Dissertations / Theses on the topic 'Hand-drawn'
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Ouyang, Tom Yu. "Recognition of hand drawn chemical diagrams." Thesis, Massachusetts Institute of Technology, 2007. http://hdl.handle.net/1721.1/41546.
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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Electrical Engineering and Computer Science, 2007.This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.
Includes bibliographical references (p. 51-52).
Chemists often use hand-drawn structural diagrams to capture and communicate ideas about organic compounds. However, the software available today for specifying these structures to a computer relies on a traditional mouse and keyboard interface, and as a result lacks the ease of use, naturalness, and speed of drawing on paper. In response, we have developed a novel sketch-based system capable of interpreting hand-drawn organic chemistry diagrams, allowing users to draw molecules with a penbased input device in much the same way that they would on paper. The system's ability to interpret a sketch is based on knowledge about both chemistry and chemical drawing conventions. The system employs a trainable symbol recognizer incorporating both feature-based and image-based methods to locate and identify symbols in the sketch. Analysis of the spatial context around each symbol allows the system to choose among competing interpretations and determine an initial structure for the molecule. Finally, knowledge of chemistry (in particular atomic valence) enables the system to check the validity of its interpretation and, when necessary, refine it to recover from inconsistencies. We demonstrate that the system is capable of recognizing diagrams of common organic molecules and show that using domain knowledge produces a noticeable improvement in recognition accuracy.
by Tom Yu Ouyang.
S.M.
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Mikkelson, Joanne M. (Joanne Marie). "Recognition of hand-drawn circuit diagrams." Thesis, Massachusetts Institute of Technology, 1997. http://hdl.handle.net/1721.1/42734.
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Dreijer, Janto F. "Interactive recognition of hand-drawn circuit diagrams." Thesis, Stellenbosch : University of Stellenbosch, 2006. http://hdl.handle.net/10019.1/2477.
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Thesis (MScEng (Electrical and Electronic Engineering))--University of Stellenbosch, 2006.When designing electronic circuits, engineers frequently make hand-drawn sketches of circuits. These are then captured with a computerised design. This study aims to create an alternative to the common schematic capture process through the use of an interactive pen-based interface to the capturing software. Sketches are interpreted through a process of vectorising the user’s strokes into primitive shapes, extracting information on intersections between primitives and using a naive Bayesian classifier to identify symbol components. Various alternative approaches were also considered. It is concluded that it is feasible to use a pen-based interface and underlying recognition engine to capture circuit diagrams. It is hoped that this would provide an attractive early design environment for the engineer and enhance productivity.
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Daly, Katharine M. "Hand-drawn graph problems in online education." Thesis, Massachusetts Institute of Technology, 2015. http://hdl.handle.net/1721.1/100303.
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Thesis: M. Eng., Massachusetts Institute of Technology, Department of Electrical Engineering and Computer Science, 2015.This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.
Cataloged from student-submitted PDF version of thesis.
Includes bibliographical references (pages 104-106).
Machine-gradable assessments in online education platforms are currently limited to questions that require only keyboard or mouse input, and grading efforts generally focus only on final answers. Some types of problems in the science, technology, engineering, and math (STEM) domain, however, are most naturally answered through sketches drawn with a pen. We introduce a simple graph problem type that accepts solutions drawn using a stylus as a proof-of-concept extension to online education platforms. Simple graphs have a small number of components (vertices, arrows, and edges only), and we describe a three-step recognition process consisting of segmentation, symbol classication, and domain interpretation for converting users' pen strokes into a simple graph object representation. An experiment run on Mechanical Turk demonstrates the usability of our trained, recognition-driven drawing interface, and examples of simple graph problems illustrate how course developers can not only check students' final answers but also provide students with intermediate feedback.
by Katharine M. Daly.
M. Eng.
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Sabiston, Walter Roberts. "Extracting 3D motion from hand-drawn animated figures." Thesis, Massachusetts Institute of Technology, 1991. http://hdl.handle.net/1721.1/13913.
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Bailey, Craig. "A sketch interface for understanding hand-drawn route maps /." free to MU campus, to others for purchase, 2003. http://wwwlib.umi.com/cr/mo/fullcit?p1418003.
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Branda, Ewan E. (Ewan Edward) 1964. "Drawing interfaces : building geometric models with hand-drawn sketches." Thesis, Massachusetts Institute of Technology, 1998. http://hdl.handle.net/1721.1/64901.
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Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1998.Includes bibliographical references (p. 49-51).
Architects work on drawings and models, not buildings. Today, in many architectural practices, drawings and models are produced in digital format using Computer-aided Design (CAD) tools. Unquestionably, digital media have changed the way in which many architects perform their day to day activities. But these changes have been limited to the more prosaic aspects of practice. To be sure, CAD systems have made the daily operations of many design offices more efficient; nevertheless, they have been of little use - and indeed are often a hindrance - in situations where the task at hand is more conjectural and speculative in nature, as it is during the early stages of a project. Well-intentioned efforts to insinuate CAD into these aspects of practice have only served to reveal the incongruities between the demands of designer and the configuration of the available tools. One of the chief attributes of design practice is that it is action performed at a distance through the agency of representations. This fundamental trait implies that we have to understand how computers help architects describe buildings if we are to understand how they might help architects design buildings. As obvious as this claim might seem, CAD programs can be almost universally characterized by a tacit denigration of visual representation. In this thesis, I examine properties of design drawings that make them useful to architects. I go on to describe a computer program that I have written that allows a designer to build geometric models using freehand sketches. This program illustrates that it is possible to design a software tool in a way that profits from, rather than negates, the power of visual representations.
by Ewan E. Branda.
M.S.
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Sundbom, Oskar. "Putting things into context: segmenting photographs based on hand-drawn lines." Thesis, KTH, Skolan för datavetenskap och kommunikation (CSC), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-169655.
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This report presents a method for finding areas of interest in an image, based on lines drawn in that image. The method is designed to work with photographic images of whiteboards, where the information on the whiteboard can be categorized based on the structure of what is drawn on it. Structurally, the method is divided into two main phases. The first phase processes a bitmap image and outputs a set of vectorized features representing strokes of a pen. The second phase filters and categorizes these features and matches them against pre-defined contextual models. The output from the second phase is a set of matching contextual models, each containing a set of area outlines representing contextually important areas of the image. The method proves robust both to variations in the quality of input – such as lighting, angles and signal-to-noise ratio - as well as to the choice of parameters used by the algorithms internally.I den här rapporten presenteras en metod för att identifiera intressanta områden i en bild utifrån streck ritade i bilden. Metoden har designats för att hantera foton, specifikt av whiteboards, där informationen på whiteboarden kan delas in utifrån de streck som dragits på den. Strukturellt sett är metoden uppdelad i två faser. I den första fasen behandlas en bitmapbild och resultatet blir en mängd vektoriserade representationer av handritade linjer. Dessa behandlas sedan i den andra fasen, där de kategoriseras, filtreras och slutligen matchas mot fördefinierade kontextuella modeller. Resultatet av den andra fasen är den uppsättning kontextuella modeller som passar in, vardera med information om de kontextuellt intressanta områden i bilden som modellen identifierat. Metoden visar sig robust både vad gäller kvalitén på indata – såsom ljusförhållanden, vinklar och signal-till-brus-förhållande – som valet av de parametrar som används av algoritmerna internt.
