectator/interactor standing in front of a screen/webcam. It has been coded in Processing 3.0 and is calculation intensive, using the webcam to perform facial detection, while simultaneously processing pre-prepared images and sounds, thus creating a virtual space of constant audio-visual movement to deliberately interfere with real-time self-perception and self-recognition. Alchimia V2 questions and changes our relationship with our own representation through the (ever present) camera and screen by focusing on the spectator's face, altering the expression, gender, assigning masks, making the facial traits diffuse, mixed, funny or scary, always mysterious, in a search for another "self", oblivious of the "selfie" pose and attitude, while allowing for self discovery and playfulness - or intimidation. Through the interaction the spectator/interactor is absorbed in the transmutation process, unaware of the fact that they also have become part of a performance: unique, unrepeatable, transformed.
Artistic Inspired Data Visualization Design Process
(The Eurographics Association, 2016) Etemad, Katayoon; Samavati, Faramarz; Carpendale, Sheelagh; Ergun Akleman, Lyn Bartram, Anıl Çamcı, Angus Forbes, Penousal Machado
In this paper we describe our design process for creating artistically inspired data visualizations. We consider graphs as an example of interest for data visualization, and present several novel graph layouts developed using this design process. Through our exploration, we have become increasingly convinced that any intriguing pattern, mesmerizing ornament or exciting art piece may be a source of inspiration for new graph layouts. However creating a mapping between a graph and the selected pattern is hard and challenging, and can be helped by using a methodical and iterative design process.
Artistic Sketching for Expressive Coding
(The Eurographics Association, 2019) Fourquet, Elodie; Berio, Daniel and Cruz, Pedro and Echevarria, Jose
This experiential paper describes using computer graphics and animation to motivate students taking their first programming course. An artistic context encourages students to create expressive images and animations. Their creative work consists in first abstracting a piece of art as a paper sketch, which they then abstract into code. Assessing the artistic merit of this activity will help our research community quest to better understand aesthetic, perception and meaning of visual representations [DS10].
A Blender Add-on for 3D Concept Sketching
(The Eurographics Association, 2025) Wie, Jiayi; Bousseau, Adrien; Berio, Daniel; Bruckert, Alexandre
We present a Blender add-on that bridges the Grease Pencil drawing interface with a symmetry-driven 3D reconstruction algorithm for concept sketches. On the one hand, Blender's Grease Pencil offers users a convenient interface to draw 2D concept sketches using vector strokes, drawn freehand or using vector primitives (straight lines, Bézier curves). On the other hand, the reconstruction algorithm of Hähnlein et al. [HGSB22] can lift such 2D sketches to 3D using symmetry correspondences. While this reconstruction algorithm was originally developed to be automatic, we show how it can be adapted to allow step-by-step reconstruction of a sketch as it is drawn, and to support user corrections. Finally, we compare the reconstructions obtained with this add-on to the ones produced by a recent generative model trained to produce a 3D shape from a single image.
Bodygraphe: Gestural Computing for Visual Music
(The Eurographics Association, 2016) Garcia, E.; McGraw, T.; Ergun Akleman, Lyn Bartram, Anıl Çamcı, Angus Forbes, Penousal Machado
Bodygraphe is an interactive, visual music application that unifies gestural computing with live performance art. Through motion, dancers become instruments and conductors of a visual music experience, and wholly generate graphics and sounds that correspond with their movements. This study is our initial approach to this idea, explaining our inspiration as well as the technical aspects of new work in computational aesthetics. Through this project, we seek to make a dramatic impact in the global arts community, offering new implications for research regarding the interconnectivity between body and technology. Bodygraphe incorporates real-time motion data into a multimedia performance art experience.
