Sketch Artist Research Articles

Translation from sketch to realistic photo based on CycleGAN

Forensic sketches serve as crucial tools for law enforcement agencies in identifying individuals of interest. However, their effectiveness can be limited due to constraints such as incomplete information and variations in interpretation by sketch artists, often rendering these sketches unrecognizable to the general public. In response to this challenge, this paper introduces an innovative approacha CycleGAN-based image generation model. This model aims to transform monochrome forensic sketches into images with realistic colors and textures, offering an alternative visual representation that aids the public in identifying wanted individuals. The model is trained on unpaired datasets containing sketches and photographs of human faces, encompassing diverse scenarios. Through this training, it learns to generate images that closely resemble photographs captured in everyday environments. Impressively, the proposed model demonstrates rapid convergence, with both the generator and discriminator reaching optimal performance within just 500 epochs. Consequently, the generated images prove to be significantly more recognizable than the original sketches, thus enhancing the potential for successful identifications.

A NARRATIVE INQUIRY OF CAREER CHANGE: HOW A FORMER EFL TEACHER BECAME A VIRAL SKETCH ARTIST

This article presents the results of a study on the experience of one participant, a former teacher of English, who transformed herself into a viral sketch artist. The study was part of a larger research project that explored the factors influencing the career-change decision-making process, which collected data from a sample of 10 alumni in two years. The article reveals that further attention is paid to supporting teachers, especially the less-experienced ones, at their workplace. Some recommendations and strategies for mitigating teacher burnout are also provided. Furthermore, the findings suggest that in addition to providing professional knowledge and developing specific skill sets, tertiary education should nurture a growth mindset, life-long learning habits and skills, and resilience. In this way, a tertiary education can build a strong foundation, capable of launching students into success after graduation.

Text-to-Sketch Synthesis via Adversarial Network

In the past, sketches were a standard technique used for recognizing offenders and have remained a valuable tool for law enforcement and social security purposes. However, relying on eyewitness observations can lead to discrepancies in the depictions of the sketch, depending on the experience and skills of the sketch artist. With the emergence of modern technologies such as Generative Adversarial Networks (GANs), generating images using verbal and textual cues is now possible, resulting in more accurate sketch depictions. In this study, we propose an adversarial network that generates human facial sketches using such cues provided by an observer. Additionally, we have introduced an Inverse Gamma Correction Technique to improve the training and enhance the quality of the generated sketches. To evaluate the effectiveness of our proposed method, we conducted experiments and analyzed the results using the inception score and Frechet Inception Distance metrics. Our proposed method achieved an overall inception score of 1.438 ± 0.049 and a Frechet Inception Distance of 65.29, outperforming other state-of-the-art techniques.