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Parekh, Gaurav. "Scene matching between a quantitative map and a qualitative hand drawn sketch." Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/5048.
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Thesis (M.S.)--University of Missouri-Columbia, 2007.The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on November 12, 2008) Includes bibliographical references.
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Bozas, Konstantinos. "Scalable image retrieval based on hand drawn sketches and their semantic information." Thesis, Queen Mary, University of London, 2014. http://qmro.qmul.ac.uk/xmlui/handle/123456789/8828.
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The research presented in this thesis aims to extend the capabilities of traditional content-based image retrieval systems, towards more expressive and scalable interactions. The study focuses on machine sketch understanding and its applications. In particular, sketch based image retrieval (SBIR), a form of image search where the query is a user drawn picture (sketch), and freehand sketch recognition. SBIR provides a platform for the user to express image search queries that otherwise would be di cult to describe with text. The research builds upon two main axes: extension of the state-of-the art and scalability. Three novel approaches for sketch recognition and retrieval are presented. Notably, a patch hashing algorithm for scalable SBIR is introduced, along with a manifold learning technique for sketch recognition and a horizontal ip-invariant sketch matching method to further enhance recognition accuracy. The patch hashing algorithm extracts several overlapping patches of an image. Similarities between a hand drawn sketch and the images in a database are ranked through a voting process where patches with similar shape and structure con guration arbitrate for the result. Patch similarity is e ciently estimated with a hashing algorithm. A spatially aware index structure built on the hashing keys ensures the scalability of the scheme and allows for real time re-ranking upon query updates. Sketch recognition is achieved through a discriminant manifold learning method named Discriminant Pairwise Local Embeddings (DPLE). DPLE is a supervised dimensionality reduction technique that generates structure preserving discriminant subspaces. This objective is achieved through a convex optimization formulation where Euclidean distances between data pairs that belong to the same class are minimized, while those of pairs belonging to di erent classes are maximized. A scalable one-to-one sketch matching technique invariant to horizontal mirror re ections further improves recognition accuracy without high computational cost. The matching is based on structured feature correspondences and produces a dissimilarity score between two sketches. Extensive experimental evaluation of our methods demonstrates the improvements over the state-of-the-art in SBIR and sketch recognition.
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Simhon, Shlomo Saul. "A machine learning framework for the classification and refinement of hand drawn curves /." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102174.
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This thesis presents a machine learning framework for the automatic classification and refinement of curves. The proposed framework is composed of both a representation and a family of algorithms for making inferences from examples, given suitable guidance from a user. The underlying computational paradigm taken consists of applying Hidden Markov Models to a wavelet representation of the curves of interest, each of which is presented as part of a pair of examples. The learning framework is exemplified by developing a gesture-based interface for two distinct applications: robot path planning and sketch beautification. For each, it is demonstrated that we can learn constraints on curves from a set of examples and apply them to augment rudimentary gesture information from a human operator. Further, it is demonstrated that we can identify what class of curves the human input belongs to, allowing us to automate the curve refinement process for unclassified inputs. Finally, in cases where gesture information is given in the form of an image, it is also shown that the same methodology can be used to detect and extract the most likely parametric curve from the image.There are three key issues that are addressed for the classification and refinement of curves. First, we must establish the way in which the input, training and output curves look like one another. In the framework presented, this likeness is expressed statistically using Hidden Markov Models that extend over multiple curve attributes (such as curve thickness or color) and scales. Second, when attempting to infer a curve, we must also determine the way in which the surrounding curves should affect the inference. Using a hierarchy of Hidden Markov Models, we can impose and exploit probabilistic interactions between multiple curves that make up an entire scene. Finally, in addition to the learned constraints, we must also determine a method for combining user-defined constraints with the Hidden Markov Models. It is shown that we can reformulate the Hidden Markov Models using a regularization framework and allow for the seamless integration of ad hoc biases to the learned models.
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Riese, Axel. "Classifying hand-drawn documents in mobile settings, using transfer learning and model compression." Thesis, KTH, Skolan för datavetenskap och kommunikation (CSC), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-213425.
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In recent years, the state-of-the-art in computer vision has improved immensely due to increased use of convolutional neural networks (CNN). However, the best-performing models are typically complex and too slow or too large for mobile use. We investigate whether the power of these large models can be transferred to smaller models and used in mobile applications. A small CNN model was designed based on VGG Net. Using transfer learning, three pre-trained ImageNet networks were tuned to perform hand-drawn image classification. The models were evaluated on their predictive power and the best model was compressed to the small CNN model using knowledge distillation, a flavor of model compression. We found a small but significant improvement in classification performance compared to training the small CNN model directly on training data. No such improvement was found in localization abilities. We claim that model compression, and knowledge distillation in particular, presents a valuable tool for mobile deep learning development.De senaste åren har system för datorseende markant förbättrats, genom användning av djupa faltningsnäterk (‘‘convolutional neural network’’ - CNN). De bästa modellerna är dock komplexa och för långsamma eller för stora för användning på mobila enheter. Vi undersöker huruvida styrkan i dessa stora modeller kan överföras till mindre modeller för mobila applikationer. En liten CNN-modell designades baserat på VGG Net. Genom användning av transfer learning justerades tre ImageNet-modeller till att klassificera handskrivna dokument. Modellerna evaluerades på deras förmåga att kategorisera innehållet. Den bästa modellen komprimerades sedan till den mindre modellen genom modellkomprimering, mer specifikt en teknik kallad knowledge distillation. Vi fann en liten men signifikant förbättring av den lilla modellens förmåga att kategorisera innehållet, jämfört med att träna modellen direkt på data. Någon sådan förbättring upptäcktes dock inte för lokalisering av objekt. Vi påstår att modellkomprimering, och speciellt knowledge distillation, kan vara ett värdefullt verktyg för utveckling av djupa neurala nätverk för mobila applikationer.
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Guifo, Guifo Robinson. "The statistical properties and coding of handwriting and hand-drawn graphics in tutorial classes." Thesis, Open University, 1989. http://oro.open.ac.uk/54181/.
