Figure 14 - uploaded by Victor Ostromoukhov
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Kabuki actor, by Toshusai Sharaku. Scene inspired from the Japanese Kabuki theater. The word Kabuki, shin-ka-bu-ki, is used for creating the Kanji screen dot shape (Courtesy of the British Museum).
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Artistic screening is a new image reproduction technique incorporating freely created artistic screen elements for generating halftones. Fixed predefined dot contours associated with given intensity levels determine the screen dot shape's growing behavior. Screen dot contours associated with each intensity level are obtained by interpolation betwee...
Citations
... Stippling techniques for artistic screening were proposed by Ostromoukhov et al. [42] based on the predefined dot contours and certain intensity level. Intensity level was obtained via interpolation. ...
... They were adopted for color conversion purpose to produce multi-level color halftoning. Multi-color and Artistic Dithering technique was proposed by Ostromoukhov [44] in 1999 based on multi-color dithering algorithm and it extended the previous proposed works [42,43]. ...
This survey presents a comprehensive study on non-photorealistic rendering (NPR). NPR technique renders 2D input image into abstracted and artistic stylized images. NPR mainly dwells on image processing, computer vision, and visualizing the graphics processing techniques. The survey highlights the evolution of IA–AR system and the subsequent classification of NPR techniques. The survey also has cognized the various works done on stroke-based rendering, color image analogy, region-based rendering, image filtering abstraction, and stylization. The inference drawn from the survey is the computer system using a stylus to fully automatic structure-preserving image abstraction and stylization got evolved from a traditional method of human interaction. From the survey carried out on the most significant papers from 1963 to 2017, we felt the need for setting up of benchmark guidelines, the data set with varies subjective matters, and quality assessment techniques with various statistical essences. From the survey information pertaining to benchmark image characteristics, properties and their constraints with the contextual feature in an image have been identified. Finally, survey work listed out the NPR application in various fields of image processing and highlighted empirical challenges and hampers in NPR domain. This survey work has empowered us to proceed in the right direction and enthusiasm to bring forth the problem statement and carry out research work.
... We focus here on single-view techniques and specifically exclude several others that are related such as: (a) interactive techniques, e. g. (semantic) zoom, (b) multi-display environments with separate displays for local and global information, and (c) techniques that have no information-carrying units on a fine spatial scale. For example, ASCII art, maze images [32], Artistic Screening [31], and other drawing techniques (e. g., hatching or half-toning) make up larger images from many small visual components that are only visible up-close. Close-up inspection, however, does not reveal additional information and, thus we exclude these images and techniques in this design space. ...
We present a first investigation into hybrid-image visualization for data analysis in large-scale viewing environments. Hybrid-image visualizations blend two different visual representations into a single static view, such that each representation can be perceived at a different viewing distance. Our work is motivated by data analysis scenarios that incorporate one or more displays with sufficiently large size and resolution to be comfortably viewed by different people from various distances. Hybrid-image visualizations can be used, in particular, to enhance overview tasks from a distance and detail-in-context tasks when standing close to the display. By using a perception-based blending approach, hybrid-image visualizations make two full-screen visualizations accessible without tracking viewers in front of a display. We contribute a design space, discuss the perceptual rationale for our work, provide examples, and introduce a set of techniques and tools to aid the design of hybrid-image visualizations.
... Artistic screening [21] is a development of the ASCII art idea. It allows halftoning through the use of any shape, including text and numbers. ...
... Halftone. FatFonts and several of the artistic techniques described earlier rely on halftoning-providing "the impression of variable intensity levels by varying the respective surfaces of white and black within a small area" [21]. This means that the proportion of black and white within a region is aggregated by the human visual system and results in a certain level of intensity, even with irregular distributions and shapes of black marks within this local area. ...
In this paper we explore numeric typeface design for visualization purposes. We introduce FatFonts, a technique for visualizing quantitative data that bridges the gap between numeric and visual representations. FatFonts are based on Arabic numerals but, unlike regular numeric typefaces, the amount of ink (dark pixels) used for each digit is proportional to its quantitative value. This enables accurate reading of the numerical data while preserving an overall visual context. We discuss the challenges of this approach that we identified through our design process and propose a set of design goals that include legibility, familiarity, readability, spatial precision, dynamic range, and resolution. We contribute four FatFont typefaces that are derived from our exploration of the design space that these goals introduce. Finally, we discuss three example scenarios that show how FatFonts can be used for visualization purposes as valuable representation alternatives.
... Artistic screening [1] is a new image reproduction technique incorporating freely created screen elements shapes for generating halftones. Artistic screening enables the shape of the screen dots to be tuned according to the designer's will. ...
... The third and last step involves the production of an artistically screened image by using the discrete screen elements created at the previous step to produce a gray-level image. In this step, the intensity value of a pixel in the original image is used as an index for selecting the corresponding element of the artistic screen [1]. The exact position of a screen element cell for a given output image pixel is obtained by calculating the coordinates of that pixel, modulo the dimensions of the screen element. ...
This work presents the concepts and the tools involved in the interactive design of artistic screens. The screen elements
are derived from a small set of analytical contours provided by the screen designer. We present the requirements that these
contours must satisfy in order to generate consistent screens. Software tools have been developed which provide automatic
means for verifying and enforcing these constraints. They include a way of specifying the periodicity of the screen dot and
a graphical interface offering a convenient way of specifying and tuning the growth of the screen dot.
