Pencil Sketches Research Articles

Evaluation of a novel method for teaching drawing of histology diagrams to first year MBBS students.

Background The challenge faced by an undergraduate medical student to draw factually correct histology diagrams needs to be addressed by the use of innovative teaching strategies. We introduced a new method to teach drawing of histology diagrams and compared its outcome with two preexisting methods. We obtained feedback from the students and faculty. Methods We introduced an innovation (method 3): A validated hand-drawn pencil sketch of a histology diagram was provided to the students. Students drew on the pencil sketch with haematoxylin and eosin (H&E) pencils and coloured it. They then drew the same diagram afresh. Three diagrams of systemic histology were chosen and the evaluation criteria shared with students. The students drew all three diagrams once, each by a different method. The scores of method 3 were compared with the other two methods, copying from standard atlas (method 1) and from hand-drawn colour chart made by teacher (method 2). Feedback was sought from students and faculty by means of a google form. Results A total of 112 students (of 167 who volunteered) completed the study. The mean (SD) score obtained by method 3 (4.83 [0.298]) was higher than the mean score by method 1 (3.91 [0.95]) and method 2 (4.82 [0.27]). There was a statistically significant difference between method 3 and method 1 (p<0.01), and method 2 and method 1 (p<0.01). However, the difference in scores between methods 3 and 2 was not statistically significant (p>0.05). Conclusion We found method 3 (the innovation) to be better than one of the pre-existing methods (method 1) but not better than method 2. The quality of diagrams produced by methods 2 and 3 were better than those by method 1, and equally so. The ease of drawing and time taken to draw were the best for method 2. Hence, overall, method 2 may be adjudged the best method.

Художественно-образные зарисовки Л.М. Поздеевой из экспедиций с Н.И. Воробьевым

The article analyses expedition sketches of professional artist Lyudmila Mikhailovna Pozdeeva from the collections of the National Museum of the Republic of Tatarstan and the “Miraskhane” Written Heritage Center of G. Ibragimov Institute of Language, Literature and Art of the Republic of Tatarstan Academy of Sciences, which were made by the master during the expeditions of 1926 and 1927 under the leadership of N. I. Vorobyev. Costume complexes of Tatars of different subethnic and ethnographic groups are analysed. Particular attention is paid to the scientific component of L. M. Pozdeeva’s work, the consistency of the sketches to written sources, museum materials and expedition photographs. The author of the article identified nine watercolours and one graphite pencil sketch, which depict the clothes of men and women of different ages. The pieces were made in the Chelny, Chistopol, Sviyazhsk, and Tetyush cantons, in settlements such as Nizhneye Bishevo, Kainly, Akbulatovo, Stary Tatarsky Adam, Molkeevo, Stary Kurbash, and Bakorchi (Bakrchi). Some images are duplicated by photographs, which became the visual accompaniment to the texts of N.I. Vorobyev’s academic publications. The sketches by L.M. Pozdeeva found by the author of the article fully correspond to the photographic images, which is evidence of the precise reproduction of what she saw during the expeditions. The artist chose different angles of the characters in national clothing, thereby creating not just an ethnographic copy, but an artistic image.

Penciling: An Anonymization Method for Social Media Images

Penciling, a technique used to anonymize images for both human and machine vision, offers an opportunity to reduce technical traceability and retain visual data for online and social media research contexts. Drawing on methods for creating composite narrative and visual accounts to preserve participant anonymity, penciling enables researchers to edit images across a spectrum from photo-like quality to pencil sketch dependent on their ethical and methodological needs. Further, penciling reduces recognition to the naked eye and renders the image completely unrecognizable to search engine queries. We describe tested procedures for employing penciling and address benefits and challenges of the technique.

Using genetic algorithm for drawing path planning in a robotic arm pencil sketching system

