Sunteți pe pagina 1din 1

AIKON: the Artistic/Automatic IKONograph

Patrick Tresset and Frederic Fol Leymarie


Digital Studios, Goldsmiths College, University of London, U.K.
< p.tresset@gold.ac.uk >, < ffl@gold.ac.uk >

1 Concept
We consider the problem of generating face sketches with a com-
puter 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 explor-
ing is that the aesthetics of a sketch is dependent on each individ-
ual step involved in the collection of processes leading to the cre-
ation 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 ap-
proximate, 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.
Figure 1: MA based shading. (a) Segmented face region after
2 AIKON’s way of sketching detection. (b) k-Mean clustering after blurring. (c) Binary map for
2 gray levels. (d) MA map giving drawing gestures. (e) Shading
AIKON follows Tresset’s way of sketching in real life: (i) identify executed using (c) and (d). (f) Shading using 4 segmented levels.
a face pattern, (ii) find salient features and shaded areas, (iii) plan
drawing gestures, (iv) render the final sketch. In our present imple-
mentation,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 se-
lected segmented region sizes and associated tone values (Fig.2).

3 Conclusion and Future


By studying the way an artist draws, making each step explicit, as
opposed to trying to directly imitate the drawing results, a com-
puter system such as AIKON can produce aesthetically interest-
ing results. We are now exploring with AIKON the possibility of
modelling the interplay between the ensemble of processes, includ-
ing 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.

References
[1] Albiol et al., An unsupervised color image segment. ICIP’01.
[2] Tresset & Leymarie, Generative portrait sketching. VSMM’05.
[3] Viola & Jones, Robust real-time face detect. IJCV (57), 2004.

1 The 1st version of AIKON was recently presented at VSMM in Ghent

[2] (paper available under: www.doc.gold.ac.uk/aikon/news.html). Here we


present version 2 with improved algorithms in each modeled step (Fig.1), as
well as a greater diversity of renderings: i.e., variations on the modeling of Figure 2: Examples of portraits by AIKON. For more results, goto:
the stylistic signature of Tresset. A live demo is also available to bystanders. www.doc.gold.ac.uk/aikon/examples.html
2 OpenCV : opensource computer vision library from Intel.

S-ar putea să vă placă și