Dissertations / Theses on the topic 'Textual synthesis'
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Cole, Lisa Marsio. "The economic organization of southern Canaan in the Late Bronze Age: A synthesis of the textual and archaeological data." Diss., The University of Arizona, 2004. http://hdl.handle.net/10150/290060.
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The purpose of this dissertation is to consider a decentralized model, as opposed to the traditional centralized model, to explain the economic organization of the Late Bronze Age. The goals of this study are threefold: (1) to examine the internal economic organization of southern Canaan during the Late Bronze Age through a comparison of the textual and archaeological data and by comparison to neighboring cultures, (2) to examine and test the applicability of the "city-state" and the "dendritic-trade" model to Late Bronze Age southern Canaan, and (3) to suggest that a system of wealth finance, based on the distribution of imported pottery, was used to encourage villagers to participate in the trade networks. Chapter Two reviews the history of both social and economic theory pertaining to the Late Bronze Age in Syria-Palestine. Chapter Three describes the neighboring economic systems of Mycenaean Greece, Crete, Cyprus and Ugarit. Chapter Four is a database of all archaeological material used in this study. Chapter Five considers the relevant textual information. Chapter Six is a synthesis of the archaeological and textual material by which potential dendritic trade routes are modeled. Chapter Seven presents two case studies on Megiddo and Yavneh-Yam that provide further support for the Dendritic-Trade network Model.
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Green, Lori Anne. "Tiled texture synthesis." Thesis, Texas A&M University, 2003. http://hdl.handle.net/1969.1/429.
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In this thesis a new image-based texturing method has been developed. This new method allows users to synthesize tiled textures that can be mapped to any quadrilateral mesh without discontinuity or singularity. An interface has been developed that allows user control over out put textures. Three methods have been included in the interface to create a periodic looking texture for 3D models and two methods have been developed to create wallpaper images (repeating textures on a 2D surface). Using these texturing methods, texturing problems are simplified, and more time can be spent solving artistic problems.
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Wickramanayake, Dhammike Saranath. "Transform domain texture synthesis." Thesis, Loughborough University, 2005. https://dspace.lboro.ac.uk/2134/34552.
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Developments in digital cinema and computer games industry have required for fast texture synthesis algorithms that are capable of synthesizing better quality textures. Unfortunately most of the existing state-of-the-art algorithms suffer from excessive complexity related issues resulting in high synthesis times. This thesis proposes seven novel algorithms in order to address the existing problems in sample-based texture synthesis. All the proposed algorithms use visually significant transform coefficients within texture synthesis and thus effectively exploit the limitations of the human visual system (HVS). This thesis proposes four algorithms that use the Discrete Wavelet Transform (DWT) for extracting visually significant information within the texture synthesis process.
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Hao, Chuan Yan. "Image completion based on texture regularity and texture synthesis." Thesis, University of Macau, 2008. http://umaclib3.umac.mo/record=b1940411.
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Byrne, James. "Texture synthesis for image compression." Thesis, University of Bristol, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.574259.
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Still image compression methods have changed little over the last ten years. Mean- while, the quantity of content transmitted over limited bandwidth channels has increased dramatically. The currently available methods are content agnostic: that I is they use the same compression process independent of the content at any given spatial location. Region specific coding provides one possible route to increased compression performance. Texture regions in particular are usually not conceptually important to a viewer of an image, but the high frequency nature of such regions consumes many bits when encoding. Texture synthesis is the process of generating textures from a sample or parameter set, and thus if these texture regions can be encoded by spec- ifying texture synthesis at the decoder, it may be possible to save large amounts of data, without detriment to the decoded image quality. This thesis presents a number of adaptations to the Graphcut patch based texture synthesis method, to make it suitable for constrained synthesis of texture regions in natural images. This includes a colour matching process to account for luminance and chrominance changes over the texture region, and a modification to allow constrained synthesis of an arbitrarily shaped region. This architecture is then integrated into two complete image compression by synthesis systems based on JPEG and JPEG2000 respectively. In each case the image is segmented, anal- ysed and synthesis occurs at the decoder to fill in removed texture regions. In the system based on JPEG2000 a feedback loop is included which makes some assess- ment of the quality of the synthesis at the encoder in order to adapt the synthesis parameters to improve the result quality, or to skip synthesis entirely if deemed necessary. The results of these systems show some promise in that substantial savings can be made over transform coded images coded at the same Q value as the residual image. However it is observed that synthesis can be detrimental to the quality of the image in comparison to an equivalent traditionally coded image at the same bitrate. Two methods of texture orientation analysis for non-homogeneous textures are presented. One of these in particular produces a good assessment of the texture orientation. This method uses a Steerable Pyramid transform to analyse the orientations. Then, two methods of sample selection and synthesis using the analysed texture orientation are presented. These methods aim to recreate the original texture's orientation variation from a smaller texture sample and the orientation map. The best of these methods selects one or more samples containing multiple orientations and selects texture patches appropriately oriented to the current location of synthesis.
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Dong, Junyu. "Three-dimensional surface texture synthesis." Thesis, Heriot-Watt University, 2003. http://hdl.handle.net/10399/427.
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Tasse, Flora Ponjou. "Distributed texture-based terrain synthesis." Master's thesis, University of Cape Town, 2011. http://hdl.handle.net/11427/10910.
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Terrain synthesis is an important field of Computer Graphics that deals with the generation of 3D landscape models for use in virtual environments. The field has evolved to a stage where large and even infinite landscapes can be generated in realtime. However, user control of the generation process is still minimal, as well as the creation of virtual landscapes that mimic real terrain. This thesis investigates the use of texture synthesis techniques on real landscapes to improve realism and the use of sketch-based interfaces to enable intuitive user control.
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Galerne, Bruno. "Stochastic image models and texture synthesis." Phd thesis, École normale supérieure de Cachan - ENS Cachan, 2010. http://tel.archives-ouvertes.fr/tel-00595283.
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Cette thèse est une étude de modèles d'image aléatoires avec des applications en synthèse de texture.Dans la première partie de la thèse, des algorithmes de synthèse de texture basés sur le modèle shot noise sont développés. Dans le cadre discret, deux processus aléatoires, à savoir le shot noise discret asymptotique et le bruit à phase aléatoire, sont étudiés. On élabore ensuite un algorithme rapide de synthèse de texture basé sur ces processus. De nombreuses expériences démontrent que cet algorithme permet de reproduire une certaine classe de textures naturelles que l'on nomme micro-textures. Dans le cadre continu, la convergence gaussienne des modèles shot noise est étudiée d'avantage et de nouvelles bornes pour la vitesse de cette convergence sont établies. Enfin, on présente un nouvel algorithme de synthèse de texture procédurale par l'exemple basé sur le récent modèle Gabor noise. Cet algorithme permet de calculer automatiquement un modèle procédural représentant des micro-textures naturelles.La deuxième partie de la thèse est consacrée à l'étude du processus feuilles mortes transparentes (FMT), un nouveau modèle germes-grains obtenu en superposant des objets semi-transparents. Le résultat principal de cette partie montre que, lorsque la transparence des objets varie, le processus FMT fournit une famille de modèles variant du modèle feuilles mortes à un champ gaussien. Dans la troisième partie de la thèse, les champs aléatoires à variation bornés sont étudiés et on établit des résultats généraux sur le calcul de la variation totale moyenne de ces champs. En particulier, ces résultats généraux permettent de calculer le périmètre moyen des ensembles aléatoires et de calculer explicitement la variation totale moyenne des modèles germes-grains classiques.