The purpose of this study is to implement a robotic arm pencil sketching system through a novel drawing path planning method. Firstly, to enhance the craftsmanship and uniqueness of the artwork, the original image is transformed into an animated style using AnimeGANv2. After image processing, the image is divided into boundary and background layers for drawing path planning. In the realm of path planning, traditional methods often involve manual path design by artists, and only recently have automated path planning methods been proposed. However, these recent approaches still have some limitations. For instance, a pursuit of efficiency can lead to overly uniform strokes, making the artwork resemble a print rather than a genuine piece of art. Therefore, this study introduces a new path-planning approach based on the traveling salesman problem (TSP), utilising various algorithms for path-planning experiments. Different stroke effects generated by distinct algorithms are applied to appropriate areas. The aim is to let the generated artworks exhibit the technological appeal of algorithms while retaining the distinctive characteristics of pencil sketches. For robotic arm control, a force sensor is integrated onto the arm, and a proportional-integral-derivative (PID) controller is employed to monitor and precisely control the drawing force. Experimental results demonstrate that artworks created using genetic algorithms to generate drawing paths exhibit distinct colour-layering effects, emphasising the characteristics of pencil strokes. In comparison with previous methods, this approach effectively addresses the issue of overly uniform and rigid strokes in past techniques.

Printing paper-derived ultralight and highly sensitive E-skin for health monitoring and information encryption

Simplified fabrication technology and excellent sensing performance are highly desired for the development of flexible and user-friendly wearable sensors. However, there is usually a trade-off between the simplicity of the fabrication technology and the sensing performance of the device. Recently, paper-based wearable sensors have attracted much attention due to their excellent flexibility, simplified preparation, and low cost etc. However, the pressure sensitivity of the paper-derived sensors is far from satisfactory. In this work, a strategy of pencil graphite frottage (PGF) is reported by employing sandpaper as template and a pencil sketch technique to achieve functional printing paper as pressure-sensitive layers for electronic skin (e-skin). As a result, the e-skin prepared by our PGF technique shows excellent reproducibility and pressure sensing performance, including a maximum sensitivity of 7202.2 kPa−1, a fast response time of 25.0 ms, and an excellent durability over 20,000 loading/unloading cycles, and high ambient stability (> 6 months). For application demonstration, the e-skins are applied to monitor human wrist pulses, acoustical vibration and information encryption. Furthermore, pressure sensing arrays are developed and employed to map the spatial pressure distribution, indicating potential application in intelligent robots and prosthetics. It is believed that the fabrication strategies proposed in this work can bring insight onto the other area of bionic e-skin and multifunctional sensor devices.

Торговая крепость «Великого советника»: караван-сараи средневекового Карасу

This article generalizes and systematises the experience of studying mediaeval caravanserais in Karasubazar, with the ruined site of one structure located on the territory of the modern city of Belogorsk (Republic of the Crimea). Various groups of historical sources have been used, with considerable attention to the journals of numerous travellers who visited the Crimean Peninsula (P. S. Pallas, P. I. Sumarokov, F. Dubois de Montpereux, A. N. Demidov, etc.). The earliest travelogue was written by Evliya Celebi. This Ottoman traveller observed the largest khan in the town (hereinafter referred to as the Upper Tash-khan, or Sefer Gazi-aga’s caravanserai) shortly after its significant reconstruction and strengthening, which was probably made with the view of the need to strengthen the defences of the town and its residents in the view of regular devastating raids of the Cossacks in the 1620–1630s. The widely used graphic sources, particularly the works by C. Bossoli made in the early 1840s, indicate that the buildings in question were abandoned and lost their former function. The analysis has been made of the works of K. F. Bogaevskii, whose sketches of Crimean antiquities made under the order from the KrymOKhRIS (Section / Sub-department / Committee for the Protection of the Monuments of Art, Antiquity, and People’s daily Life in the Crimea) reflected the preservation of the monuments in the mid-1920s with photographic accuracy. Pencil sketches by U. A. Bodaninskii have been used as well. A set of photographs from the collections of the Bakhchisarai Historical and Cultural Archaeological Museum Preserve, A. V. Shchusev State Scientific Research Museum of Architecture (Moscow), and Central Museum of Taurida (Simferopol) allowed the ones to reconstruct the appearance of the site in the 1920–1930s. The participation of academic institutions in the study of cultural heritage sites of Karasubazar in the first half of the twentieth century has been analysed, and the activities of the Central State Restoration Workshops which sent the architect B. N. Zasypkin to the Crimea have been considered. The main stages of the creation and functioning of the trading khans in the town under study have been characterized, and the architectural analysis has been done.