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This research investigates compression techniques as applied to input from a digitizing tablet. The representations we consider are either drawn from the literature or developed within this thesis; they involve selecting relevant points along the trajectory of the writing pen, and using an interpolating function for reconstruction. The two dimensional parametric polynomial interpolator (e.g linear, quadratic, cubic ) is used for regenerating the trajectory of the pen. Several techniques for selecting relevant points , i.e control points are discussed. We determine our best representation by weighting the criteria, analyzing the experimental results, examining the theoretical considerations and, making where necessary, justifiable tradeoffs. The techniques tested are objectively evaluated in terms of accuracy, efficiency and compactness. The information characteristics (i.e signal entropy) of the handwriting and drawing signals, are estimated from the original and approximated data. Results are discussed and conclusions drawn. The research has been carried out on static data.
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Murphy, George J. "Comparing the use of computer generated and hand-drawn designs amongst landscape designers and landscape architects /." Available to subscribers only, 2009. http://proquest.umi.com/pqdweb?did=1791982211&sid=1&Fmt=2&clientId=1509&RQT=309&VName=PQD.
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Barakat, Hanaa. "Training with positive and negative data samples, effects on a classifier for hand-drawn geometric shapes." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/MQ59360.pdf.
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Murphy, George Joseph. "COMPARING THE USE OF COMPUTER GENERATED AND HAND-DRAWN DESIGNS AMONGST LANDSCAPE DESIGNERS AND LANDSCAPE ARCHITECTS." OpenSIUC, 2009. https://opensiuc.lib.siu.edu/theses/505.
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AN ABSTRACT OF THE THESIS OF George J. Murphy, for the Master of Science degree in Plant, Soil and Agricultural Systems, presented on April 3, 2009, at Southern Illinois University Carbondale. TITLE: COMPARING THE USE OF COMPUTER GENERATED AND HAND-DRAWN DESIGNS AMONGST LANDSCAPE DESIGNERS AND LANDSCAPE ARCHITECTS MAJOR PROFESSOR: Karen Midden Landscape designers and landscape architects design landscapes in a way that integrates people and the outdoor environment in a manner beneficial to both. Traditionally, landscape designers/architects have produced their designs by hand. During the last twenty years a shift towards the use of computer aided design (CAD) software has occurred. It is unknown how many designers have made the transition and what their reasons for doing so are, as well as, why certain designers choose to hand-draw their designs. A survey was developed to 1) determine sample representation of professional, landscape designers and landscape architects using computer-aided design software as a design and communication tool, 2) determine sample representation of professionals, landscape designers and landscape architects using hand-drawn graphics as a design and communication tool and 3) evaluate why each has selected the design and communication tool of choice. Results indicate that overall the majority of landscape designers and landscape architects are creating their designs by hand. Specifically, more designers/architects from nearly every background and demographic category create their designs by hand, rather than by computer. There were three categories that did express a greater number of designers/architects that design primarily with computers 1) those whose projects are primarily non-residential, 2) those who are a part of a design department with greater than four employees and 3) those who primarily learned computer design in school. Landscape designers/architects who hand-draw their designs indicated "comfort level" as their most popular choice as to why they design by hand. Whereas, a majority of designers/architects who design with computers chose "save time" as their reason for using computers, rather than hand-drawing. However, when asked what is the average amount of time spent designing each project, the responses were nearly identical, thus using computers does not appear to save time. Results also indicate that a majority of computer designers produce some hand drawings prior to completing the final design on the computer. Whereas, very few designers/architects who hand-draw produce any computer generated drawings prior to finishing the final design by hand. Designers/architects who hand-draw and those who use computers produce the different types of drawings associated with the different stages of the design process in equal amounts, meaning that both types of designers/architects are still following the same design process. Dynascape, AutoCAD, and LandCAD are the more popular computer design programs being used by computer designers. A majority of the designers/architects who use these programs rated theirs as excellent, and a majority of these software programs also assist with cost estimation.
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Williamson, Naomi, and naomiruthwilliamson@mac com. "The Drawn Subject: Meaning and the Moving Drawing." RMIT University. Art, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080617.142838.
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Using the vehicle of hand drawn animation, this is an ongoing reflection of instances that repeat themselves to a point beyond the humorous and back. The Myth of Sisyphus 'The Gods had condemned Sisyphus to ceaselessly rolling a rock to the top of a mountain, whence the stone would fall back on its own weight. They had thought with some reason that there was no more dreadful punishment than futile and hopeless labour.' Albert Camus- The Myth of Sisyphus By observing and illustrating assiduous daily gestures and events our absurd hero is revealed: this protagonist, be it object or human consciously and often unconsciously lives within a relentless finite experience. As the same moment is duplicated, the
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Křístek, Jakub. "Rozpoznávání ručně kreslených objektů." Master's thesis, Vysoké učení technické v Brně. Fakulta elektrotechniky a komunikačních technologií, 2015. http://www.nusl.cz/ntk/nusl-221329.
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This work deals with recognition of hand-drawn objects traced by children with mental disorders. The aim is to classify object’s geometrical primitives into classes so then can be plotted along with the idealized shape of the input object. Level of mental retardation is determined by the variance of the input (drawn) object from idealized shape of the object (artwork).
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Hellgren, Robin, and Martin Axelsson. "An evaluation of using a U-Net CNN with a random forest pre-screener : On a dataset of hand-drawn maps provided by länsstyrelsen i Jönköping." Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-20003.
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Much research has been done on the use of machine learning to extract features such as buildings, lakes et cetera from satellite imagery, and while this dataset is valuable for many use cases, it is limited to time periods in which satellites were used. Historical maps have a much greater range of available time periods but the viability of using machine learning to extract data from these has not been investigated to any great extent. This case study uses a real-world use case to show the efficacy of using a U-Net convolutional neural network to extract features drawn on hand-drawn maps. By implementing a random forest as a pre-screener to the U-Net the goal was to filter out noise that could lead to false positives. By filtering out the noise the hope was to increase the accuracy of the U-Net. The pre-screener in this study has not performed well on the dataset and has not improved the performance of the U-Net. The U-Nets ability to extrapolate the location of features not explicitly drawn on the map was not clearly established. The results of this study show that the U-Net CNN could be an invaluable tool for quickly extracting data from this typically cumbersome data source, allowing for easier access to a wealth of data. The fields of archeology and climate science would find this especially useful.
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Nilsson, Morgan, and Andreas Lundmark. "2D Aesthetics with a 3D Pipeline : Achieving a 2D Aesthetic with 3D Geometry." Thesis, Uppsala universitet, Institutionen för speldesign, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-324678.
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This thesis evaluates and tests different methods utilized to produce a 2D aesthetic within a 3D pipeline, as in, converting 3D geometry to an aesthetic that is similar to hand-drawn classic films such as Snow White And The Seven Dwarfs. This thesis explores methods to produce both exterior and interior lines that indicate shape and form of 3D models, the conclusion from the tested methods leaves with the statement that it is unlikely the human factor will be ever entirely replaced by automated solutions, and instead a mixed approach with shader relied solutions and involvement of texturing techniques which provides artistic controls where necessary, is deemed to be the most effective way of preserving the hand-drawn 2D aesthetic within a 3D-pipeline.