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Li, Chan Yi. "Texture synthesis based on texton masks." Thesis, University of Macau, 2005. http://umaclib3.umac.mo/record=b1636981.
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Schodl, Arno. "Multi-dimensional exemplar-based texture synthesis." Diss., Georgia Institute of Technology, 2002. http://hdl.handle.net/1853/9166.
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Shet, Rupesh N. "Transform domain texture synthesis on surfaces." Thesis, Loughborough University, 2008. https://dspace.lboro.ac.uk/2134/14466.
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In the recent past application areas such as virtual reality experiences, digital cinema and computer gamings have resulted in a renewed interest in advanced research topics in computer graphics. Although many research challenges in computer graphics have been met due to worldwide efforts, many more are yet to be met. Two key challenges which still remain open research problems are, the lack of perfect realism in animated/virtually-created objects when represented in graphical format and the need for the transmissiim/storage/exchange of a massive amount of information in between remote locations, when 3D computer generated objects are used in remote visualisations. These challenges call for further research to be focused in the above directions. Though a significant amount of ideas have been proposed by the international research community in their effort to meet the above challenges, the ideas still suffer from excessive complexity related issues resulting in high processing times and their practical inapplicability when bandwidth constraint transmission mediums are used or when the storage space or computational power of the display device is limited. In the proposed work we investigate the appropriate use of geometric representations of 3D structure (e.g. Bezier surface, NURBS, polygons) and multi-resolution, progressive representation of texture on such surfaces. This joint approach to texture synthesis has not been considered before and has significant potential in resolving current challenges in virtual realism, digital cinema and computer gaming industry. The main focus of the novel approaches that are proposed in this thesis is performing photo-realistic texture synthesis on surfaces. We have provided experimental results and detailed analysis to prove that the proposed algorithms allow fast, progressive building of texture on arbitrarily shaped 3D surfaces. In particular we investigate the above ideas in association with Bezier patch representation of 3D objects, an approach which has not been considered so far by any published world wide research effort, yet has flexibility of utmost practical importance. Further we have discussed the novel application domains that can be served by the inclusion of additional functionality within the proposed algorithms.
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Caracalla, Hugo. "Sound texture synthesis from summary statistics." Electronic Thesis or Diss., Sorbonne université, 2019. http://www.theses.fr/2019SORUS676.
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Les textures sonores sont une catégorie de sons incluant le bruit de la pluie, le brouhaha d’une foule ou les pépiements d’un groupe d’oiseaux. Tous ces sons contiennent une part d’imprévisibilité qui n’est habituellement pas recherchée en synthèse sonore, et rend ainsi indispensable l’utilisation d’algorithmes dédiés. Cependant, la grande diversité de leurs propriétés complique la création d’un algorithme capable de synthétiser un large panel de textures. Cette thèse s’intéresse à la synthèse paramétrique de textures sonores. Dans ce paradigme, un ensemble de statistiques sont extraites d’une texture cible et progressivement imposées sur un bruit blanc. Si l’ensemble de statistiques est pertinent, le bruit blanc est alors modifié jusqu’à ressembler à la cible, donnant l’illusion d’avoir été enregistré quelques instants après. Dans un premier temps, nous proposons l’amélioration d’une méthode paramétrique basée sur des statistiques perceptuelles. Cette amélioration vise à améliorer la synthèse d’évènements à forte attaque ou singuliers en modifiant et simplifiant le processus d’imposition. Dans un second temps, nous adaptons une méthode paramétrique de synthèse de textures visuelles basée sur des statistiques extraites par un réseau de neurones convolutifs (CNN) afin de l’utiliser sur des textures sonores. Nous modifions l’ensemble de statistiques utilisées afin de mieux correspondre aux propriétés des signaux sonores, changeons l’architecture du CNN pour l’adapter aux événements présents dans les textures sonores et utilisons une représentation temps-fréquence prenant en compte à la fois amplitude et phaseSound textures are a wide class of sounds that includes the sound of the rain falling, the hubbub of a crowd and the chirping of flocks of birds. All these sounds present an element of unpredictability which is not commonly sought after in sound synthesis, requiring the use of dedicated algorithms. However, the diverse audio properties of sound textures make the designing of an algorithm able to convincingly recreate varied textures a complex task. This thesis focuses on parametric sound texture synthesis. In this paradigm, a set of summary statistics are extracted from a target texture and iteratively imposed onto a white noise. If the set of statistics is appropriate, the white noise is modified until it resemble the target, sounding as if it had been recorded moments later. In a first part, we propose improvements to perceptual-based parametric method. These improvements aim at making its synthesis of sharp and salient events by mainly altering and simplifying its imposition process. In a second, we adapt a parametric visual texture synthesis method based statistics extracted by a Convolutional Neural Networks (CNN) to work on sound textures. We modify the computation of its statistics to fit the properties of sound signals, alter the architecture of the CNN to best fit audio elements present in sound textures and use a time-frequency representation taking both magnitude and phase into account
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Kanjanapinyowong, Natthaporn. "Le Débat National sur la Transition Énergétique en France (2013) : analyse discursive et textuelle." Thesis, Paris Est, 2019. http://www.theses.fr/2019PESC0005/document.
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En raison du changement climatique, le monde doit de plus en plus faire face aux urgences environnementales. Plusieurs questions écologiques, notamment énergétiques, surgissent globalement d’une manière préoccupante et impose dans les esprits la nécessité d’une « transition énergétique » comme solution. Cette transition implique des changements économiques, politiques et sociétaux n’engagent plus la seule responsabilité gouvernementale. Et c’est au nom de ce principe que les autorités ont appelé tout à chacun à se prononcer sur ces questions lors du Débat National sur la Transition Énergétique (DNTE) en France en 2013. L’objectif principal de cette thèse est d’exposer les spécificités discursives et textuelles de ce débat national, depuis son origine jusqu’à son aboutissement présenté sous forme de synthèse. En situant dans le cadre théorique de l’analyse du discours, ce travail recourt à diverses approches : historique, communicationnelle, socio-politique et linguistique. Il entend en particulier décrire la fabrication des synthèses de ce débat et leur dimension textuelle pour à la fois rendre compte des caractéristiques propres du DNTE et son issue, laquelle devant permettre en principe au gouvernement de délibérer et décider sur des politiques à adopterDue to climate change, the world is experiencing numerous environmental problems, which are in urgent need of solutions. Among the major ecological concerns being discussed globally are energy-related problems. The "energy transition" is known as an effective solution to such a situation. This implies the economic, political and societal changes that the government is no longer solely responsible for this global issue. In France, everyone is called upon to take a stand as evidenced by the National Debate on Energy Transition (DNTE) in 2013. The main objective of this thesis is to demonstrate the discursive and textual specificities of this national debate, from its origin to its completion presented in the form of synthesis. Within the theoretical framework of the French discourse analysis, this thesis combines historical, communicational, socio-political and linguistic approaches to analyze the debate. It focuses particularly on describing the production of the synthesis of this debate and their textual dimension in order to show the specific characteristics of the DNTE as well as its result which allows the government to deliberate and decide on the policies to adopt
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Hansson, Malin. "Expanding textural expressions of synthetic non-woven." Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-23898.
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This degree work places itself in the field of textile design within printing and surface design. The primary motive is to explore methods of designing textural expressions of a non-woven polyester fabric which combine relief and printing techniques in order to design textiles with three-dimensional properties. The work explores possibilities on how to bring an aesthetic expression into a synthetic non-woven inlay fabric by using screen print, sublimation print and relief moulding towards an interior context. The purpose is to take advantage of the technical properties such as expansion, softness and stiffness of a non-woven polyester fabric into the design work. The design method consisted of a material-based pre-study to gain knowledge about non-woven materials and their reactions to heat, moulding possibilities and printing options. Further developments were done through workshops that explored frottage as design inspiration for final designs and gradations with halftones as a colouring method. The outcome of this degree work resulted in a collection of three textile pieces; a wall covering, a room divider and a sound absorber that are seen as prototypes for further development on how to give synthetic non-woven textiles an alternative aesthetic expression.