Joseph Bouet in the Durham criminal court (c.1825–1856): picturing nineteenth century courtroom actors. Part 1: lines of enquiry

ABSTRACT Between c.1825–1856, a French-born artist, Joseph Bouet, made approximately sixty pencil sketches of legal actors in the courtroom at Durham; including images of judges, lawyers, and defendants. Legal imagery from this period in North East England is rare and our research (presented in two parts) is the first detailed analysis of these sketches by legal scholars. This article introduces our preliminary analysis of Bouet’s sketches. We explore potential theoretical approaches and demonstrate that the images show the law in practice in a specific nineteenth century context. The value of our analysis is in revealing what the images tell us about legal institutions, the people who worked within them and the ‘objects/subjects’ of the law. The study makes an important contribution to socio-legal scholarship in demonstrating the value of such images as an underused source in legal historical research. The sketches are also the subject of a second article, Part 2 which presents three detailed case studies. The articles can be read as separate and independent pieces, but each benefit from being read in conjunction with the other.

Joseph Bouet in the Durham criminal court (c.1825–1856): picturing nineteenth century courtroom actors. Part 2: three case studies

ABSTRACT Between c.1825–1856, a French-born artist, Joseph Bouet, made approximately sixty pencil sketches in the criminal courtroom at Durham, of legal actors including judges, lawyers, and defendants. Our research is the first detailed analysis of these images by legal scholars. It is presented in two parts, which can be read as separate and independent pieces, but each gain from being read in conjunction with the other. In Part 1 of this series of two articles we discussed potential theoretical approaches to analysis of the images and their importance to socio-legal and legal historical scholarship (cross ref). In this Part 2, we explore Bouet’s courtroom sketches of legal actors as the rare and unusual starting point for a microhistorical analysis examining individual interaction(s) with the criminal justice process in the mid-nineteenth century. This article demonstrates that with detailed research these previously overlooked images can offer a unique window into aspects of nineteenth century legal history, with much to tell us about legal institutions, the people who worked within them and the ‘objects/subjects’ of the law. This study makes an important contribution to the growing body of scholarship on the interface between history, law and the visual.

Virtual Sketch Board with Computer Vision

Abstract: As a result, there was a need for a dust-free classroom for children. Thecolor marker then used is detected and mask is produced. It's been really tough to educate scholars on an online platform and make the assignment intriguing during the COVID- 19 epidemic. We're then now, using the ways of computer vision in open cv to make this design. The required language for this design is python due to its further total libraries and easy to make use of the syntax and but understanding the basics as well as it can be enforced in any open cv supported languages The colour shadowing and discovery processes are used to achieve the thing of this design. This program uses hand gestures to give druggies with an intuitive system of Human Computer Interaction( HCI). One multicolored object at the tip of the cutlet is substantially used as the marker. HCI's major thing is to ameliorate mortal- computer commerce. Virtual Sketch is in where we can draw by just landing the stir of a multicolored marker with a camera. corrosion makes the contaminations present in the mask to get reduced and Dilation further regains the eroded main mask. The coming way of morphological operations on the mask produced those are Erosion andDilation.Virtual sketching is a fashion that allows druggies to produce digital delineations or sketches that pretend the appearance of traditional pencil or essay sketches. This can be achieved using OpenCV, an open- source computer vision library, andPython.To produce a virtual sketch, the first step is to read in an image using OpenCV's imread() function. The image is also converted to grayscale using cvtColor() function. This grayscale image will be used as the base for creating thesketch.The coming step is to apply a Gaussian blur to the grayscale image using GaussianBlur() function to smooth out any noise or irregularities in the image. This is followed by using the Canny edge discovery algorithm with the Canny() function to descry the edges of theimage.The edges detected by the Canny algorithm are also thresholded using threshold() function to produce a double image where the edges are shown in white and the background isblack.Finally, to produce the sketch effect, the double image is reversed usingbitwise_not() function, and also the performing image is blended with the original grayscale image usingbitwise_and() function. This will give the appearance of a sketch, where the edges are emphasized and the background islighter.By combining these way, a virtual sketch can be created using OpenCV and Python.

Beachscape.

Philip Alexander, MD, is a native Texan, retired physician, and accomplished musician and artist. After 41 years as an internal medicine physician, Dr. Phil retired from his practice in College Station in 2016. A lifelong musician and former music professor, he often performs as an oboe soloist for the Brazos Valley Symphony Orchestra. He began exploring visual art in 1980, evolving from pencil sketches-including an official White House portrait of President Ronald Reagan-to the computer-generated drawings featured in this journal. His images, which first appeared in this journal in the spring of 2012, are his own original creations. If you would like to see your art published in the Methodist DeBakey Cardiovascular Journal, submit your creation online at journal.houstonmethodist.org as a "Humanities" entry.