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Meehan, P. ""Draw me a map of your town" : an investigation of the construction of a free-recall hand-drawn map of a known physical environment by young children." Thesis, Canterbury Christ Church University, 2018. http://create.canterbury.ac.uk/17686/.
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The underlying thesis of this research was that children possess more complex understandings of their large scale physical environment than were captured by existing models of classification for their artefact maps. In order to investigate this thesis, a convenience sample of 40 children was obtained at three (3) schools in East Kent in the United Kingdom and those children were asked to perform two tasks. Task One investigated whether or not children of 7-9 years of age could identify nominated features on a map of a fictional area through their ability to interpret conventional cartographic symbols. Task Two investigated the children’s survey and environmental knowledge of a known large scale environment by constructing a free-recall sketch map of ‘their town’ without them being given a subsequent purpose for this map. During the construction of this artefact map the researcher interacted verbally with the children so that the temporal order of construction could be examined and the environmental knowledge of the children could be explored. Consistent with the thesis, the children displayed considerably more detailed environmental and survey knowledge about their town that it would have been possible to obtain from adult-centric post-factum interpretations of their artefact maps. Following this finding a new model for the classification of children’s artefact maps was proposed.
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Krichen, Omar. "Conception d'un système tutoriel intelligent orienté stylet pour l'apprentissage de la géométrie basé sur une interprétation à la volée de la production manuscrite de figures." Thesis, Rennes, INSA, 2020. http://www.theses.fr/2020ISAR0006.
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Cette thèse s’inscrit dans le cadre du projet national « e-Fran » dénommé ACTIF et porte sur la conception du système tutoriel intelligent IntuiGeo pour l’apprentissage de la géométrie au collège sur tablette orientée stylet.Les contributions de cette thèse s'inscrivent dans deux axes.Le premier porte sur la conception d’un moteur de reconnaissance permettant l’interprétation à la volée de figures géométriques. Il est basé sur un formalisme grammatical générique, GMC-PC (Grammaire Multi-ensembles à Contraintes Pilotée par le Contexte). Le deuxième axe adresse l’aspect tutoriel du système. Nous définissons un mode auteur qui permet au tuteur de générer des exercices de construction à partir d'une solution dessinée par l'enseignant. La connaissance spécifique au problème est représentée par un graphe de connaissance. Cette modélisation permet au tuteur de s’affranchir de la procédure suivie par l’enseignant et d’évaluer la production de l'élève, en temps-réel, quel que soit la stratégie suivie. Nous définissons de plus un module expert, basé sur un environnement de planification, capable de synthétiser des stratégies de résolution des problèmes. Le système tutoriel est capable de générer des feedbacks de correction et de guidage adaptés à l'état de l'avancement de l'élève. Les résultats des expérimentations en classe démontrent l’impact pédagogique positif du système sur la performance des élèves, notamment en termes de transfert d’apprentissage entre support numérique et papierThis PhD is in the context of the « e-Fran » national project called ACTIF and deals with the design of the pen-based intelligent tutoring system IntuiGeo, for geometry learning in middle school. The contribution of this work are grouped into two axes.The first axis focused on the design of a recognition engine capable of on the fly interpretation of Han-drawn geometrical figures. It is based on a generic grammatical formalism, CD-CMG (Context Driven Constraints Multiset Grammar). The challenge being to manage the complexity of the real-time analysis process, the first contribution of this work consisted in extending the formalism, without losing its generic aspect. The second axis of this work addresses the tutorial aspect of our system.We define au author mode where the tutor is able to generate construction exercises from a solution example drawn by the teacher.The problem specific knowledge is represented by a knowledge graph. This representation enables the tutor to consider all possible resolution strategies, and to evaluate the pupil’s production in real-time. Furthermore, we define an expert module, based on a dynamic planning environment, capable of synthesizing resolution strategies. The tutoring system is able to generate guidance and corrective feedbacks that are adapted to the pupil’s resolution state. The results of our experiment conducted in class demonstrate the positive pedagogical impact of the system on the pupils performance, especially in terms of learning transferability between the digital and traditional support
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Wolin, Aaron David. "Segmenting Hand-Drawn Strokes." Thesis, 2010. http://hdl.handle.net/1969.1/ETD-TAMU-2010-05-7869.
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Pen-based interfaces utilize sketch recognition so users can create and interact with complex, graphical systems via drawn input. In order for people to freely draw
within these systems, users' drawing styles should not be constrained. The low-level techniques involved with sketch recognition must then be perfected, because poor
low-level accuracy can impair a user's interaction experience.
Corner finding, also known as stroke segmentation, is one of the first steps to
free-form sketch recognition. Corner finding breaks a drawn stroke into a set of primitive symbols such as lines, arcs, and circles, so that the original stoke data
can be transformed into a more machine-friendly format. By working with sketched primitives, drawn objects can then be described in a visual language, noting what
primitive shapes have been drawn and the shapes? geometric relationships to each
other.
We present three new corner finding techniques that improve segmentation accuracy. Our first technique, MergeCF, is a multi-primitive segmenter that splits drawn
strokes into primitive lines and arcs. MergeCF eliminates extraneous primitives by merging them with their neighboring segments. Our second technique, ShortStraw,
works with polyline-only data. Polyline segments are important since many domains use simple polyline symbols formed with squares, triangles, and arrows. Our ShortStraw
algorithm is simple to implement, yet more powerful than previous polyline work in the corner finding literature. Lastly, we demonstrate how a combination technique can be
used to pull the best corner finding results from multiple segmentation algorithms. This combination segmenter utilizes the best corners found from other segmentation techniques, eliminating many false negatives (missed primitive segmentations) from the final, low-level results.
We will present the implementation and results from our new segmentation techniques, showing how they perform better than related work in the corner finding field. We will also discuss limitations of each technique, how we have sought to overcome those limitations, and where we believe the sketch recognition subfield of corner finding is headed.
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CHANG, CHIH-CHIEH, and 張智捷. "Motion Interpolation for Hand-Drawn Animation." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/3v8axs.
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碩士玄奘大學
資訊管理學系碩士班
106
The Frame Rate Up Conversion that improves motion picture refresh rate and motion blur in order to display the good quality of motion picture. The Motion interpolation or motion-compensated frame interpolation (MCFI) is a form of video processing in which intermediate animation frames are generated between existing ones by means of interpolation, in an attempt to make animation more fluid and to compensate for display motion blur. The existing motion interpolation algorithm that has focus on video improvement, but it is not good enough for hand-drawn animation operation. The purpose of this study was to investigate hand-drawn animation of motion interpolation algorithm including : a.The hierarchical motion estimation to refinement of animation image vector. b.Search radius is automatically adjusted proportionally. c.Raise the limit value of the scene change detection to improve the fluency. After a large number of experimental comparisons, the conclusion was that the new algorithm not only improves hand-drawn animation image smoothly but also reduces artifacts impact. It also got more accurate matching blocks in the animation.