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Peterson, Philip Ray. "A genetic engineering approach to texture synthesis." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq24222.pdf.
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Blot, Lilian. "Texture analysis and synthesis : applications in mammography." Thesis, University of East Anglia, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.396607.
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Ferraris, Jonathan William. "Real-time transition texture synthesis for terrains." Thesis, Bournemouth University, 2014. http://eprints.bournemouth.ac.uk/22508/.
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Depicting the transitions where differing material textures meet on a terrain surface presents a particularly unique set of challenges in the field of real-time rendering. Natural landscapes are inherently irregular and composed of complex interactions between many different material types of effectively endless detail and variation. Although consumer grade graphics hardware is becoming ever increasingly powerful with each successive generation, terrain texturing remains a trade-off between realism and the computational resources available. Technological constraints aside, there is still the challenge of generating the texture resources to represent terrain surfaces which can often span many hundreds or even thousands of square kilometres. To produce such textures by hand is often impractical when operating on a restricted budget of time and funding. This thesis presents two novel algorithms for generating texture transitions in realtime using automated processes. The first algorithm, Feature-Based Probability Blending (FBPB), automates the task of generating transitions between material textures containing salient features. As such features protrude through the terrain surface FBPB ensures that the topography of these features is maintained at transitions in a realistic manner. The transitions themselves are generated using a probabilistic process that also dynamically adds wear and tear to introduce high frequency detail and irregularity at the transition contour. The second algorithm, Dynamic Patch Transitions (DPT), extends FBPB by applying the probabilistic transition approach to material textures that contain no salient features. By breaking up texture space into a series of layered patches that are either rendered or discarded on a probabilistic basis, the contour of the transition is greatly increased in resolution and irregularity. When used in conjunction with high frequency detail techniques, such as alpha masking, DPT is capable of producing endless, detailed, irregular transitions without the need for artistic input.
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Sorensen, Matthew J. "Real-time Image Enhancement Using Texture Synthesis." Diss., CLICK HERE for online access, 2004. http://contentdm.lib.byu.edu/ETD/image/etd595.pdf.
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Raad, cisa Lara. "Exemplar based texture synthesis : models and applications." Thesis, Université Paris-Saclay (ComUE), 2016. http://www.theses.fr/2016SACLN042/document.
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Cette thèse s’attaque au problème de la synthèse de texture par l’exemple en utilisant des modèles stochastiques locaux de patchs pour générer de nouvelles images. La synthèse de texture par l’exemple a pour but de générer à partir d’un échantillon de texture de nouvelles images qui sont perceptuellement équivalentes à celle de départ. Les méthodes peuvent se regrouper en deux catégories: les méthodes paramétriques et les non paramétriques à base de patchs. Le premier groupe a pour but de caractériser une image de texture à partir d’un ensemble de statistiques qui définissent un processus stochastique sous-jacent. Les résultats visuels de ces méthodes sont satisfaisants, mais seulement pour un groupe réduit de types de texture. La synthèse pour des images de textures ayant des structures très contrastées peut échouer. La deuxième catégorie d’algorithme découpe, puis recolle de manière consistante des voisinages locaux de l’image de départ pour générer de nouvelles configurations plausibles de ces voisinages (ou patchs). Les résultats visuels de ces méthodes sont impressionnants. Néanmoins, on observe souvent des répétitions verbatim de grandes parties de l’image d’entrée qui du coup peuvent être reproduites plusieurs fois. De plus, ces algorithmes peuvent diverger, reproduisant de façon itérative une partie de l’image de l’entrée en négligeant le reste. La première partie de cette thèse présente une approche combinant des idées des deux catégories de méthodes, sous le nom de synthèse localement Gaussienne. On préserve dans cette nouvelle méthode les aspects positifs de chaque approche: la capacité d’innover des méthodes paramétriques, et la capacité de générer des textures fortement structurées des méthodes non paramétriques à base de patchs. Pour ce faire, on construit un modèle Gaussien multidimensionnel des auto-similarités d’une image de texture. Ainsi, on obtient des résultats qui sont visuellement supérieurs à ceux obtenus avec les méthodes paramétriques et qui sont comparables à ceux obtenus avec les méthodes non-paramétriques à base de patchs tout en utilisant une paramétrization locale de l’image. La thèse s’attache aussi à résoudre une autre difficulté des méthodes à base de patchs: le choix de la taille du patch. Afin de réduire significativement cette dépendance, on propose une extension multi échelle de la méthode. Les méthodes à bases de patchs supposent une étape de recollement. En effet, les patchs de l’image synthétisée se superposent entre eux, il faut donc gérer le recollement dans ces zones. La première approche qu’on a considérée consiste à prendre en compte cette contrainte de superposition dans la modélisation des patchs. Les expériences montrent que cela est satisfaisant pour des images de textures périodiques ou pseudo-périodiques et qu’en conséquence l’étape de recollement peut être supprimée pour ces textures. Cependant, pour des images de textures plus complexes ce n’est pas le cas, ce qui nous a menée à suggérer une nouvelle méthode de recollement inspirée du transport optimal. Cette thèse conclut avec une étude complète de l’état de l’art en génération d’images de textures naturelles. L’étude que nous présentons montre que, malgré les progrès considérables des méthodes de synthèse à base d’exemples proposées dans la vaste littérature, et même en les combinant astucieusement, celles-ci sont encore incapables d’émuler des textures complexes et non stationnairesThis dissertation contributes to the problem of exemplar based texture synthesis by introducing the use of local Gaussian patch models to generate new texture images. Exemplar based texture synthesis is the process of generating, from an input texture sample, new texture images that are perceptually equivalent to the input. There are roughly two main categories of algorithms: the statistics based methods and the non parametric patch based methods. The first one aims to characterize a given texture sample by estimating a set of statistics which will define an underlying stochastic process. The results of this kind of methods are satisfying but only on a small group of textures, failing when important structures are visible in the input provided. The second category methods reorganize local neighborhoods from the input sample in a consistent way creating new texture images. These methods return impressive visual results. Nevertheless, they often yield verbatim copies of large parts of the input sample. Furthermore, they can diverge, starting to reproduce iteratively one part of the input sample and neglecting the rest of it, thus growing ``garbage''. In this thesis we propose a technique combining ideas from the statistic based methods and from the non parametric patch based methods. We call it the locally Gaussian method. The method keeps the positive aspects of both categories: the innovation capacity of the parametric methods and the ability to synthesize highly structured textures of the non parametric methods. To this aim, the self-similarities of a given input texture are modeled with conditional multivariate Gaussian distributions in the patch space. In general, the results that we obtain are visually superior to those obtained with statistic based methods while using local parametric models. On the other hand, our results are comparable to the visual results obtained with the non parametric patch based methods. This dissertation addresses another weakness of all patch based methods. They are strongly dependent on the patch size used, which is decided manually. It is therefore crucial to fix a correct patch size for each synthesis. Since texture images have, in general, details at different scales, we decided to extend the method to a multiscale approach which reduces the strong dependency of the method on the patch size. Patch based methods involve a stitching step. Indeed, the patches used for the synthesis process overlap each other. This overlap must be taken into account to avoid any transition artifact from patch to patch. Our first attempt to deal with it was to consider directly the overlap constraints in the local parametric model. The experiments show that for periodic and pseudo-periodic textures, considering these constraints in the parametrization is enough to avoid the stitching step. Nevertheless, for more complex textures it is not enough, and this led us to suggest a new stitching technique inspired by optimal transport and midway histogram equalization.This thesis ends with an extensive analysis of the generation of several natural textures. This study shows that, in spite of remarkable progress for local textures, the methods proposed in the extensive literature of exemplar based texture synthesis still are incapable of dealing with complex and non-stationary textures
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Kwatra, Vivek. "Example-based Rendering of Textural Phenomena." Diss., Georgia Institute of Technology, 2005. http://hdl.handle.net/1853/7214.