The Glacier Views of Jean-Antoine Linck – A Milestone for the Mont Blanc Glacier History from the 18th to the 19th Century

Interdisciplinary approaches are needed to reconstruct the behaviour of glaciers beyond the beginning of systematic measurements. For example, historical documents have been used to reconstruct former glacier extents successfully at different sites, including in the well-documented Mont Blanc area that became popular since the mid-18th century among artists, scientists, and travellers. Jean-Antoine Linck from Geneva is probably the artist to whom we owe the greatest number of unique glacier views. Linck’s special preference were the ice regions, which he discovered and drew with alpinistic daring and naturalistic correctness, preferably by gouache, although many pencil sketches are preserved. Linck subtly used the etching technique to create easily reproducible plates in large format, which are then hand-coloured with gouache and watercolour. This technique allowed him to create numerous reproductions of the same view, while still giving them a unique and original aspect, views that are remarkable for their serenity and silence, while offering luminous atmospheres. These illustrations introduced the realistic representation of the high mountains into the iconography of Genevese painting and thus led to a new kind of landscape painting with a permanent character. From a perspective of glacier history and although many of his artworks are not exactly dated by the author, the work of Jean-Antoine Linck is indispensable since it represents the whole development, specifically of the Mer de Glace and the Glacier des Bossons, but also other glaciers during the period from the end of the 18th century until the 19th century glacier maximum around 1820. Linck’s work has the same importance for the Mont Blanc area as that of Caspar Wolf and Samuel Birmann for the central Swiss Alps or Thomas Ender for the Austrian Alps in terms of glacier iconography. Therefore, Linck was both an artist and a glacier historian.

Путешествие В. С. Голенищева в Египет осенью и зимой 1890–1891 гг. (новый архивный материал)

The publication presents a document preserved at the Archives of Vladimir Golenishchev in Paris (Centre Wladimir Golénischeff, École Pratique des Hautes Études). This is a report about the travel of the outstanding Russian Egyptologist Vladimir Golenishchev to Egypt that lasted from October 1890 to February 1891. It appears to be a preliminary version of a paper intended for submission to the Zapiski Vostochnogo otdeleniia Imperatorskogo Russkogo arkheologicheskogo obshchestva (Memoirs of the Oriental Department of the Imperial Russian Archaeological Society). The paper is kept in one file of red cardboard with pencil drafts, sketches and plans made by the Egyptologist during his travel. The report had not been published. It contains evidence about Golenishchev’s acquisitions for his collection (now at the Pushkin Museum of Fine Arts, Moscow; among the other things he purchased the papyri with the famous texts of Wenamun’s Voyage to Byblos and the Onomasticon of Amenemope), about the survey of archaeological monuments (most importantly, at the Kharga Oasis), about his new interpretations (the correct attribution of the so-called Hyksos sphinxes to Amenemhat III of Dynasty XII). Of special interest is the information about Golenishchev’s participation in the official reception in Egypt of the Russian heir apparent Nicholas Alexandrovich (future Emperor Nicholas II) and about some degree of tension between himself and the British officers in the Egyptian service, due to the contemporary confrontation of the Russian and the British Empire in the Great Game in the East.

Is virtual reality so user-friendly for non-designers in early design activities? Comparing skills needed to traditional sketching versus virtual reality sketching

Abstract Virtual reality (VR) sketching has many advantages for product design and tends to be more and more used among designers and non-designers (end-users). Nevertheless, few studies have focused on the skills needed to use VR sketching for non-designers especially VR novices in VR software. This study focuses on identifying the cognitive impact of VR sketching compared to traditional sketching on VR expert and VR novice in an experimental setting. Thirty-one participants composed of VR experts (N = 15) and VR novices (N = 16) completed a mental rotation test and then performed one traditional paper and pencil sketching task and two VR sketching tasks. We also measured the participants’ movements when using the VR sketching. Results show that VR experts perform better than VR novices in VR sketching because training is an essential element for the quality of traditional and VR sketching. Nevertheless, VR novices with previous training in traditional drawing and/or high mental rotation skills will be able to produce good-quality sketches. In addition, the results show that users moving more in the immersive environment performed better quality sketches if the drawing requires more complex shapes. Our results suggest that VR sketching can be complex to use for a part of the population that may be end-users, especially for those with little experience in traditional and VR sketching and with poor visuospatial abilities. We, therefore, advise to check the non-designers’ prior skills, otherwise, it will be necessary to train these users in VR sketching.