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Ferreira, João Carlos da Silva. "Live web prototypes from hand-drawn mockups." Master's thesis, 2019. https://hdl.handle.net/10216/122189.
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Hung, Jui-Chieh, and 洪睿杰. "Applied the Existentialism in Hand-drawn Animation." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/07383099113231759564.
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Lee, Wei-Ming, and 李韋民. "Hand Drawn Pattern Recognition Based on Ring Structure." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/78960480133675821370.
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碩士國立宜蘭大學
資訊工程研究所碩士班
98
Abstract We present a way to matching hand drawn pattern with pattern in this paper. It can only use the poorly painting to describe the pattern in the hand drawn pattern. Our approach first uses morphology to make the hand drawn pattern smooth and normalization, which simplify lines, curves and shapes. It makes hand drawn patterns feature more clearly and reduces complex regions. Second, it convolutes pattern with 4 direction Prewitt function that makes line difference with direction. Third, we create the ring structure to put all pattern features in order in the ring. We vote the ring elements to which pattern in the image database, and then we can get our pattern which has the highest similarity score. It is hard for the hand-draw features mapping on the pattern, so we must make flexible on the features. Our approach is a good way to make the feature description much flexible and easy to find the pattern.
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Chen, Yi-Chi, and 陳奕奇. "Presenting Classical Allegory with Hand-drawn Character Animation." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/3854am.
Full textAbstract:
碩士臺中技術學院
多媒體設計系碩士班
98
Original story and character are one of the attractive compositions in term of animation or interactive media. This situation can be verified from the popular game and comics which are produced by USA and Japan. However, when we examine the history of digital content development in our country, the design results of original story and character are not satisfactory. It is not to mention that we have never produced the popular game and animation with local culture. Therefore, this project is based on the design principle with “innovative style of classical elements” for drawing by hand-painted techniques to create characters and situations. The creation is emphasized on the manipulating of emotional and interesting elements to interpret Poetry and Fable. It is looking forward to highlight the characteristics and image of original character through impressive animation. In order to challenge the diverse character design, the variant human characteristics are performed, such as hammer, tolerance, graceful, simple, banal, petty, greedy, and cunning, etc. The subjects of serial creation were selected from classical Poetry-Guanju and Bringing in the Wine, and some of fables like the Monk Eating Shrimps, which have significantly different characteristics of protagonists. In the creation process the characteristics, appearance, action and inner character of a protagonist is analyzed firstly. The inner and external features of a character can be generalized as the basis for the character setting. Followed, it is integrated with the situation analysis of text and then developed the specific scenes and images of the animation. Finally, the characters are created in the abundant condition of subject. The animations of serial creation have been combined into the advanced learning content of Teaching Chinese as a Second Language. It can be used as the basic curriculum for learners to explore the Chinese culture. Therefore, it will reach the goal where the situations of literatures are presented and the classical cultures are inherited
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Yu, Chia-Hui, and 余佳慧. "A Key-Frame Animation System for Hand-Drawn Image." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/05796392149556699389.
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碩士國立花蓮教育大學
鄉土文化學系碩士班
95
Inbetweening is very important in animation and movies. The thesis constructs an automatic system based on Inbetweening technique. After analyzing and drawing the curves, we convert two hand-drawn images into a smooth animation with colored shape. It is very sensitive after thinning. In order to get an accurate traveling order, we develop a strong tracing algorithm to solve simple image’s matching problem. Moreover, we use Bézier to approximate these curves, and use least square error estimation to find a control point. Finally, we have completed an animation.
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ZONG-HAN, HE, and 何宗翰. "Flowing Time of Self-Consciousness: Hand-Drawn Animation Creation." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/aq5ep8.
Full textAbstract:
碩士實踐大學
時尚與媒體設計研究所
102
Time is an abstract phenomenon. As a result that people can not be sensible of any omen of time. But it was the state of existing in reality. We tried to invent various timekeepers until the flowing time could be under control. Because of this, people’s life were sticking on the suppositional way with instrument. And the behavior of observing time had become to a natural reaction for now. Time flies when you are having fun, and it drags whatever you don’t want. Perhaps time is not really precise that we imagined. And maybe it has more possibility or elasticity. In fact, we watched time not only for controlling the determination of life, but also for fearing the regrets in our life. In this project, I tried to use the mono-colored and hand-drawn style, my favorite technique of expression, to create a drastically flowing of time.
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CHENG, FO-YING, and 成佛影. "A Study of the Light Realism Hand-drawn Animation." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/6w97m5.
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Lin, Yi-Hsiu, and 林怡秀. "The Artist Statement of the Hand-drawn Animation "Dream"." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/49658237177679390026.
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碩士國立交通大學
應用藝術研究所
103
This thesis describes the making of a hand-drawn animation〈Dream〉,which reveals five issues of dream with poetic words , scenes with imagination and bizarre storyline：The beginning of dream, the revealing of secrets, the implication, the relationship between me and dream, and the ending of dream. In the first chapter, core concept comes first：The importance of honesty and dream is to me, and the reason why I choose animation to express this topic. Then I explained how “Dream” was inspired by the three animations in form and visual style. After introducing the producing process, comparison chart helps to provide a full vision of the animation structure including act, scene and the copywriting, and lead to a full understanding by providing details of the ten scene which includes key elements and the symbolic meanings in chapter three. Next chapter is about the concept and implementation of the exhibition display. And the last chapter brings out what the author earned in this project.
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Shaheen, Sara. "Sketch Style Recognition, Transfer and Synthesis of Hand-Drawn Sketches." Thesis, 2017. http://hdl.handle.net/10754/625241.
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Humans have always used sketches to explain the visual world. It is a simple and straight- forward mean to communicate new ideas and designs. Consequently, as in almost every aspect of our modern life, the relatively recent major developments in computer science have highly contributed to enhancing individual sketching experience. The literature of sketch related research has witnessed seminal advancements and a large body of interest- ing work. Following up with this rich literature, this dissertation provides a holistic study on sketches through three proposed novel models including sketch analysis, transfer, and geometric representation.
The first part of the dissertation targets sketch authorship recognition and analysis of sketches. It provides answers to the following questions: Are simple strokes unique to the artist or designer who renders them? If so, can this idea be used to identify authorship or to classify artistic drawings? The proposed stroke authorship recognition approach is a novel method that distinguishes the authorship of 2D digitized drawings. This method converts a drawing into a histogram of stroke attributes that is discriminative of authorship. Extensive classification experiments on a large variety of datasets are conducted to validate the ability of the proposed techniques to distinguish unique authorship of artists and designers.