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This thesis explores synthesis by example as a paradigm for rendering real-world phenomena. In particular, phenomena that can be visually described as texture are considered. We exploit, for synthesis, the self-repeating nature of the visual elements constituting these texture exemplars. Techniques for unconstrained as well as constrained/controllable synthesis of both image and video textures are presented.
For unconstrained synthesis, we present two robust techniques that can perform spatio-temporal extension, editing, and merging of image as well as video textures. In one of these techniques, large patches of input texture are automatically aligned and seamless stitched with each other to generate realistic looking images and videos. The second technique is based on iterative optimization of a global energy function that measures the quality of the synthesized texture with respect to the given input exemplar.
We also present a technique for controllable texture synthesis. In particular, it allows for generation of motion-controlled texture animations that follow a specified flow field. Animations synthesized in this fashion maintain the structural properties like local shape, size, and orientation of the input texture even as they move according to the specified flow. We cast this problem into an optimization framework that tries to simultaneously satisfy the two (potentially competing) objectives of similarity to the input texture and consistency with the flow field. This optimization is a simple extension of the approach used for unconstrained texture synthesis.
A general framework for example-based synthesis and rendering is also presented. This framework provides a design space for constructing example-based rendering algorithms. The goal of such algorithms would be to use texture exemplars to render animations for which certain behavioral characteristics need to be controlled. Our motion-controlled texture synthesis technique is an instantiation of this framework where the characteristic being controlled is motion represented as a flow field.
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Patel, Daxaben. "Physical texture of synthetic crystalline polymers." Thesis, University of Reading, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.329326.
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Tran, Minh Tue. "Pixel and patch based texture synthesis using image segmentation." University of Western Australia. School of Computer Science and Software Engineering, 2010. http://theses.library.uwa.edu.au/adt-WU2010.0030.
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[Truncated abstract] Texture exists all around us and serves as an important visual cue for the human visual system. Captured within an image, we identify texture by its recognisable visual pattern. It carries extensive information and plays an important role in our interpretation of a visual scene. The subject of this thesis is texture synthesis, which is de ned as the creation of a new texture that shares the fundamental visual characteristics of an existing texture such that the new image and the original are perceptually similar. Textures are used in computer graphics, computer-aided design, image processing and visualisation to produce realistic recreations of what we see in the world. For example, the texture on an object communicates its shape and surface properties in a 3D scene. Humans can discriminate between two textures and decide on their similarity in an instant, yet, achieving this algorithmically is not a simple process. Textures range in complexity and developing an approach that consistently synthe- sises this immense range is a dfficult problem to solve and motivates this research. Typically, texture synthesis methods aim to replicate texture by transferring the recognisable repeated patterns from the sample texture to synthesised output. Feature transferal can be achieved by matching pixels or patches from the sample to the output. As a result, two main approaches, pixel-based and patch-based, have es- tablished themselves in the active eld of texture synthesis. This thesis contributes to the present knowledge by introducing two novel texture synthesis methods. Both methods use image segmentation to improve synthesis results. ... The sample is segmented and the boundaries of the middle patch are confined to follow segment boundaries. This prevents texture features from being cut o prematurely, a common artifact of patch-based results, and eliminates the need for patch boundary comparisons that most other patch- based synthesis methods employ. Since no user input is required, this method is simple and straight-forward to run. The tiling of pre-computed tile pairs allows outputs that are relatively large to the sample size to be generated quickly. Output results show great success for textures with stochastic and semi-stochastic clustered features but future work is needed to suit more highly structured textures. Lastly these two texture synthesis methods are applied to the areas of image restoration and image replacement. These two areas of image processing involve replacing parts of an image with synthesised texture and are often referred to as constrained texture synthesis. Images can contain a large amount of complex information, therefore replacing parts of an image while maintaining image fidelity is a difficult problem to solve. The texture synthesis approaches and constrained synthesis implementations proposed in this thesis achieve successful results comparable with present methods.
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Ierodiaconou, Stephen Paul. "Content based image compression using texture analysis and synthesis." Thesis, University of Bristol, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.539756.
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Alotaibi, Najm. "Image region completion by structure reconstruction and texture synthesis." Thesis, Aberystwyth University, 2009. http://hdl.handle.net/2160/cf086ea8-bc04-4dda-b12b-239b5cb1b9dd.
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In this thesis, we present a new image completion method that automates the filling in of holes left by the removal of undesired areas in images so that the final output image is visually plausible. The reconstruction of the hole is based on the assumption that regions, particularly in natural images, tend to be spatially continuous and are only separated by the hole and must therefore be linked. Therefore, our approach is based on first creating image structure (regions boundaries) in the hole and then propagating texture from surrounding areas constrained by this structure. Structure reconstruction is performed in order to preserve the global structure of the image, by creating regions in the hole with well defined boundaries such that they match the surroundings. The images are first segmented into homogeneous regions. The regions touching the hole are then relabelled based on their colour and spatial distances. Similar regions are then linked resulting in creating a new area in the hole that will be flood-filled and then synthesised to match the surrounding structure. This reconstructed image is then used for texture synthesis as a constraint. Our texture synthesis method proposes two modifications to the generic texture synthesis method and this includes a parallel synthesis order and an iterative synthesis scheme. The parallel synthesis, in which a pixel being synthesised is independent of other pixels during any given iteration and not affected by other previously synthesised pixels, helps reducing the directional bias caused by sequential scanning orders such as the raster scan. The iterative synthesis scheme allows global randomness which will progressively converge towards fine detailed texture. This scheme ensures that the created texture has sufficient, but not excessive, randomness and does not have replications of entire patches. As a result, the method is able to convert gradually the input image into plausibly synthesised image and to remove visible boundary artifacts. The combination of the image structure and texture synthesis methods results in having an image completion method that is capable of dealing with images with large holes that are surrounded by different types of structure and texture areas.
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Wilmer, Adam I. "A machine learning approach to texture analysis and synthesis." Thesis, University of Southampton, 2004. https://eprints.soton.ac.uk/259696/.
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Xu, Daoyi. "Texture analysis and synthesis using the multiresolution Fourier transform." Thesis, University of Warwick, 1994. http://wrap.warwick.ac.uk/107535/.