Aaru

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Mukhtar Masood as a Sketch Writer

The personal references and impressionist articles in Mukhtar Masood's works ‘‘Awaaz e Dost’‘ and ‘‘Harf e shoq’‘ have been viewed differently by critics. He has a diverse literary color in his prose. He also put the pencil sketch aside imagery and other prose with great skill. The explanation and responsibility of him is the main feature of the pencil sketch. He wrote less, but wrote well. Some call it insinuation; some call it biographies of eminent people and analysis of the past and the present. His writings include many sciences and arts such as history, economics, politics, psychology, Literature and theology are raised in one unit as a full training institution. Awaz e Dost,Harf e Shouq and specially in Safar Naseeb he has used a great skill of pencil sketch and perhaps the sketch is reached by the zenith. This article highlights the definition, comparison and the pencil sketch contained in Mukhtar Masood's prose

Improved Sketch-to-Photo Generation Using Filter Aided Generative Adversarial Network

Generating a photographic face image from given input sketch is most challenging task in computer vision. Mainly the sketches drawn by sketch artist used in human identification. Sketch to photo synthesis is very important applications in law enforcement as well as character design, educational training. In recent years Generative Adversarial Network (GAN) shows excellent performance on sketch to photo synthesis problem. Quality of hand drawn sketches affects the quality generated photo. It might be possible that while handling the hand drawn sketches, accidently by touching the user hand on pencil sketch or similar activities causes noise in given sketch. Likewise different styles like shading, darkness of pencil used by sketch artist may cause unnecessary noise in sketches. In recent year many sketches to photo synthesis methods are proposed, but they are mainly focused on network architecture to get better performance. In this paper we proposed Filter-aided GAN framework to remove such noise while synthesizing photo images from hand drawn sketches. Here we implement and compare different filtering methods with GAN. Quantitative and qualitative result shows that proposed Filter-aided GAN generate the photo images which are visually pleasant and closer to ground truth image.

Sketch-Based Modeling in Mechanical Engineering Design: Current Status and Opportunities

Sketch-Based Modeling (SBM) is a field of study that focuses on the automatic creation of 3D models from freehand drawings. Today, two related branches coexist: one aimed at facilitating input for 3D content creation, and the other aimed at routing engineering designs into CAD/CAM/CAE. The latter is the goal of this position paper. Early attempts concentrated on the problem of line-drawing interpretation , but efforts switched toward geometric reconstruction as the “inverse projection” problem became the most challenging step to produce 3D models from 2D line-drawings. The term SBM was popularized when sketches began to displace line-drawings as main input. In the context of engineering design, interest in SBM has somewhat decreased, as studies have shown that current SBM tools are not as usable as paper and pencil sketches, nor do they yet provide any additional value to traditional media. Furthermore, engineers feel reasonably comfortable with current Mechanical CAD (MCAD) paradigms based on parametric modeling, and fail to recognize the potential benefits of interacting with computers via sketches. However, new technological trends such as personal fabrication and the democratization of CAD and manufacturing can significantly benefit from improved SBM tools. In this paper, we conduct a meta-review of the SBM literature which we view as a combination of three elements: geometry (shape), psychology (perception), and engineering (function). We advocate for a new approach to SBM based on reformulating the weights of these elements as an approach for searching the set of intentions in sketches conveyed through cues which, when perceived, reveal regularities and features of the object. Finally, we consider quality of CAD models not just as error-free models, reusable models, or even models that convey design intent, but models that consider these interrelated aspects as a whole. B-Rep models produced by current SBM approaches are “dumb models” without parametrization or procedures required to enable reusability and ensure that the design intent of the sketch is properly conveyed. We advocate for improved analysis approaches aimed at revealing higher-level design information embedded in engineering sketches, as a critical stage to generate richer 3D MCAD models. • A review of Sketch-Based Modeling (SBM) for Engineering Design is provided. • Two different branches of SBM research coexist: one geared toward “artistic” purposes and the other governed by “engineering” principles. • The two branches must be studied separately, because of the fundamentally different goals of artistic vs. engineering sketches and the different nature of the 3D models that must be generated. • While the automatic conversion of artistic sketches into 3D models has made significant progress in recent years, the problem of producing CAD models with controllable, semantic, and parametric solid geometry has not yielded significant contributions to the scholarly literature. • Future opportunities, research directions, and recommendations on SBM approaches for engineering design are discussed.