The second part of the dissertation is concerned with sketch style transfer from one free- hand drawing to another. The proposed method exploits techniques from multi-disciplinary areas including geometrical modeling and image processing. It consists of two methods of transfer: stroke-style and brush-style transfer. (1) Stroke-style transfer aims to transfer the style of the input sketch at the stroke level to the style encountered in other sketches by other artists. This is done by modifying all the parametric stroke segments in the input,
so as to minimize a global stroke-level distance between the input and target styles. (2) Brush-style transfer, on the other hand, focuses on transferring a unique brush look of a line drawing to the input sketch. In this transfer stage, we use an automatically constructed input brush dictionary to infer which sparse set of input brush elements are used at each location of the input sketch. Then, a one-to-one mapping between input and target brush elements is learned by sparsely encoding the target sketch with the input brush dictionary.
The last part of the dissertation targets a geometric representation of sketches, which is vital in enabling automatic sketch analysis, synthesis and manipulation. It is based on utilizing the well known convolutional sparse coding (CSC) model. We observe that CSC is closely related to how line sketches are drawn. This process can be approximated as the sparse spatial localization of a number of typical basic strokes, which in turn can be cast as a non-standard CSC model that forms a line drawing from parametric curves. These curves are learned to optimize the fit between the model and a specific set of line drawings.
Each part of the dissertation shows the utility of the proposed methods through a variety of experiments, user studies, and proposed applications.
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Eisinger, Sarah Beth. "Applying Hand-Drawn Effects Design Principles to the Creation of 3D Effects." Thesis, 2013. http://hdl.handle.net/1969.1/149373.
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This thesis centers on the study of the design principles used in creating hand-drawn effects and how they can be applied to computer-generated 3D effects. By studying the rich history of hand-drawn effects animation, artists working on computer-generated films can enhance the emotional impact and visual appeal of their effects without devoting years to creating hand-drawn effects. From reference clips of animated effects and writings by artists, a list of aesthetic guidelines for the production of stylized effects is generated. A series of case study animations is created to demonstrate how these guidelines can be used to create effects in various styles and of various elements.
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Hsu, Chih-Hao, and 許志豪. "Frame Retrieval and Synthesis with Predefined Hand-Drawn Shape from Videos." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/70381351938784008237.
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碩士國立臺灣大學
資訊工程學研究所
101
In recent year, people like to take the jumping photos or pictures which are human freezing in the air for artistic purpose or other demands. When taking these kind of photos, some problems occur, such as inconsistent jumping time, or a improper shooting moment which would make the photo undesirable. These problems waste much time for taking an available picture. In this thesis, we propose a framework for taking these kind of photos easily. Given a hand-drawn posture sketch, the system would synthesize the desirable image according to the sketch. The system extracts out object shape for each frame at first. Then it computes the skeleton of the shape. By computing the similarity between two skeletons of extracted shape and hand-drawn shape, the frame with desirable posture would be retrieved from the video. Finally, the system synthesize the image by composing every desirable postures. The experimental results shown that the matching method based on skeleton can retrieve the frame which is most similar to hand-drawn shape. The system is applicable to the condition of taking jumping photo.
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Chung-Hsuan, Fan Chiang, and 范姜仲萱. "Creation Descriptions of “No Biggie” and Aesthetics of Hand-drawn Animation." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/j4wse7.
Full textAbstract:
碩士國立臺南藝術大學
動畫藝術與影像美學研究所
105
Although modern animation is vastly influenced by scientific and technological progress, traditional hand-drawn animation remains irreplaceable by digital media. This thesis describes the process and statement of animated short “No Biggie”, and discusses the expression and aesthetics of hand-drawn animation. In the first chapter, the author introduces the production process before and after studying at TNNUA, and general viewpoints of animation. Chapter two is the creation description, including the concept and expression of the artwork. The concept part analyzes works of female artists and female characters in moving pictures, talking about the connection between females and films, the application of its connotation and symbolism, and the creative process of “No Biggie”; the expression part emphasizes on styles and techniques of minimalism. Chapter three outlines the entire production process. Lastly, chapter four illustrates what the author learned from the production, the current state of the animation industry, and future prospects.
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WANG, WEI-MING, and 王偉明. "A Study of Computer-Generated Decoration by Hand-Drawn Curve Method." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/16266540623264567574.
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碩士國立臺北教育大學
數位科技設計學系(含玩具與遊戲設計碩士班)
104
Decorations have been used widely in our life. However, designing these kinds of decoration needs professional art skills. It is much more difficult and time-consuming for generals to generate the beautiful decoration. Many researchers suggest to use the algorithm of automatic generated decorations, but most of these methods are used the image processing technology. Therefore, it is difficult to achieve the goal of real-time generating decoration and providing interactively editing function in the same time. The target of this study suggests a method of real-time generating decoration and provides an editing environment for users which can let them design the decorations that are suitable for the users by using real-time drawing and editing. In the generating decoration, this study uses the method of hand-drawn curve for basis, and device it in three kinds of ways by the position of decoration, the method of generating decoration by the curve, the method of generating decoration on the curve, the method of generating floral decoration. This study not only can achieve real-time generating decoration in visual effects, but also can be more suitable for users by the function of editing pattern. In the method of generating decoration by the curve, this study uses the way of immediately generating decoration along the curve to replace the way of generating decoration after drawing it. Users can produce decorations more intuitively by using our method. Moreover, our way can provide users editing the result of decoration so that the result can be more suitable for the need of the users. In the method of generating decoration on the curve, this study provides two kinds of generating ways. There are material pattern generated by one-point connection, and material pattern generated by two side connection. These two ways can make sure the decoration be produced by the connection of one-piece material pattern and the other. It can avoid the material pattern be cut accidentally. In the last method of generating floral decoration, this study uses the way of analyzing the strike of the curve to generate the decoration. This study use it to replace a lot of data processing of texture quilting and parameterizing the material pattern beforehand. Therefore, our method can achieve generating decoration.
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LAI, PANG-NI, and 賴邦妮. "“Under The Apple Tree” : Long Way Home, A Hand-Drawn Animated Film." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/3648mb.
Full textAbstract:
碩士實踐大學
媒體傳達設計學系碩士班
105
“Under the Apple Tree” is a story about a boy returning home after a memory journey in between fantasy and reality. The boy soon realizes his father has long been waiting for him to come home as they finally reunite.I made this film to record some special moments in my life. At the pre-production process, the film is set to be a 3D animated film. However, after sorting out my thoughts, I decided to make the film two-dimensional and applied watercoloring and ink painting techniques using tools like pencil and Chinese brushes. Besides, at the post-production process, I also applied digital painting skills, and details of all kinds of the painting styles are discussed in the thesis. “Under the Apple Tree” tries to preserve something important to me via animation. It preserves some unique language and scenes in my subconscious mind. It is also an artwork of mine that was created as a way to help myself review and inspect my life. The film integrates many of my sensory experiences, realization from daily observation, and accumulation of personal tastes. At present, I don’t need to please anyone in the world by shooting films that meet their needs. I made this film freely, and that simply was because I have a strong will in trying something interesting as an animation artist.