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In this thesis, a new frequency domain approach to analysis of texture is presented, in which both the statistical and structural aspects of the problem are combined in a unified framework, the Multiresolution Fourier Transform. (MFT). The analysis scheme consists of two main components: texture synthesis and texture segmentation. The synthesis method works by identifying, for pairs of texture ‘patches’ of a given size, the affine co-ordinate transformation which gives the best match between them. This allows the analysis to take account of the geometric warping which is typically found in images of natural textures. By variation of scale, using the MFT, it is possible to identify the scale of the texels giving the best results in the matching process. The technique has the potential to deal effectively with textures having varying amounts of structure and can be used both for segmentation and resynthesis of textures from a single prototype block. The texture segmentation makes use of the localisation properties of the MFT to detect texture boundaries using the MFT coefficient magnitudes, which incorporate both boundary and region information, in order to place texture boundaries accurately. A segmentation algorithm is described, starting with pre-smoothing to reduce texture fluctuations followed by an edge detection based on a Sobel operator to give an initial texture boundary estimate. Both boundary enhancement and region averaging are accomplished by adopting a 'link probability function’ to introduce dependence on neighbouring data, allowing the boundary to be refined successively to achieve segmentation. The method effectively uses the spatial consistency of boundary estimates at larger scales to propagate more reliable information across scales to improve the accuracy of the boundary estimate. Experimental results are presented for a number of synthetic and natural images having varying degrees of structural regularity and show the efficacy of the methods.
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Lee, Chung. "Sound texture synthesis using an enhanced overlap-add approach /." View abstract or full-text, 2008. http://library.ust.hk/cgi/db/thesis.pl?CSED%202008%20LEE.
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PASSOS, Vladimir Alves dos. "Bidimensional and tridimensional sample based synthesis of vectorial elements distribution patterns." Universidade Federal de Pernambuco, 2010. https://repositorio.ufpe.br/handle/123456789/2334.
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Previous issue date: 2010Conselho Nacional de Desenvolvimento Científico e Tecnológico
Nós apresentamos um método eficiente para síntese de padrões definidos como uma coleção de elementos vetoriais bidimensionais, a partir de uma amostra do padrão. Soluções recentes para este problema fazem uso de triangulação da entrada ou de medidas estatísticas da amostra para controlar o estágio de síntese. Nós propomos um método aplicável a texturas coloridas, desde regular até estocásticas, e que provê controle local sobre a densidade dos elementos. A amostra é segmentada em grupos de elementos similares e definimos uma nova métrica, que não ignora elementos isolados, para cálculo de distância entre vizinhanças de elementos, para comparar vizinhanças diferentes e incompletas. O laço principal de síntese consiste em um crescimento procedural, onde sementes são substituídas por referências a elementos da amostra, gerando novas sementes até que o espaço de síntese seja preenchido. Os resultados mostram a mesma qualidade visual de trabalhos anteriores, e resolvem padrões não abordados em trabalhos anteriores. Nós também mostramos que este método pode ser estendido para sintetizar padrões vetoriais sobre malhas poligonais
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Oborn, Jeremy Michael. "Time Reversed Smoke Simulation." BYU ScholarsArchive, 2017. https://scholarsarchive.byu.edu/etd/7218.
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Physics-based fluid simulation often produces unpredictable behavior that is difficult for artists to control. We present a new method for art directing smoke animation using time reversed simulation. Given a final fluid configuration, our method steps backward in time generating a sequence that, when played forward, is visually similar to traditional forward simulations. This will give artists better control by allowing them to start from any timestep of the simulation. We address a number of challenges associated with time reversal including generating a believable final configuration and reversing entropy.
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Armann, Marina. "Microstructural and textural development in synthetic rocksalt deformed in torsion /." Zürich : [s.n.], 2008. http://e-collection.ethbib.ethz.ch/show?type=diss&nr=17663.
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Clarke, Stuart J. "The analysis and synthesis of texture in sidescan sonar data." Thesis, Heriot-Watt University, 1992. http://hdl.handle.net/10399/791.
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Akl, Adib. "Analyse / synthèse de champs de tenseurs de structure : application à la synthèse d’images et de volumes texturés." Thesis, Bordeaux, 2016. http://www.theses.fr/2016BORD0009/document.
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Cette thèse s’inscrit dans le contexte de la synthèse d’images texturées. Dans l’objectif d’assurer une reproduction fidèle des motifs et des variations d’orientations d’une texture initiale, un algorithme de synthèse de texture à deux étapes « structure/texture » est proposé. Il s’agit, dans une première étape, de réaliser la synthèse d’une couche de structure caractérisant la géométrie de l’exemplaire et représentée par un champ de tenseurs de structure et, dans une deuxième étape, d’utiliser le champ de structure résultant pour contraindre la synthèse d’une couche de texture portant des variations plus locales. Une réduction du temps d’exécution est ensuite développée, fondée notamment sur l’utilisation de pyramides Gaussiennes et la parallélisation des calculs mis en oeuvre.Afin de démontrer la capacité de l’algorithme proposé à reproduire fidèlement l’aspect visuel des images texturées considérées, la méthode est testée sur une variété d’échantillons de texture et évaluée objectivement à l’aide de statistiques du 1er et du 2nd ordre du champ d’intensité et d’orientation. Les résultats obtenus sont de qualité supérieure ou équivalente à ceux obtenus par des algorithmes de la littérature. Un atout majeur de l’approche proposée est son aptitude à synthétiser des textures avec succès dans de nombreuses situations où les algorithmes existants ne parviennent pas à reproduire les motifs à grande échelle.L’approche de synthèse structure/texture proposée est étendue à la synthèse de texture couleur. La synthèse de texture 3D est ensuite abordée et, finalement, une extension à la synthèse de texture de forme spécifiée par une texture imposée est mise en oeuvre, montrant la capacité de l’approche à générer des textures de formes arbitraires en préservant les caractéristiques de la texture initialeThis work is a part of the texture synthesis context. Aiming to ensure a faithful reproduction of the patterns and variations of orientations of the input texture, a two-stage structure/texture synthesis algorithm is proposed. It consists of synthesizing the structure layer showing the geometry of the exemplar and represented by the structure tensor field in the first stage, and using the resulting tensor field to constrain the synthesis of the texture layer holding more local variations, in the second stage. An acceleration method based on the use of Gaussian pyramids and parallel computing is then developed.In order to demonstrate the ability of the proposed algorithm to faithfully reproduce the visual aspect of the considered textures, the method is tested on various texture samples and evaluated objectively using statistics of 1st and 2nd order of the intensity and orientation field. The obtained results are of better or equivalent quality than those obtained using the algorithms of the literature. A major advantage of the proposed approach is its capacity in successfully synthesizing textures in many situations where traditional algorithms fail to reproduce the large-scale patterns.The structure/texture synthesis approach is extended to color texture synthesis. 3D texture synthesis is then addressed and finally, an extension to the synthesis of specified form textures using an imposed texture is carried out, showing the capacity of the approach in generating textures of arbitrary forms while preserving the input texture characteristics
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Kersten, Stefan. "Statistical modelling and resynthesis of environmental texture sounds." Doctoral thesis, Universitat Pompeu Fabra, 2016. http://hdl.handle.net/10803/400395.
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Environmental texture sounds are an integral, though often overlooked, part of our daily life. They constitute those elements of our sounding environment that we tend to perceive subconsciously but which we miss when they are missing. Those sounds are also increasingly important for adding realism to virtual environments, from immersive artificial worlds through computer games to mobile augmented reality systems. This work spans the spectrum from data-driven stochastic sound synthesis methods to distributed virtual reality environments and their aesthetic and technological implications. We propose a framework for statistically modelling environmental texture sounds in different sparse signal representations. We explore three different instantiations of this framework, two of which constitute a novel way of representing texture sounds in a physically-inspired sparse statistical model and of estimating model parameters from recorded sound examples.Los sonidos texturales ambientales son parte integral de nuestra vida diaria, a pesar de que muchas veces pasen desapercibidos. Constituyen esos elementos de nuestro entorno sonoro que solemos percibir de manera subconsciente pero que extrañamos cuando desaparecen. Esos sonidos son también cada vez más importantes para añadir realismo a los ambientes virtuales, desde mundos artificiales de inmersión hasta sistemas móviles de realidad aumentada, pasando por juegos de ordenador. Este trabajo abarca todo el espectro desde métodos de síntesis de sonido estocásticos basados en datos hasta entornos distribuidos de realidad virtual, así como sus implicaciones estéticas y tecnológicas. Proponemos un marco para modelar estadísticamente sonidos ambientales texturales en diferentes representaciones sparse de señales. Exploramos tres diferentes instanciaciones de este marco, dos de las cuales constituyen una nueva manera de representar sonidos texturales en un modelo estadístico inspirado físicamente así como de estimar parámetros de modelo a partir de ejemplos de sonido grabados.