Contemporary Advertising Text Art Design and Effect Evaluation by IoT Deep Learning under the Smart City

This work intends to solve the problem that the current artistic typeface generation methods rely too much on manual intervention, lack novelty, and the single font local feature and the global feature extraction method cannot fully describe the font features. Firstly, it proposes a handwritten word recognition model based on generalized search trees (GIST) and the pyramid histogram of oriented gradient (PHOG). The local features and global features of the font are fused. Secondly, a model of automatic artistic typeface generation based on generative adversarial networks (GAN) is constructed, which can use hand-drawn fonts to automatically generate artistic typefaces in the desired style through training as needed. Finally, the generation of the huaniao typeface is used as an example. By constructing the dataset, the effectiveness of the two models is verified. The experimental results show the following: (1) The proposed handwritten character recognition model based on GIST and PHOG has a higher recognition rate of different fonts than the single GIST and PHOG features by more than 5.8%. The total recognition time is reduced by more than 49.4%, and the performance is improved significantly. (2) Compared with other popular algorithms, the constructed GAN-based automatic artistic typeface generation model has the best quality of the generation of huaniao on both the pencil sketch and the calligraphy character image dataset. Models have broad application prospects in contemporary advertising text art design. This study aims to provide important technical support for the automation of contemporary advertising text art design and the improvement of overall efficiency.

Application of Line Integral Convolution Techniques in the Generation of Fine Art Painting Effects

Since the 1980s, nonrealistic drawing techniques have become one of the main focuses of research in computer graphics. In recent years, with the rapid development of computer graphics, nonrealistic drawing techniques have become capable of rendering any digital image into an image with an alternative artistic style. As a result, many scholars have focused on the pencil sketch style. Against this backdrop, research into how to create more realistic art drawings has become a hot topic. Although the rapid development of computer technology has led to advances in art drawing techniques, traditional fine art painting methods are not yet able to simulate realistic pencil sketches in a quite realistic way. In other words, the following issues have been noted. For example, they fail to simulate the gradation of shades and densities of real sketches, the direction of the shadows does not conform to the general rules of sketching, and the results produced are not artistic and realistic. After all, unlike realistic graphics, which seeks a photo-like realism, nonrealistic graphics wants to highlight the message of the image with the help of computer simulations. As a result, nonrealistic graphics often ignores unimportant details in the image. On the other hand, nonrealistic graphics can also simulate an artist’s painting to a certain extent, thus producing an artistically effective image. Many nonrealistic drawing methods have been devised to simulate the styles of oil, watercolour, and ink, but not many algorithms have been developed to generate colour sketches. In order to address this topic, this study improves a fine art drawing generation approach based on the line integral convolution techniques. To be specific, this investigation begins by segmenting the colour images through cluster analysis. Two basic colours are then assigned to each region by calculating the colour variability, and the density of each colour is calculated using a two-tone mapping technique. After that, the line integral convolution technique is applied to generate sketch textures for each of the two basic colour layers, and the two layers are fused to produce the coloured textures. At the same time, a neon transform is used to generate the sketch contour lines. Eventually, the contours are blended with the coloured textures to obtain the coloured sketch effect. The experimental results show that the art painting generation method designed in this paper is able to automatically transform from colour images to coloured pencil drawings, thus improving the efficiency of the process as well as meeting the real-time requirements.

Nonconvex variational approach for simultaneously recovering cartoon and texture images

Many real-world applications in image processing and computer vision require splitting an input image into a cartoon component and a texture component. We propose a nonconvex variational image decomposition model for simultaneously recovering cartoon and texture images. To induce the sparsity of gradient norms of the cartoon image more strongly than the classical total variation regularization, we applied the nonconvex firm penalty function as a regularizer for the cartoon image. The nonconvex firm penalty regularizer function has a better ability to separate the piecewise constant component with neat edges. The G-norm was used as an oscillating prior for the texture image. Converting the proposed optimization model to a constrained problem by variable splitting, we addressed it with the alternating direction method of multipliers. Experimental results and comparisons were given to verify the superiority of existing state-of-the-art methods in terms of correlation, peak signal-to-noise ratio, structural similarity, and visual quality. Finally, we demonstrated the effectiveness of the proposed model by several applications such as image abstraction and pencil sketching, artifact removal, image denoising, image composition, and detail enhancement.