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Lin, Shih-Chen, and 林師丞. "“ Mammal Planet ” Research on 2D Hand-drawn Animation and its Characteristic Performance." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/06269626182145712549.
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碩士國立臺南藝術大學
音像動畫研究所
97
This elaboration mainly discusses about my reflection and experience of producing animation in graduate institute. I illustrate the conception of my creation and state experience of producing animation in the past years. Then I analyze my final project, “Mammal Planet,” which includes the process of this production: The inspiration, pre-production, production, digital effects, the storyline and analysis of the whole story. After that I evaluate the achievement of my final project and discuss the performance of 2D character animation. Last, I relate the introspection of my works and prospect of being a filmmaker in animation production environment in Taiwan.
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Lin, Yi-Shan, and 林怡珊. "Research on the Design of Hand-Drawn Posters of Tzu-Fu Chen." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/05659408654654522755.
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碩士國立高雄師範大學
視覺傳達設計研究所
93
Movie posters are one of the seminal media for movie manufacturers to publicize movies, thereby playing a pivotal role. As far as early movie posters of Taiwan are concerned, most of them are drawn by hand of Tzu-Fu Chen. His drawings manifest rich and diverse facets in both quantity and quality so that the combination of elements in his works can reflect humanistic landscapes of different periods of time. By means of field investigations, reference analyses and consultations with the artist himself, the study probed into the design of hand-drawn movie posters of Tzu-Fu Chen, with a focus on works presented from 1942 to 1980. By so doing, the study might reconstruct the landscapes of movie-poster design of that glorious era by combining various elements conveyed in his movie posters. The research aimed not only to explore how Tzu-Fu Chen employed various picture symbols to design movie posters but also to analyze the visual lexicon expressed in different types of movie posters. Moreover, the research looked into the styles of his works, design expressions and strategies of using icons. The findings of the study are as follows: 1.Styles of movie posters of Tzu-Fu Chen are classified into 10 types: folk-opera film, musical, moral film, true-life film, romance film, detective film, horror film, martial-art film and others. Furthermore, every type has its own formulaic pattern of expression. 2.In the expression of picture, word, and color, Tzu-Fu Chen adopted the design principle of type formularization. However, in the expression of element composition, he broke the principle and took a more liberal, eclectic approach. 3.In respect of strategies of using icons, Tzu-Fu Chen imitated and transformed elements from some movie photos and movie posters, in which he got inspired. As for combining various elements, he employed a diverse, collage-like manner. 4.In the 50-year career of drawing movie posters, Tzu-Fu Chen produced a significant amount of works, all of which are not only an important chronicle of Taiwan movie industry, but also a precious record of modern-art design of Taiwan.
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Hu, Shao-Tsung, and 胡紹宗. "Description of《Return》and Study on the Expressive meaning of Hand-Drawn Animation." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/84737299599798391245.
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碩士國立臺南藝術大學
動畫藝術與影像美學研究所
99
The animation of art in addition to giving the audience a rich visual.The image and symbolic language is becomimg to creators personal characteristics. Showing the pursuit of beauty of hand-drawn animation.The first chapter shows my creating experiences、impressions and developing of style.The second chapter discusses which the story developing and pre production.The third chapter analyzes the final project.the.Speak on story of the visual style and image design.The final chapter is a summary of environment of Taiwan animation and expectation of creating in the future.
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Feng, Jimmy, and 馮偉中. "Creation Descriptions of 「MIRROR」and Researching a new style of hand-drawn animation." Thesis, 2001. http://ndltd.ncl.edu.tw/handle/92603199175576725570.
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碩士臺南藝術學院
音像動畫研究所
89
1.Based upon the “contradiction of humanity ” as the main proposition of this film, the psychological issue was extended to promote the connotation of the story. 2.Combining the traditional hands script and the computer-animated skills, I tried to create the new performances of the hand-script animation. 3.Using illusional art and contradictable graphs not only responded to the subject, but also strengthened the effects of vision and intensified the purpose of the surreal aura. 4.To attempt to change the art of facial make-ups in Chinese opera into other appearances, I regarded them as the animated characters.
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Yu, Zong-Jyun, and 余宗駿. "The Fantastic Wind and Water ─ Presenting Classical Chinese Poetry by Hand Drawn Animation." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/yr3394.
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碩士國立臺中科技大學
多媒體設計系碩士班
100
In the field of digital content, animation can be used to deliver a distinctive cultural diversity and cultural exchange purpose. In addition, it can become a broadcast media for the commercial event, and even be profitable in the global entertainment market. Therefore, the animation can be regarded as the product of the times of a national cultural development. At the same time, it also plays the promoter of contemporary culture. The creation is issued on the situation and cultural aesthetics of classical Chinese poetry. The author hopes to convey the classical literature to foreigners through multimedia learning content. Readers can enhance the knowledge awareness by the visual media in the process of learning advanced Chinese. Simultaneously, they will bring up the ability of savoring the cultural aesthetic feeling of Chinese poetry in gradual. Accordingly, the creation first set the Su Shi ─ Shuidiaogetou, Prelude to Family-The Mid-autumn Festival, as the theme for the hand-painted character animation. It tries to figure out the complex mind of the poetry protagonist who was demoted and missed the brotherhood. Secondly, the theme Liu Yu-xi ─ Wuyi Lane is combine the scenes with shadows and multi-level of dynamic graphs, describe the change of the time about the Wuyi Lane from prosperous to impoverished, through cherish the memory of past and present that inspire the deep reflection in human life. Finally , the theme Fan Chung-yen ─ Yujiaao is describe the toil of the soldiers who tenaciously stick to the frontier, and drown their homesick and depressing in drink. In the creation process, the author referred to exiting poetry appreciation through literature review with analysis, induction and extraction methods. Then, the author applied the situated analysis on the works of historical background, ancient cultural life, and the experience of literati to develop the situated elements and storyboard. After the definition and visual design of roles, objects an scenes, the animation of intuitive situation representation was implemented by 2D and 3D graphics technique. Eventually, the multimedia were done in post-production and combined with the text of learning content. The results are able to present the integration of traditional and modern cultural elements, which can help second language students to comprehend and feel the situation and aesthetic feeling of classical poetry when they communicate with Chinese.
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Chang, Zheng Jie, and 張正杰. "Discussion on “The Nose” and study on Hand-drawn animation with digital tools." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/33279872318559123311.
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碩士國立臺南藝術大學
動畫藝術與影像美學研究所
101
“Nose” is a short animated film talking about a man who is not satisfied with his own body, and how he bears the pressure giving him from society. However, the pressure is accustomed in our own life, but maybe we could not think so. This article describes my animation creation experience. And it discusses the bodies, sexuality in relationship with the society. And to analysis how the digital tools impact on hand-drawn animation.