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Pinheiro, Jefferson Magalhães. "A procedural model for snake skin texture generation." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2017. http://hdl.handle.net/10183/171371.
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Existem milhares de espécies de serpentes no mundo, muitas com padrões distintos e intricados. Esta diversidade se torna um problema para usuários que precisam criar texturas de pele de serpente para aplicar em modelos 3D, pois a dificuldade em criar estes padrões complexos é considerável. Nós primeiramente propomos uma categorização de padrões de pele de serpentes levando em conta suas características visuais. Então apresentamos um modelo procedural capaz de sintetizar uma vasta gama de textura de padrões de pele de serpentes. O modelo usa processamento de imagem simples (tal como sintetizar bolinhas e listras) bem como autômatos celulares e geradores de ruído para criar texturas realistas para usar em renderizadores modernos. Nossos resultados mostram boa similaridade visual com pele de serpentes reais. As texturas resultantes podem ser usadas não apenas em computação gráfica, mas também em educação sobre serpentes e suas características visuais. Nós também realizamos testes com usuários para avaliar a usabilidade de nossa ferramenta. O escore da Escala de Usabilidade do Sistema foi de 85:8, sugerindo uma ferramenta de texturização altamente efetiva.There are thousands of snake species in the world, many with intricate and distinct skin patterns. This diversity becomes a problem for users who need to create snake skin textures to apply on 3D models, as the difficulty for creating such complex patterns is considerable. We first propose a categorization of snake skin patterns considering their visual characteristics. We then present a procedural model capable of synthesizing a wide range of texture skin patterns from snakes. The model uses simple image processing (such as synthesizing spots and stripes) as well as cellular automata and noise generators to create realistic textures for use in a modern renderer. Our results show good visual similarity with real skin found in snakes. The resulting textures can be used not only for computer graphics texturing, but also in education about snakes and their visual characteristics. We have also performed a user study to assess the usability of our tool. The score from the System Usability Scale was 85:8, suggesting a highly effective texturing tool.
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Hanzlíček, Jiří. "Dynamická prezentace fotografií s využitím hloubkové mapy." Master's thesis, Vysoké učení technické v Brně. Fakulta informačních technologií, 2019. http://www.nusl.cz/ntk/nusl-412567.
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This master's thesis focuses on the dynamic presentation of still photography using a depth map. This text presents an algorithm that describes the process of creating a spatial model which is used to render input photography so that the movement of virtual camera creates parallax effect due to depth in image. The thesis also presents an approach how to infill the missing data in the model. It is suggested that a guided texture synthesis is used for this problem by using rendering outputs of the model themselves as guides. Additional information in model allows the virtual camera to move more freely. The final result of the camera movement can be saved to simple video sequence which can be used for presenting the input photography.
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Guingo, Geoffrey. "Synthèse de texture dynamique sur objets déformables." Thesis, Université Grenoble Alpes (ComUE), 2019. http://www.theses.fr/2019GREAM053.
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Dans les mondes virtuels, l'apparence des objets mis en scène est un point crucial pour l'immersion de l'utilisateur. Afin d'approximer les relations lumière-matière, une manière communément mise en place est d’habiller les objets de la scène avec des textures. Afin d’aider les artistes dans le processus de création, des méthodes de synthèse et d'édition de texture ont vu le jour. Ces méthodes se différencient par les gammes de textures synthétisables, et notamment par la prise en compte des textures hétérogènes qui sont un réel défi. Ces textures sont composées de plusieurs régions aux contenus différents, dont la répartition est régie par une structure globale. Chacune des zones correspond à un matériau différent ayant une apparence et un comportement dynamique propre.Premièrement, nous proposons un modèle additif de textures statiques, permettant la synthèse à la volée de textures hétérogènes de tailles arbitraires à partir d'un exemple. Cette méthode comprend un modèle de bruit gaussien variant spatialement, ainsi qu'un mécanisme permettant la synchronisation avec une couche de structure. L’objectif est d’améliorer la variété de la synthèse tout en préservant des détails plausibles à petite échelle. Notre méthode se compose d'une phase d'analyse, composée d'un ensemble d'algorithmes permettant d'instancier les différentes couches à partir d'une image d'exemple, puis d'une étape de synthèse temps réel. Au moment de la synthèse, les deux couches sont générées indépendamment, synchronisées et ajoutées, en préservant la cohérence des détails même lorsque la couche de structure est déformée afin d'augmenter la variété.Dans un second temps, nous proposons une nouvelle approche pour modéliser et contrôler la déformation dynamique des textures, dont l'implantation dans le pipeline graphique standard reste simple. La déformation est modélisée à la résolution des pixels sous forme d'un warping dans le domaine paramétrique. Cela permet ainsi d'avoir un comportement différent pour chaque pixel, et donc dépendant du contenu de la texture. Le warping est défini localement et dynamiquement par une intégration en temps réel le long des lignes de flux d’un champ de vitesse pré-calculé, et peut être contrôlé par la déformation de la géométrie de la surface sous-jacente, par des paramètres d’environnement ou par édition interactive. Nous proposons de plus une méthode pour pré-calculer le champ de vitesse à partir d’une simple carte scalaire représentant des comportements dynamiques hétérogènes, ainsi qu’une solution pour gérer les problèmes d’échantillonnage survenant dans les zones sur-étirées lors de la déformationIn virtual worlds, the objects appearance is a crucial point for users immersion. In order to approximate light-matter relationships, a common way is to use textures. To help artists during the creative process, texture synthesis and texture editing methods have emerged. These methods are differentiated by the ranges of synthesizable textures, and especially by taking into account the heterogeneous textures. These textures are composed of several regions with different contents, whose distribution is lead by a global structure. Each of the zones corresponds to a different material having a specific appearance and dynamic behavior.First, we propose an additive model of static textures, allowing on-the-fly synthesis of heterogeneous textures of arbitrary sizes from an example. This method includes a spatially varying Gaussian noise pattern, as well as a mechanism for synchronization with a structure layer. The aim is to improve the variety of synthesis while preserving plausible small details. Our method consists of an analysis phase, composed of a set of algorithms for instantiating the different layers from an example image, then a real-time synthesis step. During synthesis, the two layers are independently generated, synchronized, and added, preserving details consistency even when the structure layer is deformed to increase variety.In a second step, we propose a new approach to model and control the dynamic deformation of textures, whose implementation in the standard graphical pipeline remains simple. The deformation is modeled at pixels resolution in the form of a warping in the parametric domain. Making possible to have a different behavior for each pixel, and thus depending of texture content. The warping is locally and dynamically defined by real-time integration along the flow lines of a pre-calculated velocity field, and can be controlled by the deformation of the underlying surface geometry, by parameters of environment or through interactive editing. In addition, we propose a method to pre-compute the velocity field from a simple scalar map representing heterogeneous dynamic behaviors, as well as a solution to handle sampling problems occurring in overstretched areas at the time. deformation
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Andrew, Ian Gregory. "Singing a new story: a composer's exploration of textual synthesis through composition." Thesis, 2016. http://hdl.handle.net/2440/99571.