To Zenzi by Robert L. Schuster

Reviewed by: To Zenzi by Robert L. Schuster Jane Rosenberg LaForge (bio) to zenzi Robert L. Schuster New Issues Poetry and Prose https://press.uchicago.edu/ucp/books/book/distributed/T/bo86883959.html 344 pages; Print, $18.00 In Robert L. Shuster's To Zenzi, a war ends, a society crumbles, teenagers die or come of age, and the hunt for a good Nazi continues. To Zenzi is a sometimes picaresque, other times nightmarish, and always momentous romp through the smoldering ruins of the Third Reich, although the narrative will lurch across time and continents. Whether Shuster prevails in a quest that has already been attempted in books and Hollywood movies may be more of a matter of taste than literary merit for some. The search for any good Nazi has been complicated in recent days by the damage Nazi-inspired groups and politicians are intent on exacting here and abroad in self-aggrandizing campaigns to accumulate power. The redemption of Shuster's protagonist, Tobias Koertig, is further complicated by the circumstances that make his exploits as engaging as they are unnerving. Shuster relies on a combination of coincidences and allusions to establish the bona fides of innocence for his protagonist, thereby qualifying him as a good, or at least guiltless, Nazi. As Germany buckles under the British bombardment and the advance of Russian troops in the spring of 1945, thirteen-year-old Tobias loses his parents, wins the heart of his beloved, joins the military, and makes an enemy that will haunt him for the rest of his life. The scope of the novel is so broad readers will likely recognize tricks employed, or territory already covered, by Haruki Murakami, Flannery O'Connor, Norman Mailer, Michael Chabon, and Margaret Atwood. To [End Page 56] reveal how the novel parallels these authors would lay bare too many spoilers, and that's not counting the shades of J. D. Salinger. But unlike Salinger or his Holden Caulfield, Tobias is not interested in reclaiming innocence. He has a more immediate task: survival. Yet Tobias can't help making his case as uninformed and not responsible for the horrors of the Nazi regime, some of which he must endure himself, in the form of arbitrary and capricious adults. His service as a child soldier and eventual Reichsillustrator, Hitler's personal artist, is harrowing at times, to say nothing of his escape from Berlin to surrender to the Americans. In seeking to ensure Tobias is indeed sympathetic enough for his readers, Shuster also depicts the strange collision between boyhood obsessions and Nazi rituals, and hence the appeal joining Hitler had for so many. Tobias is both naive and unreadable about how much he knows and when he chooses to know it. He pleads ignorance about the aims of the Nazi enterprise and is quick to report that his father "despised the regime and its Chancellor." A talented sketch artist, Tobias is forbidden by his "Vati" from drawing the Reich's weaponry and from reading or listening to war bulletins. His father's plan must have worked, because he declares no knowledge of geography, and is oblivious when his erstwhile girlfriend, Kreszentia Fuchs (the Zenzi of the book's title), advises him on how to avoid being sent to the front lines. "You need to develop an imagination," she says. Tobias will make great use of Zenzi's advice over the years, although he might not be conscious of it. And though he describes himself as "only a few years beyond a belief in Santa Claus," his upbringing occurred in close proximity to the duplicity of the Nazi regime. For Tobias's father is an art dealer, a dangerous profession that brings the family in contact with banned music, artists, and Jews. At times Tobias seems to know exactly what his father is up to: "in the last decade he had exploited the Nazi fat cats, selling them the heroic nonsense they liked." But when Martin Bormann tells Tobias he had bought art from his father, Tobias is shocked—but not that shocked: "Vati had never told me such a thing, though he had once boasted, with cynical triumph of shipping photographs to Göring...

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.

Visions et divisions: Discours culturels de "Punch" et ordre social victorien (1850–1880) by Françoise Baillet

Reviewed by: Visions et divisions: Discours culturels de "Punch" et ordre social victorien (1850–1880) by Françoise Baillet Eloïse Forestier (bio) Françoise Baillet, Visions et divisions: Discours culturels de "Punch" et ordre social victorien (1850–1880) (Rennes: Presses Universitaires de Rennes, 2022), pp. 254, €30 paperback. Another study of Punch! And in French, no less. In Visions et divisions: Discours culturels de Punch et ordre social victorien (1850–1880), Françoise Baillet treats us to the visual delights of this monument of art, humour, and social insight, the British weekly satirical periodical Punch, or the London Charivari, launched in 1841 by Henry Mayhew, Mark Lemon, and wood engraver Ebenezer Landells. This fresh scholarly plunge into the scene and beyond the printed page follows the rising tradition of editor studies, or the study of that network of minds and affiliations that lies behind the production of a single periodical, instigated by Laurel Brake, Aled Jones, and Lionel Madden in Investigating Victorian Journalism (1990) and more recently scrutinized for Punch by Patrick Leary in The Punch Brotherhood (2010). Brake and Leary apply group dimension and dynamics to the editorial agenda: no single "Mister Punch" perspective emerges, nor simply a report on Victorian times. Rather, a plurality of outlooks upon society lends a rich complexity to the relationship between the sketch artist(s), the reader, and the magazine itself. Taking into account these factors, Baillet focuses on the visual discourse of Punch, studying the subtle layers of significance between the drawing, the message, and the beholder. She chooses three decades of the mid-Victorian era (1850–80), the most conservative period of the Queen's reign but, at the same time, a period that was tested and tried by a series of societal and legal evolutions that shook the very foundations of Victorian society—a treasure of inspiration for the editors of Punch. Baillet's book is a well-balanced overview of both the content and production of Punch magazine. Divided into three parts that each contain two or three chapters (a table of contents would have been nice), the book focuses on three major issues that rattled the order and propriety of Victorian codes: social class movement, women, and the figure of the artist. All three themes presented a threat to a wishfully well-ordained society ruled by work, morality, and masculinity, a vision that the conservative male sketch artist editors of Punch also strongly supported and strove to maintain. Baillet demonstrates that the humour of the magazine is based on a kind of dystopia imagined along the clear-cut lines of Victorian values confronted with the changes of time: aristocratic idlers against time-constrained commoners, the Angel in the House against rising feminism, the responsibilities of citizenship against the violent-drunk recipient of these honours, or respectable society itself infected by the dilettante and the dandy. The stroke of pen and colouring have much to do with the art [End Page 467] of Punch. Straight lines, fine features, and clear colouring for masculinity, respectability, and honesty contrast with curves, thick features, and blurred lines and colouring for femininity, frailty, awkwardness, and deviousness. The clueless aristocrat fumbles his way through working London, women are given attributes of power and production while their distraught husbands are left with the duties of the household, the murderous working-class ruffian is given light justice and the right to vote, and the failed artist puffs his way around simpering salon loiterers. A mild yet certain sense of wrongness, which Baillet insightfully describes, pervades each of these vignettes. Thus she gives us in a nutshell the measure of the magazine's wit but also a clear perspective of what Victorian society defended for a certain type of reader (upper-middle- and upper-class white, predominantly male) through the eyes of similar-minded sketch artists. By exaggerating the traits and distorting reality to an extreme, for readers who shared the fears and concerns of the editors, the sketches of the magazine could provoke soothing laughter. With hindsight, and Baillet's help, they still do. One of the most difficult hurdles to overcome in a study of caricatures is to avoid doing the very thing they...