... Link Label Overloading The link label design shown in Figure 1b is partly inspired by a couple of distorted fisheye-like images presented by Ostromoukhov and Hersch [14] at ACM SIGGRAPH 95. It was reported 10 years ago that it would take minutes to render a 3"x4" graphic using the then state-of-the-art algorithm. ...
The paper describes a novel technique to visualize graphs with extended node and link labels. The lengths of these labels range from a short phrase to a full sentence to an entire paragraph and beyond. Our solution is different from all the existing approaches that almost always rely on intensive computational effort to optimize the label placement problem. Instead, we share the visualization resources with the graph and present the label information in static, interactive, and dynamic modes without the requirement for tackling the intractability issues. This allows us to reallocate the computational resources for dynamic presentation of real time information. The paper includes a user study to evaluate the effectiveness and efficiency of the visualization technique.
... Central to halftoning is the linearity of the reproduction curve, which more generally means that the output should be predictable from the input. Halftoning has also been extended to richer patterns [OH95,VB99]. ...
... Optimization has been used for mark systems, either to optimize their location [Hae90,Hau01,DHvOS00], or tonal fidelity [OH95,Ost99]. ...
This paper draws from art history and perception to place computer depiction in the broader context of picture production. It highlights the often underestimated complexity of the interactions between features in the picture and features of the represented scene. Depiction is not always a unidirectional projection from a 3D scene to a 2D picture, but involves much feedback and influence from the picture space to the object space. Depiction can be seen as a pre-existing 3D reality projected onto 2D, but also as a 2D pictorial representation that is superficially compatible with an hypothetic 3D scene. We show that depiction is essentially an optimization problem, producing the best picture given goals and constraints. We introduce a classification of basic depiction techniques based on four kinds of issue. The spatial system deals with the mapping of spatial properties between 3D and 2D (including, but not restricted to, perspective projection). The primitive system deals with the dimensionality and mappings between picture primitives and scene primitives. Attributes deal with the assignment of visual properties such as colors, texture, or thickness. Finally, marks are the physical implementations of the picture (e.g. brush strokes, mosaic cells). A distinction is introduced between interaction and picturegeneration methods, and techniques are then organized depending on the dimensionality of the inputs and outputs.
... For the purpose of generating artistically screened color images, i.e. images whose colors are rendered by artistic screen elements [Ostromoukhov95], we need to be able to specify additive color differences for each of the colors present in the images we intend to render. In order to avoid tedious interaction with the designer, the system should be able to infer from one given color difference pair color differences for all colors of the RGB display gamut. ...
... For example, in clustered dot halftoning, the shades of gray between 0% (white) and 100% (black) darkness are rendered by black dots of increasing size. Artistic screening [Ostromoukhov95] is based on the same principle, but conventional screen dots are replaced by artistic shapes. ...
This work presents a novel way of generating color differences for synthesizing artistically screened color images. A single color is specified by interacting with the mouse alternately on a constant luminance plane and on a constant hue plane within the LEF color space (the orthogonal space formed by the RGB cube's black-white axis (L) and by its E and F chrominance axes). By interactively selecting a second color point, a color difference is specified. We present a method for extrapolating this color difference throughout all colors of the RGB cube so as to generate consistent color differences, i.e. smoothly varying similar color differences for different colors. The produced artistically screened color patches show that significant luminance differences always generate significant visually perceived differences, whereas significant hue and/or saturation differences do not always generate significant visually perceived differences. Introduction For the purpose of generating artist...
... The process we describe is similar to the artistic screening technique developed by Ostromoukhov and Hersch [11]. In their approach, variations in brightness across the larger image are produced by varying the sizes and shapes of tiny subjects (for example fish, birds, or abstract blobs) or characters (for example, Roman letters, Kanji, or Islamic calligraphy). ...
. We describe a process for creating an image mosaic---a collection of small images arranged in such a way that when they are seen together from a distance they suggest a larger image. To visually suggest the larger form, the small images are arranged to match a large picture as much as possible, and then their colors are adjusted to better suggest the overall form. Arrangement of the small images may be either manual or automatic. Adjustment of the colors in the small image to further suggest the larger picture is fully automatic and employs a new color correction scheme that generalizes traditional halftoning. 1 Introduction Painters of the impressionist movement exploited a property of the human visual system that combines colors in a region such that the observer sees an overall average color for that region. When viewed up close, an impressionist painting appears to be a collection of small brush strokes of various colors, whereas at a distance those brush strokes combine t...
... Artistic screening [1] is a new image reproduction technique incorporating freely created screen elements shapes for generating halftones. Artistic screening enables the shape of the screen dots to be tuned according to the designer's will. ...
... The third and last step involves the production of an artistically screened image by using the discrete screen elements created at the previous step to produce a gray-level image. In this step, the intensity value of a pixel in the original image is used as an index for selecting the corresponding element of the artistic screen [1]. The exact position of a screen element cell for a given output image pixel is obtained by calculating the coordinates of that pixel, modulo the dimensions of the screen element. ...
This paper proposes a method for changing pixel shape by converting a CMYK raster image (pixel) to an HSB vector image, replacing the square cells of the CMYK pixels with different vector shapes. The replacement of a pixel by the selected vector shape is done depending on the detected color values for each pixel. The CMYK values are first converted to the corresponding RGB values and then to the HSB system, and the vector shape is selected based on the obtained hue values. The vector shape is drawn in the defined space, according to the row and column matrix of the pixels of the original CMYK image. Twenty-one vector shapes are introduced to replace the pixels depending on the hue. The pixels of each hue are replaced by a different shape. The application of this conversion has its greatest value in the creation of security graphics for printed documents and the individualization of digital artwork by creating structured patterns based on the hue.