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This submission for the degree of PhD at the Elder Conservatorium of Music, University of Adelaide, is a portfolio of nineteen original compositions supported by an explanatory exegesis. These compositions are grouped into three major works: 1. Winds and Waters – a 53-minute song cycle for four singers and orchestra, comprising 13 individual songs, including solos, duets and a central quartet. 2. Nor the Storms That Pass – a 16-minute collection of five overlapping works for advanced a capella S.A.T.B vocal ensemble or choir. 3. Vespers – a 30-minute large-scale, non-liturgical setting of the Roman-Catholic Vespers mass for symphonic orchestra, chorus and vocal soloists. This project explores the compositional techniques involved in the development and realisation of original narrative-driven works by synthesising existing textual material from various unrelated sources, authors, historical eras and geographical locations into new and cohesive works with a perceptible storyline that was not necessarily present or implicit in any of the pre-existing works. This is achieved through an examination of the cognitive processes by which humans infer missing information from a partially-defined narrative, and the subsequent exploration and application of compositional techniques and treatments of synthesised texts which exploit this knowledge to most effectively guide a listener’s perceptions of textual cohesion. The works in the portfolio serve as a practical example of the application of the techniques being explored. The exegesis aims to provide technical analysis and insight into the applied creative process. The complete project serves as an educational resource for composers, writers, academics and professionals who have an interest in creating new works from existing materials or in understanding some of the compositional techniques which may be used to progress a narrative, and includes over 100 minutes of musical examples via the portfolio of works. The study also contributes a large body of new vocal and choral works to the repertoire, including thirteen new Australian art-songs, five new Australian choral works and a large-scale work for orchestra and chorus.Thesis (Ph.D.) -- University of Adelaide, Elder Conservatorium of Music, 2016.
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Huang, Yen-Jie, and 黃彥傑. "Image Texture Synthesis Analysis." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/93774401715250694870.
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碩士國立臺灣師範大學
資訊教育學系
95
Texture is an important aspect of computer graphics, because it allows increasing the realism of images. The synthesis of textures is one of the better ways to create texture images of arbitrary size. However, it remains difficult to develop an algorithm that is both efficient and capable of generating high quality results. In this paper, we find out the algorithm of the research, implement algorithm make procedure that can use in fact, make image texture synthetic, and direct it against all kinds of texture like the complicated tone and simple tone,watch these perform efficiency and quality that production come out of algorithm. We use W-L algorithm to hand in separately. The fork compares all kinds of texture, the result formated out through these methods, their quality coming out in efficiency and production has anything different. Wei-Levoy algorithm is the algorithm of material very suitable for any shape generally formates, but he synthetic make material appeared to formate demonstrate sample after formating level and smooth, perform algorithm is it formate which texture does it produce to suitable, which fit for this algorithm of performing.
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Zheng-RuHo and 何政儒. "Low distortion texture mapping assisted by Texture Synthesis." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/62245602136856674338.
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碩士國立成功大學
資訊工程學系碩博士班
98
Nowadays the computer hardware with high capacity and efficiency has already been quite popular. The demand of the technology of texture mapping with its generalization and high-quality grows with each passing day whether in computer games, animations, films or 3D environment. Now we can simply use a mapping to build a relationship between 3D models and images with Maya and 3DSMax. After the researches that investigated the mapping quality and meaningful corresponding of characteristic were also published in succession. The focus of this thesis is that we hope to improve the distortion issues of texture mapping with the technology of texture synthesis. We also allow our users to choose the location where they would like to modify with simple tools. Then we can correct the location with bad texture mapping and assist the texture synthesis with our image data structure to get a better mapping result.
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Yuan-Chung, Shen. "Coherent Texture Synthesis for Photograph Relighting and Texture Transfer." 2006. http://www.cetd.com.tw/ec/thesisdetail.aspx?etdun=U0001-1907200615082800.
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Shen, Yuan-Chung, and 沈允中. "Coherent Texture Synthesis for Photograph Relighting and Texture Transfer." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/04069297563816756061.
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碩士國立臺灣大學
資訊工程學研究所
94
In this thesis, we present a texture synthesis method for realistic rendering without acquiring the actual reflectance properties. The method is based on the observation that many objects have texture repeatedly laid on different locations of their surface. These samples form a pretty sparse set of BTFs. Our goal is to extract the underlying texture from photographs of the object, and to transfer the texture to other objects under different illuminations. This method is very simple and provides pseudo-BTFs reflectance, using texture synthesis approaches. The input data is acquired directly from a few of photographs. These photographs contain appearances of the object with different lighting directions at a fixed viewpoint. We use Photometric Stereo to estimate the normal map and the unshaded image in preprocessing. Then, different texture points (texels) are recognized by their pixel values with neighborhood matching, using segmentation and labeling. Therefore, we can transfer the texture to another object and render it under different illumination conditions using these clustered texels.
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Yan, Chung-Ren, and 嚴崇仁. "Texture Synthesis for Stylized Rendering." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/55074522828875197370.
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博士國立成功大學
資訊工程學系碩博士班
97
In this thesis, we propose a new patch-based texture synthesis method. The core of the proposed method consists of two main components: 1) a feature-weighted similarity measurement to search for the best match and 2) a dynamically prioritized-based pixel re-synthesis to reduce discontinuity at the boundary of adjacent patches. Examples and experimental comparisons with other previous methods are demonstrated to verify the usefulness of our proposed method. In addition, we enhance the proposed method with a view warping technique to better synthesize non-frontal-parallel textures (NFPTs) that can not be synthesized well by traditional texture synthesis methods. Next, A non-photorealistic rendering (NPR) technique can help medical practitioners visualize anatomic models and illustrate them with different stylizations. This technique provides potentially useful rendering alternatives to conventional volume or surface rendering in medical visualization. Improved performance allows interactive visualization of anatomic models and adding stroke texture synthesis can enrich medical object illustrations. Finally, we introduce a novel technique to generate painterly art maps (PAM) for 3D non-photorealistic rendering. Our technique can automatically transfer brush stroke textures and color changes to 3D models from samples of a painted image. Therefore, the generation of stylized images or animation in the style of a given artwork can be achieved. This new approach works particularly well for a rich variety of brush strokes ranging from simple 1D and 2D line-art strokes to very complicated ones with significant variations in stroke characteristics. During the rendering or animation process, the coherence of brush stroke textures and color changes over 3D surfaces can be well maintained.
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Hsu, Chung-Chieh, and 徐崇傑. "A Manipulative Texture Synthesis Algorithm." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/82342753584868848747.
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碩士國立中興大學
資訊科學系所
94
The texture mapping technique has been applied widely in computer graphics community to increase the visual realism of the 3D scenes. Texture synthesis algorithms construct an output texture with an arbitrary resolution suitable to be applied in the texture mapping technique. As a consequence, the study of texture synthesis algorithms is an important research topic. In this thesis, we present a novel texture synthesis algorithm, the manipulative texture synthesis algorithm. The algorithm is based on the patch-based approach, and is able to generate various texture synthesis results. Our algorithm consists of three steps. First, we introduce the concept of the controllable field to manipulate the texture synthesis process. In particular, given an input texture, we analyze its features in terms of the direction, scale, and orientation, and then we generate three controllable fields corresponding to these features. Second, we generate a number of sample textures from the given input texture. Based on these sample textures, we construct a corresponding KD-Tree, allowing us to efficiently search the best matched sample texture for manipulative texture synthesis. During the sample texture generation, we also tune the parameter used to construct the nodes in the KD-Tree to make a balance between the quality of the synthesized result and the efficiency of the synthesis process. Finally, we execute our algorithm, which searches the best matched patch over the KD-Tree to produce a synthesized result. Experiment results show that our algorithm is able to synthesize textures containing direction, scale, and orientation features. In addition, the synthesized texture has visually plausible appearance that is similar to the input texture. The result is produced within a few seconds, due to sophisticated KD-Tree generation, which balances the texture quality and the texture generation. In conclusion, we propose a novel manipulative texture synthesis algorithm. To the best of our knowledge, we are the first to manipulate texture features in the direction, scale and the orientation, while our counterparts considered at most the features of direction and scale. Experimental results verify the feasibility of our algorithm in synthesizing textures with various features similar to the given input texture. Our algorithm can be applied to texture mapping to increase the realism of 3D scenes.