Bringing Emotions into the Picture: the CambiaColore Technology for Socio-emotional Learning in Children
(The Eurographics Association, 2025) Ceccaldi, Eleonora; Ferrando, Silvia; Corbellini, Nicola; Lepri, Giacomo; Volpe, Gualtiero; Berio, Daniel; Bruckert, Alexandre
Recognizing our and other people's emotions and being able to express them are key abilities that need to be nurtured and cherished. Technologies can provide teachers and educators with tools that help them engage children in didactic activities, which can foster the development of their emotional abilities. These technologies can also help children find outlets for their emotions, for instance through drawing or expressing emotions with their bodies. This work presents CambiaColore, a novel technology for emotional expression in children. The technology is grounded in the link between drawing and emotion, which is particularly powerful in children and aims to provide teachers with a novel engaging tool for educational, socio-emotional learning activities. Moreover, the technology aims to help children better grasp the interplay between individual and group emotions. The system was co-designed with teachers and educators, who provided incredibly valuable insight regarding its usability and target users. Here, we describe the theoretical premises of our system and its set-up and game-play and present future work directions.
Building a Gold Standard for Perceptual Sketch Similarity
(The Eurographics Association, 2016) Cakmak, S.; Sezgin, T. M.; Ergun Akleman, Lyn Bartram, Anıl Çamcı, Angus Forbes, Penousal Machado
Similarity is among the most basic concepts studied in psychology. Yet, there is no unique way of assessing similarity of two objects. In the sketch recognition domain, many tasks such as classification, detection or clustering require measuring the level of similarity between sketches. In this paper, we propose a carefully designed experiment setup to construct a gold standard for measuring the similarity of sketches. Our setup is based on table scaling, and allows efficient construction of a measure of similarity for large datasets containing hundreds of sketches in reasonable time scales. We report the results of an experiment involving a total of 9 unique assessors, and 8 groups of sketches, each containing 300 drawings. The results show high interrater agreement between the assessors, which makes the constructed gold standard trustworthy.
Composition and Perception beyond Photorealism
(The Eurographics Association, 2016) Ji, Li; Wyvill, Brian; Gammon, Lynda; Gooch, Amy; Ergun Akleman, Lyn Bartram, Anıl Çamcı, Angus Forbes, Penousal Machado
Composition is an important aestheic aspect of celebrated works of art, and we examine a few common compositional techniques in the context of computer graphics rendering and perception. In computer graphics, photorealistic rendering simulates a camera, which defines an image of a scene in a single instant after the shutter is released. In contrast, a human observer looks at one part of a scene at a time and stitches a series of visual memories together to form a complete impression of the scene. This perception process is related to visual composition, in which an artist selectively articulates and suppresses details to direct the viewers' eyes. In non-photorealistic rendering research, painting is an important source of examples for stylized rendering. We discuss the importance of painting's specific presentation conditions, and how painting composition takes effect through a viewer's attentive looking. Based on these analysis, we demonstrate how to apply knowledge of composition to digital image synthesis with an interpolative material model and a staged photography art project.
The CyberAnthill: A Computational Sculpture
(The Eurographics Association, 2019) Raskob, Evan; Berio, Daniel and Cruz, Pedro and Echevarria, Jose
The CyberAnthill is both a generative sculpture and a Live Computational Sculpting (LCS) system that uses a 3D printer and custom software to build plastic sculptures out of layered cellular automata. As the title alludes to, the cellular automata are inspired by Langston's Ant and the light cycle racers in the cult 1980's science-fiction movie Tron. Instead of the normal process of printing exacting, predetermined 3D models, the 3D printer generates its plastic forms by running unpredictable computer code.
Emergence in the Expressive Machine
(The Eurographics Association, 2019) Dekker, Laura; Berio, Daniel and Cruz, Pedro and Echevarria, Jose
The ''Expressive Machine'' is a series of interactive artworks which explore a machine's-eye view of the world. The machine- an assemblage of hardware and software-provokes sensual interaction with viewer-participants, playing with transduction across multiple modes: from touch to sound, to word, to vision, to taste, to uniquely machinic states with no particular human analogue. These stimuli are processed in various interpretations, elaborations, in a relatively unstructured ''data soup''. Asynchronous processes consume data from the soup. When trigger conditions for a particular expressive process are satisfied, the machine produces externalised outputs in various forms: sound, shift of attention, fragments of narrative, and so on. What can be considered as creativity arises as an emergent property-a serendipitous by-product of the machine working through its experiences, rather than an explicit creative process. To make this conceptual exploration possible, an adaptable, extensible, decentralised system is presented: its requirements, architecture and some implementations as interactive artworks. Each new site and context gives rise to a unique instantiation of the machine, as it explores and expresses its experiences.
