Op Art rendering with lines and curves

Inglis, Tiffany C.; Inglis, Stephen; Kaplan, Craig S.

doi:10.1016/j.cag.2012.03.003

Cited by 18 publications

(8 citation statements)

References 7 publications

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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: 87%

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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: 87%

“…We have seen that by using a modular approach it is possible to generate artifact-free Op Art renderings from arbitrary 3-and 4-color input maps; which was previously deemed impossible [Inglis et al 2012]. The question we ask is: is it true Op Art; compared to, say, Reginald Neal's "Square of Two"?…”

Section: Overall Messagementioning

confidence: 99%

Line-based rendering with truchet-like tiles

Ahmed¹

2014

Proceedings of the Workshop on Computational Aesthetics

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“…Stencil generation techniques are used in the artistic domain as well as in fields such as cartoon rendering , half‐tone rendering , and optical arts , which generate non‐realistic scenes.…”

Section: Related Workmentioning

confidence: 99%

Stencil‐based 3D facial relief creation from RGBD images for 3D printing

2020

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Three‐dimensional (3D) selfie services, one of the major 3D printing services, print 3D models of an individual's face via scanning. However, most of these services require expensive full‐color supporting 3D printers. The high cost of such printers poses a challenge in launching a variety of 3D printing application services. This paper presents a stencil‐based 3D facial relief creation method employing a low‐cost RGBD sensor and a 3D printer. Stencil‐based 3D facial relief is an artwork in which some parts are holes, similar to that in a stencil, and other parts stand out, as in a relief. The proposed method creates a new type of relief by combining the existing stencil techniques and relief techniques. As a result, the 3D printed product resembles a two‐colored object rather than a one‐colored object even when a monochrome 3D printer is used. Unlike existing personalization‐based 3D printing services, the proposed method enables the printing and delivery of products to customers in a short period of time. Experimental results reveal that, compared to existing 3D selfie products printed by monochrome 3D printers, our products have a higher degree of similarity and are more profitable.

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“…In the extreme case, a number use only two tones (generally black and white) [Mould and Grant 2008;Xu and Kaplan 2008;Inglis et al 2012], while others allow a larger palette, including colour [Kyprianidis et al 2009;Song et al 2008;Rosin and Lai 2013]. More details are given in a recent review ].…”

Section: Related Workmentioning

confidence: 99%

Non-photorealistic rendering with spot colour

Rosin

Lai

2013

Proceedings of the Symposium on Computational Aesthetics

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Figure 1: Spot colour in various non-photorealistic rendering styles. (a) original image (b) 3 tone rendering with spot colour (c) PhotoShop Graphic Pen rendering with spot colour (d) PhotoShop Conté Crayon rendering with spot colour (e) dithering with polygons AbstractColour is an important aspect of art. Not only does it give richness to images, but it always provides a means to highlight certain objects. This idea of spot colour has been used extensively in both fine art and commercial illustrations. Many non-photorealistic rendering (NPR) algorithms produce grayscale or monochromatic images with low saturations. In this paper we introduce the idea of spot colour to NPR and propose a simple and automatic algorithm to add spot colour to these rendering styles. The hue is thresholded into colour layers and the most appropriate layer is automatically determined based on factors such as layer region shape and salience. We also consider using an edge-based criterion to colourise the background, which is an effective means of making the foreground stand out. We demonstrate the effectiveness of our approach by adding spot colour to a diverse set of NPR styles.

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Op Art rendering with lines and curves

Cited by 18 publications

References 7 publications

Line-based rendering with truchet-like tiles

Line-based rendering with truchet-like tiles

Stencil‐based 3D facial relief creation from RGBD images for 3D printing

Non-photorealistic rendering with spot colour

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