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Chang, Po-How, and 張柏豪. "Online Hand-Drawn Geometric Shape Recognition for the Application of Mathematics E-Teaching Environments." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/88404174588534092965.
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碩士國立臺灣海洋大學
資訊工程學系
95
Abstract For the goal of rising knowledge-based economy, Taiwan government plans to launch the applications of e-schoolbag and e-learning ideas based on the information and networking technologies. It is the most important item in the e-Taiwan project from the “Challenge 2008”, the Six-year National Development Plan. In order to conform with the national digital eLearning program, we have developed the digital ink document teaching system that is based on the Tablet PC platform. The key feature of the developed system is digitally pen-based computing which enhances the teaching and interactive learning activities among teachers and students. In order to strengthen the features of fluency and accuracy in teaching mathematics, we have proposed an online geometric shape recognition model which automatically transforms a sketched geometric shape into its corresponding digital shape object. This thesis presents geometric models which define various shapes consisting of fundamental line segments. Prior to performing recognition processes, models of individual geometrics must be created and reserved in the system. There are five major processes in the proposed algorithm including pre-processing, line segment extraction, line segment optimization, line segment refined allocation, and feature matching. In the pre-processing step, the digital point data array of the original sketch will be filtered and normalized. The extraction, optimization, and refined allocation processes effectively generate representative line segments, remove redundant segments, and provide the optimal representation respectively. At the last, the pattern matching process selects the best candidate from possible geometrical shapes. In this research, we have chosen eight frequently drawn geometrics and collected abundant testing samples for system evaluation. The results show that the proposed recognition kernel for hand drawn geometrical shapes achieves a recognition rate of 88.87%.
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Hsu, Fang-Ju, and 徐芳如. "Discussion Of A hand drawn animation《A-May》and Technical using for Character expression." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/40224792630611484031.
Full textAbstract:
碩士國立臺南藝術大學
動畫藝術與影像美學研究所
104
《A-May》is a fusion of hand-drawn animation and digital computer’s personal autobiographical animation, tells the story in the cold approach about the antagonistic relationship between mother and daughter. Paper will briefly personal creative experience and the master of the creative process, from the pursuit of the image presented to think the story connotation, and discuss Eastern and Western cultural family emotion and mental illness in the visual arts performance, and talk about the process of drawing , art design. The last chapter, for the reflections of the《A-May》short animation production, influence in the 3D digital technology impact on traditional 2D hand-drawn, and the future creative expectations.
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Huang, Hung Chih, and 黃鴻志. "Exploring the Style of Hand – Drawn Animation and Its Narrative Techniques by "Daily" Animation Creation." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/82xrbg.
Full textAbstract:
碩士國立臺南藝術大學
動畫藝術與影像美學研究所
105
Narrative skills and hand-drawn animation styles are studied through the creation of “Daily” animation. In this work of narrative animation, the authors deliberately deviate from artistic practice of the past and create characters with “absurd” social behavior and values to explore the dark sides of human nature and to reflect on life. Their ultimate goal is to produce scripts on topics that are kin to the audience, and also to convey thoughts on social anomalies, which are worthy of discussion, through the use of fun animations.
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Pei-Shan, Huang, and 黃蓓珊. "Animation short film《Clumsy Nose》research on children's illustration, hand drawn animation and educational element." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/y9fvz5.
Full textAbstract:
碩士國立臺南藝術大學
動畫藝術與影像美學研究所
105
Our life is always faced with a lot of fear and pressure, but not necessarily know how to face it. This paper research on educational element in the animation, is based on psychological education, with child picture books and hand-drawn animation. Hope "Bibliotherapy" and a simple story experience, can make the mind to be bred and inspired, to explore the value of animation in education The first chapter is the author's learning and creative experience. The second chapter describes the production motive, and the "Bibliotherapy" can produce psychological effects of education, and elaborated the story of the creative process. The third chapter record art visual design, post-production,dubbing and music development process. The fourth chapter is the reflection and harvest of this creation. The final chapter is the conclusion and the future outlook.
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Liu, Guan-Chen, and 劉冠辰. "A Study of Hand-Drawn Illustrations Combining Elements of the Five Senses and Native Animals." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/54215776845352785321.
Full textAbstract:
碩士國立臺灣師範大學
設計學系
101
The purpose of this study was to explore the relationship between the five senses and the natural world and design objects of hand-drawn illustrations to interpret such relationship. The five senses refer to sight, hearing, smell, taste, and touch. Human beings rely on these senses to interact with the outside world. The interactions between individual emotions and the vibrant beauty of the nature may produce diverse ideas which can further develop into individual aesthetic experiences and ability of appreciation. Life and creations are closely related. A visual language consists of individual feelings, which stem from various life experiences of the individual. Creations and experimentation facilitate accumulation of insights. In this study, the author first reviewed literature associated with the five senses, native animals, and hand-drawn illustrations to find the position and meanings of this research. Based on the theme of the five senses and the concept of native animals, the author created a series of images using hand-drawn lines and applied them to visual designs with the aid of computers. The author’s purpose was to analyze the visual words of the five senses and investigate the content of visual expressions. Besides, the author also integrated hand-drawn illustrations and digital images along with mixed media to examine related theories. Through this study, the author expected to show the appeals of the five senses and create works with a unique style. The conclusions of this research were as follows: (1) The impressiveness of creations, delicate affections and life-related topics brought about by integrating the theme into the creations were the fundamentals of this research; (2) Hand-drawn illustrations were characterized by a high emotional atmosphere. The brush strokes and contours made with the characteristics of hand-drawing were aesthetically pleasant and could sublimate on different levels with acquisition of new concepts and knowledge. The author was deeply impressed by the results of this process through experimentation. All these critical elements further increased the vitality of the creations; (3) The creations retained their simplicity and were embedded with emotions, therefore delivering a realistic feel. As personal aesthetic experiences were introduced and various media employed, the images could be more descriptive.
50
WEI, CHEN KANG, and 陳岡緯. "The synopsis statement of 『Backyard』 and the new discover of hand-drawn animation with commercial act." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/67766523396886912826.
Full textAbstract:
碩士國立臺南藝術大學
音像動畫研究所
93
The synopsis statement mainly focus on the combination of traditional hand-drawn animation skill and the use of digital computer technique by the experience of making graduate production animated film 【Backyard】 and also four years of making film and art pieces experiences. From the story concept of the animated film 【The man of The Hour】, this graduate production film 【Backyard】 has the same story structure but different direction; this film analyses how people deal with the conflict between work and life in the society. By the limited sources, material and the digital equipment, the independent film maker tried to show the perfect hand-drawn animation aesthetics, besides, the film combined with digital computer technique, so then the film developed a new look of hand-drawn animation with commercial act.