Forensic Face Sketch Artist System

Abstract: In this modern age, the general crime rate is increasing day-by-day and to cope up with this the enforcement departments too should find ways in which would speed up the overall process and help them in bringing one to justice. One such way can be using face recognition technology for identifying and verifying the criminal. The traditional approach here is to use the hand-drawn face sketches drawn by forensic sketch artist tospot the criminal, modernizing this is able to mean using the hand-drawn sketch and then matching them with the enforcement departments database to spot the criminal. Using this approach would result in the various limitations with latest technologies andeven would be time consuming as there are very few forensic sketch artists available when compared to the increasing crime ratio. Our project is aimed on decreasing the time span and speeding up this process by providing a standalone platform to the law enforcement department which would allow users to create accurate face sketch of the suspect without the help of forensic sketch artist and no special training or artistic skills. The sketch can be created using drag and drop feature in the application with variety of face elements and can automatically match the drawn composite face sketch with the law enforcement departments database much faster and efficiently using deep learning and cloud infrastructure.

Envisioning social drones in education.

Education is one of the major application fields in social Human-Robot Interaction. Several forms of social robots have been explored to engage and assist students in the classroom environment, from full-bodied humanoid robots to tabletop robot companions, but flying robots have been left unexplored in this context. In this paper, we present seven online remote workshops conducted with 20 participants to investigate the application area of Education in the Human-Drone Interaction domain; particularly focusing on what roles a social drone could fulfill in a classroom, how it would interact with students, teachers and its environment, what it could look like, and what would specifically differ from other types of social robots used in education. In the workshops we used online collaboration tools, supported by a sketch artist, to help envision a social drone in a classroom. The results revealed several design implications for the roles and capabilities of a social drone, in addition to promising research directions for the development and design in the novel area of drones in education.

