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ConceptWe consider the problem of generating face sketches with a computer system, based on the understanding of a drawing style. Our research goal is for the system to mimic the interplay between the ensemble of processes -perceptual, cognitive, motor -active when a draughtsman is sketching. One hypothesis we are exploring is that the aesthetics of a sketch is dependent on each individual step involved in the collection of processes leading to the creation of a stylised portrait, as well as in the interactions between such processes. A second hypothesis we formulate is that during a sketch session each limitation, approximation, shortcut performed by the draughtsman due to his/her physical, perceptual, or cognitive impairments or qualities are what constitute the final mood, style, aesthetic of the sketch. Interestingly, the simulation of a stylised portrait sketching session via a computational model remains approximate, and as such the computerised system might be thought to draw in its own limited style. The modelled drawing process is the most spontaneous technique Tresset uses, not the most precise, which gives the most dramatic effects. The aesthetic effect of the drawing, its mood, is due in large part to its apparent imprecision. AIKON's way of sketchingAIKON follows Tresset's way of sketching in real life: (i) identify a face pattern, (ii) find salient features and shaded areas, (iii) plan drawing gestures, (iv) render the final sketch. In our present implementation, 1 AIKON first defines areas likely to contain faces using the object detector [3] included with the openCV library. 2 Then each area is segmented to identify a face using a modified version of [1]. Each face-like area is then segmented in n different graylevels, providing n sets of regions (2 ≤ n ≤ 6). Each such region is processed via a modified medial axis (MA) method which extracts the main symmetry lines of a region to identify potential "gesture curves" [2]. Each such curve can then drive a shading technique (Fig.1). The shading density and line thickness depends on the selected segmented region sizes and associated tone values (Fig.2). Conclusion and FutureBy studying the way an artist draws, making each step explicit, as opposed to trying to directly imitate the drawing results, a computer system such as AIKON can produce aesthetically interesting results. We are now exploring with AIKON the possibility of modelling the interplay between the ensemble of processes, including feedback mechanisms, which are active when a draughtsman is sketching. The position of AIKON as an art producing entity will also be studied in the context of art and traditional drawing.
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