Evaluating Temporal Coherence using a Watercolor Renderer
(The Eurographics Association, 2025) Morgan, Ingrid Ellen Carr; Billeter, Markus; Anjyo, Ken; Anjos, Rafael Kuffner dos; Berio, Daniel; Bruckert, Alexandre
Temporal coherence is a long-standing issue within Non-Photorealistic Rendering (NPR). The problem has been defined as a trade-off between the three main factors: flatness, temporal continuity and motion coherence. Approaches that improve temporal coherence are applied across different styles within diverse animation contexts. We have implemented a watercolour renderer that supports multiple temporal coherence approaches in a unified system to investigate this trade-off. The approaches are then evaluated against existing work, with consideration of how external factors including animations and textures may influence perceived incoherence.
Expressive Rendering for 2D Animations of Liquids
(The Eurographics Association, 2025) Regla, Rodrigo Stevenson; Rohmer, Damien; Barthe, Loïc; Cani, Marie-Paule; Berio, Daniel; Bruckert, Alexandre
We describe a new rendering technique for expressive liquid surface 2D animation that can be used on top of existing particlebased simulations. We introduce a hybrid particle model that carries both water and air density distribution and can evolve through particle history. These material quantities combined with the kinematics information are then used to generate a scalar field, which can be parameterized to create an implicit iso-surface capturing stylized geometry commonly seen in paintings and cartoons. We propose, in particular, to represent behavior highlighting the dynamical aspect of the scene, such as elongated droplet behavior and curl-like shapes found in breaking waves.
Gaze-Based Biometric Authentication: Hand-Eye Coordination Patterns as a Biometric Trait
(The Eurographics Association, 2016) Çig, Çagla; Sezgin, Tevfik Metin; Ergun Akleman, Lyn Bartram, Anıl Çamcı, Angus Forbes, Penousal Machado
We propose a biometric authentication system for pointer-based systems including, but not limited to, increasingly prominent pen-based mobile devices. To unlock a mobile device equipped with our biometric authentication system, all the user needs to do is manipulate a virtual object presented on the device display. The user can select among a range of familiar manipulation tasks, namely drag, connect, maximize, minimize, and scroll. These simple tasks take around 2 seconds each and do not require any prior education or training [ÇS15]. More importantly, we have discovered that each user has a characteristic way of performing these tasks. Features that express these characteristics are hidden in the user's accompanying hand-eye coordination, gaze, and pointer behaviors. For this reason, as the user performs any selected task, we collect his/her eye gaze and pointer movement data using an eye gaze tracker and a pointer-based input device (e.g. a pen, stylus, finger, mouse, joystick etc.), respectively. Then, we extract meaningful and distinguishing features from this multimodal data to summarize the user's characteristic way of performing the selected task. Finally, we authenticate the user through three layers of security: (1) user must have performed the manipulation task correctly (e.g. by drawing the correct pattern), (2) user's hand-eye coordination and gaze behaviors while performing this task should confirm with his/her hand-eye coordination and gaze behavior model in the database, and (3) user's pointer behavior while performing this task should confirm with his/her pointer behavior model in the database.
Interactive Oil Paint Filtering On Mobile Devices
(The Eurographics Association, 2016) Semmo, Amir; Trapp, Matthias; Pasewaldt, Sebastian; Döllner, Jürgen; Ergun Akleman, Lyn Bartram, Anıl Çamcı, Angus Forbes, Penousal Machado
Image stylization enjoys a growing popularity on mobile devices to foster casual creativity. However, the implementation and provision of high-quality image filters for artistic rendering is still faced by the inherent limitations of mobile graphics hardware such as computing power and memory resources. This work presents a mobile implementation of a filter that transforms images into an oil paint look, thereby highlighting concepts and techniques on how to perform multi-stage nonlinear image filtering on mobile devices. The proposed implementation is based on OpenGL ES and the OpenGL ES shading language, and supports on-screen painting to interactively adjust the appearance in local image regions, e.g., to vary the level of abstraction, brush, and stroke direction. Evaluations of the implementation indicate interactive performance and results that are of similar aesthetic quality than its original desktop variant.
