Generating Op Art lines

Inglis, Tiffany C.; Kaplan, Craig S.

doi:10.1145/2030441.2030446

Cited by 5 publications

(5 citation statements)

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“…This work in inspired by earlier works by Inglis and Kaplan [Inglis and Kaplan 2011;Inglis et al 2012], who described a simple (but non-modular) algorithm for producing line based Op Art like the one in Figure 2(d), taking an arbitrary 2-colour drawing as input. Their algorithm instructs to rasterize the input map onto a square grid, fill its region interiors with lines, then draw alternate boundary edges.…”

Section: Related Workmentioning

confidence: 99%

“…We should also describe the orientation of lines; but this information is not redundant at all: each direction of lines represents a specific color of the rendered image; which is an advantage of Op Art rendering compared to simple sketching of edges. Moving on to edges, this Op Art rendering relies on sharp corners to convey edge information: Corners align on a horizontal edge to induce an "illusory contour" which is interpreted as a line [Inglis and Kaplan 2011].…”

Section: Some Considerations In Tile-based Renderingmentioning

confidence: 99%

“…When we look at the roof, however, we find that instead of a stack of corners we see rows of Ushaped line bends. Op Artist Reginald Neal used stacks of corners to convey edge information in his work "Square of Two", which was the original inspiration of Inglis and Kaplan's research [Inglis and Kaplan 2011], so we take a stack of corners as the primary edge message of Op Art rendering. Rows of U-shaped line bends, then, represent a secondary, perhaps undesirable, edge message.…”

Section: Some Considerations In Tile-based Renderingmentioning

confidence: 99%

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Line-based rendering with truchet-like tiles

Ahmed¹

2014

Proceedings of the Workshop on Computational Aesthetics

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We explore the use of Truchet-like tiles (tiles with half area shaded) for single-tone (monochrome) line-based rendering of maps. We borrow concepts from information theory to develop some qualitative and quantitative measures, and use them to discuss four rendering styles which use Truchet-like tiles. We first present a style based on the original Truchet tiles, then we review the tile-based approach used by Inglis and Kaplan for Op Art rendering of 2-color maps, and extend the concept to 3-and 4-color input maps. We present two more concepts capable of rendering maps with up to 6 colors. We highlight some relationships between the four rendering styles, and utilize these relationships to generate Op Art/labyrinth renderings from input maps of up to 6 colors.

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Section: Related Workmentioning

confidence: 99%

Section: Some Considerations In Tile-based Renderingmentioning

confidence: 99%

Section: Some Considerations In Tile-based Renderingmentioning

confidence: 99%

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Line-based rendering with truchet-like tiles

Ahmed¹

2014

Proceedings of the Workshop on Computational Aesthetics

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“…Images generated in NPR can be generated for different purposes, including for artistic or aesthetic purposes, or to enhance comprehensibility and clarity [13]. NPR covers many different output styles, e.g., water colour [7,49], painterly (simulating paintings) [17,35], mosaic [20,26], technical or architectural illustrations [54], and line hatching [28,46]. Kyprianidis et al [30] survey the field of NPR and categorize the various techniques and styles.…”

Section: Non-photorealistic Renderingmentioning

confidence: 99%

“…Inglis and Kaplan [28] generate Optical Art (Op Art) line drawings where changes in line orientation are used to indicate the feature boundaries. Although this form of Op Art is not strictly considered line hatching, we include it here because it has some relevant characteristics, namely that feature boundaries are denoted through Salisbury et al [47] develop an interactive system where users guide the system in generating a pen-and-ink illustrations.…”

Section: Line Hatchingmentioning

confidence: 99%

A Novel Line Hatching Style through Conformal Mapping

Chao¹

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Pen-and-ink line hatching is a non-photorealistic rendering (NPR) image style typically characterized by monochrome, locally near-parallel lines. Our motivation was to generate line hatching images inspired by the Grendel image by Emil Antonucci. Antonucci's images are composed of many cells containing relatively short near-parallel lines. We develop an automatic NPR system that converts a photo into an output image portraying a novel line hatching style. One key characteristic of our approach is its use of conformal mapping to reshape segmented regions into a standardized shape. After drawing the lines on the standardized shape, we then transfer the lines back to the segment region. The transformation automatically distorts the lines to follow the segment region contours. Our process generates line hatching images that have short near-parallel lines, lines that change direction to represent feature boundaries, line density and line width variations to represent tone intensity, edge lines, and line perturbations.I would like to acknowledge my supervisor Professor David Mould. He has been my sounding board, my devil's advocate, and most of all my teacher. Without his direction and inspiration, this thesis would not have been possible. Any problems I encountered, he was my sounding board: What is the problem? What are potential solutions? Who has solved this problem before? His wealth of knowledge consistently got me unstuck. From his experience he exposed me to weird approaches and processes. Without him, I would not know about Barycentric coordinates, Conformal mapping, nor realize there is a difference between classical dithering and ordered dithering. Finally he always pushed for 100 percent in everything we did. I cannot say that I ever achieved this goal, however, I did learn a lot about graphics and myself in the pursuit.Many times I would feel lost or hit a wall. Sometimes I became extremely frustrated, failing to see the light at the end of the tunnel. In these situations Professor Sonia Chiasson, my wife, was there to drag me out of these ruts, to show me that there was an end to this journey, and that it was not as far as I thought. Without all her support, the thesis would not have been completed.Thank you to the defense committee members: Professor Anil Somayaji, Professor Robert Laganiere, and Professor Lianying Zhao. I thank you for spending your precious time reading through my thesis and for providing feedback. Each of you brought a unique perspective and your contributions improved the end result.

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