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Sung-HseinHsieh and 謝松憲. "Facial Expression Synthesis: Global Structure and Local Detailed Texture Syntheses Using Factor Analysis and GentleBoost Algorithm." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/99336278150889320419.
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碩士國立成功大學
資訊工程學系碩博士班
98
Nowadays, facial expression synthesis plays an important role in human-computer interaction. However, facial expression involves many factors. For example, non-rigid motion of facial features, wrinkles due to skin deformation, and illumination. In addition, different cultures and personalities make the same expression have a large variation (e.g., some people smile with their open mouth, but some with closed mouth). These factors make facial synthesis become a challenge task. Human face in generally is composed of two types of patches. One is visually invariant when changing facial expression, while the other one is variant. In this study, two types of patches are defined as expression-invariant patches and expression-variant patches, respectively. Facial expression synthesis system is dedicated to expression-variant patches, which can improve synthesis results. GentleBoost algorithm is proposed to automatically classify all patches as two types, which is the basis of our novel synthesis system. Our system is a two-step approach, global model step and local model step, which synthesize facial expression images with local detailed texture by constraining a global facial structure. First, facial expression types are clustered by a modified K-mean algorithm that the similarity measurement is based on the expression-variant patches. At global model step, factor analysis is applied for each facial expression type with the concept of combined space in order to find models the relationship between neutral expression and a specific facial expression. Then, global facial structure with a specific expression can be synthesized by the known relationship. At local model step, a Markov random field is used to synthesize local detailed textures, which are constrained by the global structure, in theses expression-variant patches. Experimental results show that our system can synthesize more detailed texture and more natural expression compared with other methods by applying the proposed two-step approach being dedicated to expression-variant patches. In addition, our synthesized results can contain virtual texture which can’t emerge in neutral input images such as teeth.
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Wu, Chang-Hsing, and 吳長興. "A Hybrid Based Texture Synthesis Approach." Thesis, 2002. http://ndltd.ncl.edu.tw/handle/93834110805871775950.
Full textAbstract:
碩士國立東華大學
資訊工程學系
90
We present a texture synthesis approach that works well for a wide variety of textures without any knowledge of their physical information processes, especially well-suit for natural textures. Our approach starts from a sample texture and generates a new texture of arbitrary size. The synthesized texture is similar to a given sample texture without changing the basic spatial frequencies of the input one. We also accelerate the synthesizing process using Approximate Nearest Neighbor technique. As the experimental results shown, the proposed approach is effective and efficient.
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Yang, Feng-Ming, and 楊豐銘. "Texture Synthesis on Surfaces using Clustering." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/5kpe9g.
Full textAbstract:
碩士國立臺北藝術大學
科技藝術研究所
93
In the last few years, texture synthesis techniques have been widely developed to improve visual effects in computer graphics related area. In this thesis we have designed and implemented two of these techniques. One is an improved texture synthesis technique in image processing, and the other is continual texture mapping applied to object surfaces. Our image texture synthesis method is based on structural model and efficiently provides the generated texture with a natural static composition. Further, the new method also provides the application of texture transfer process. The continual texture mapping is to paste a texture onto an object surface repeatedly. During the processing, we find a suitable mesh patch continually and parameterize these mesh patch until all meshes of object surfaces are done. Both our methods use only a source texture for sampling and synthesizing, and therefore just a little memory will be occupied for storing texture. After continual mapping process, we can get a set of texture coordinates corresponding to object surface and append the set of texture coordinates to the original object file. The original data of object surface are preserved to increase efficiency and flexibility on other applications. Through the association of geometric and texture coordinates, the rendering process has real-time performance.
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Cheng, Nai-chia, and 鄭乃嘉. "Video Completion Using Dynamic Texture Synthesis." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/21049752280332289000.
Full textAbstract:
碩士國立中正大學
資訊工程所
96
Video inpainting or completion methods are more and more popular in recent years. Most methods focus on handling occluded objects and often assume the backgrounds are still textures. Our work desires to deal with dynamic-texture backgrounds by dynamic texture synthesis method. However, applying dynamic texture synthesis method to video completion must consider two issues which are temporal coherence and spatial coherence. Before handling these issues, the video sequence is segmented into backgrounds and foregrounds by interactive object segmentation. And we propose merging the foreground masks in each sub-sequence. This can make easily collect corresponding data to train and synthesize. For these incoherent issues, first, we propose reverse training method to solve the temporal incoherent transition in dynamic texture synthesis processing. Second, the linear weighting blurring method is proposed to smooth the temporal corresponding regions form synthesized to original data. Third, we propose the exponential weighting blurring method to handle the spatial incoherent boundaries smoothing between synthesized and original data. We also utilize the coordinate system to deal with the case of moving camera. However, the motion can’t be perfect and it will cause the ghost-shadow artifacts. For the case of moving camera, we drop the linear weighting blurring method in temporal corresponding regions and utilize a merging the entire past foreground masks to eliminate the ghost-shadow artifacts.
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Chen, Jhih-Rong, and 陳之容. "Texture Synthesis Using Data Mining Technique." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/48354363991458229077.
Full textAbstract:
碩士國立東華大學
資訊工程學系
92
We present a new texture synthesis algorithm, which combines texture synthesis with data mining technique. And our approach works well for many types of textures without any knowledge of their physical information process. Our approach first analyzes input texture to construct patch candidate data, and then we use this data to find frequent pattern sequences for synthesis results by using data mining technique─Sequential Pattern Mining.
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Li, Chun-hsien, and 李俊賢. "Texture Synthesis by Patch-Based Sampling." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/70665664954747916389.
Full textAbstract:
碩士義守大學
資訊工程學系碩士班
95
This thesis presents a new method for texture analysis, and also discusses how to increase a texture block-size during the synthesis process. In order to understand the distribution property of textures, each sample is filtered by Sobel filter. Then we sketch the vertical-projection, horizontal-projection and gray-level histogram. To capture the directional information of textures, the directional diagram is also sketched. The regularity, symmetry, edge characteristic and directionality are then determined for texture synthesis. Using a small block-size sample to compose a synthetic texture usually results apparent edges. This problem can be improved by starting the synthetic process from a larger sample that can be composed by small samples. Experimental results indicate that the proposed method is very efficient for texture synthesis and hole-filling.
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Tsung-HueiHuang and 黃琮徽. "Directional Texture Synthesis on 3D Surface." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/59598481209818807229.
Full textAbstract:
碩士國立成功大學
資訊工程學系碩博士班
99
More and more 3D technique are used in our life. The quality of texture and model are the most obvious for visibility. We introduce a texture method that automatic synthesis the texture with high repeated and strong structural according to the vector field on 3D surface. User can simple sketch the direction line they want on the surface, and program generates the vector field for the whole model, finally, synthesis the texture form the vector field. This method save the time and reduce the repeated step for user.