LABOR: Production of a Large-scale Painting with a Robot
(The Eurographics Association, 2025) Grayver, Liat; Berio, Daniel; Herrmann, Inge; Notz, Adrian; Berio, Daniel; Bruckert, Alexandre
Labor is a live human/robot painting installation that combines generative graphics techniques, robotic automation and traditional painting methods. It explores the role of embodied intelligence in artistic production. The resulting composition is a large-scale painting consisting of multiple individually painted tiles. The painting is based on an electron microscope image of a placenta, which is algorithmically processed into a series of parametric brushstrokes using a differentiable vector graphics pipeline. These strokes are then collaboratively painted using a 7-axis robotic arm equipped with custom paintbrushes. The project engages with the dual meaning of ''labor'': industrial production and childbirth, highlighting the often-overlooked importance of bodily knowledge in the arts but particularly in medical and technological contexts. The installation explores the balance between human intuition and algorithmic automation, emphasizing the importance of material constraints and the role of human artists in the creation a large-scale generative painting.
Mutator VR: Vortex Artwork and Science Pedagogy Adaptations
(The Eurographics Association, 2019) Putnam, Lance; Todd, Stephen; Latham, William; Williams, Duncan; Berio, Daniel and Cruz, Pedro and Echevarria, Jose
We present our virtual reality artwork Mutator VR: Vortex that immerses the viewer in procedurally-generated alien environments inhabited by interactive ''mutoid'' agents. The artwork was adapted into two science pedagogy experiences. Techniques and considerations regarding the dynamical, spatial, and graphical composition of the experiences are provided.
Perception of Drawing Reference Quality among Professional Hand-drawn Animators
(The Eurographics Association, 2025) Schwartz, Rachael; Mullery, Mark; Dingliana, John; McDonnell, Rachel; Berio, Daniel; Bruckert, Alexandre
We present a preliminary experiment, investigating professional hand-drawn animators' perception of how good one frame is as drawing reference for another. 10 professional hand-drawn animators rated the drawing reference quality of 54 hand-drawn frame pairs, each differing by character pose and region rotation, reflection, and distortion transformations. Our results indicate that animators perceive frames differing by rotation/reflection as better drawing reference than frames differing by distortion.
Relational Interactive Art: A Framework for Interaction in a Social Context
(The Eurographics Association, 2016) Cabrita, Nuno; Bernardes, Gilberto; Ergun Akleman, Lyn Bartram, Anıl Çamcı, Angus Forbes, Penousal Machado
Interactive art implies an active dialogue between the participant and the surrounding space, mediated by a computational system. Reciprocity and recursiveness are key principles to the bidirectional flux of information in this setting, guaranteeing a continuous interaction loop between the participant and the digital system. Viewing the human body as a natural interface, we focus on non-invasive tracking methods for embodiment sensing, such as infra-red depth cameras. Current limitations in participant engagement of interactive artworks in public spaces are introduced and analyzed from the perspective of group dynamics. In this paper we approach Bourriaud's concept of relational aesthetics, relate it to the inherent social context of interactive artwork exhibition, and propose a framework for the development of relational interactive artworks. Interactive art implies an active dialogue between the participant and the surrounding space, mediated by a computational system. Reciprocity and recursiveness are key principles to the bidirectional flux of information in this setting, guaranteeing a continuous interaction loop between the participant and the digital system. Viewing the human body as a natural interface, we focus on non-invasive tracking methods for embodiment sensing, such as infra-red depth cameras. Current limitations in participant engagement of interactive artworks in public spaces are introduced and analyzed from the perspective of group dynamics. In this paper we approach Bourriaud's concept of relational aesthetics and relate it to the inherent social context of interactive artwork exhibition, and propose a framework for the development of relational interactive artworks.

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