Motionless pictures: the waiting public in popular American visual culture, 1870-1930

ABSTRACT In recent years, scholars have paid increasing attention to the histories of waiting, particularly in medicine, business, politics, and culture. This essay contributes to that history by tracing the evolving visual representation of waiting in popular American culture between 1870 and 1930. As contemporary illustrators, photographers and artists interpreted a metropolitan landscape populated by waiting subjects, they helped inscribe an increasingly routine experience with an enduring set of meanings – efficiency, convenience, equality, comfort, and alienation, for instance – while at the same time drawing upon and reinventing older visual traditions of social representation. The original subjects of waiting imagery were queues, which cartoonists and sketch artists used to imagine the shifting boundaries of citizenship. As urban realism and ‘muckraking’ came into vogue in the century’s final decades, the imagery of waiting shifted from allegorical queues to literal scenes of migration, poverty and unemployment. In the twentieth century, the archetypal scene of waiting shifted once again, this time to a more consumer-oriented landscape of monumental railroad stations, department store waiting rooms, and private and public bureaucratic spaces. By the 1920s, this article concludes, waiting imagery had transitioned from a tool of critique – a means of articulating social crisis – into a common advertising trope. This article attempts a thematic rather than formal analysis of the origins of that trope, in order to reveal how slowness, as much as speed and acceleration, became an essential part of the modernizing United States’ self-image.

CHEHRA: An Application for Forensic Face Sketch Construction and Recognition

In this modern age, the overall crime rate is increasing day-by-day and to cope up with this the law enforcement departments too should find ways that would speed up the overall process and help them in bringing one to justice. One such way can be using face recognition technology for identifying and verifying the criminal. The traditional approach here is to use the hand-drawn face sketches drawn by forensic sketch artist to identify the criminal, modernizing this would mean using the hand drawn sketch and then matching them with the law enforcement departments database to identify the criminal. We believe, there is a need for creating an application which would not just provide a set of individual features like eyes, ears, mouth, etc. to be selected to create a face sketch but also would help in finding the criminal much faster and efficiently.

Forensic Sketch Reconnaissance Using Deep Learning

Contemporary society is passing an increase in ordinary crime. To fight this, law enforcement agencies must accelerate the entire process and find a way to impeach culprits against justice. One similar system could be using facial recognition technology to identify and corroborate culprits. Conventionally, forensic artists use hand- drawn sketches to identify culprits and contemporizing this system requires relating culprits by comparing the sketches to law-enforcement databases. Taking this approach will pose a number of limitations to the current technology, as there are fairly many felonious artists available compared to the growing number of crimes. Our idea is to speed up the process for law enforcement departments by creating a standalone platform that can be used to directly sketch a suspect without backing from a forensic sketch artist and with no special training or cultural chops. Sketches can be created with drag-and- drop in operations with colorful facial rudiments, and synthetic face sketches drawn using deep literacy and pall structure can be automatically counterplotted to law-enforcement databases much briskly and more efficiently.

Art, Design and Communication Theory in Creating the Communicative Social Robot 'Haru'.

Haru is a social, affective robot designed to support a wide range of research into human–robot communication. This article analyses the design process for Haru beta, identifying how both visual and performing arts were an essential part of that process, contributing to ideas of Haru’s communication as a science and as an art. Initially, the article examines how a modified form of Design Thinking shaped the work of the interdisciplinary development team—including animators, performers and sketch artists working alongside roboticists—to frame Haru’s interaction style in line with sociopsychological and cybernetic–semiotic communication theory. From these perspectives on communication, the focus is on creating a robot that is persuasive and able to transmit precise information clearly. The article moves on to highlight two alternative perspectives on communication, based on phenomenological and sociocultural theories, from which such a robot can be further developed as a more flexible and dynamic communicative agent. The various theoretical perspectives introduced are brought together by considering communication across three elements: encounter, story and dance. Finally, the article explores the potential of Haru as a research platform for human–robot communication across various scenarios designed to investigate how to support long-term interactions between humans and robots in different contexts. In particular, it gives an overview of plans for humanities-based, qualitative research with Haru.

Text to Image Generation using GAN

Text-to-image creation with generative adversarial networks (GAN) is a deep learning model that can produce images from text descriptions. For several years, due to low technological resources, police officials required a sketch artist to get the face of a criminal. So, to overcome this time-consuming process the proposed approach uses textual inputs of human facial traits and give the corresponding image of criminal as output. Artificial intelligence (AI) that links natural language processing and image processing have a challenge with converting information between text and image (NLP). As a result, we present a new retrieval system based on the generative adversarial network (GAN) that will improve performance by easy processes. Our work primarily focus on criminal face generation that extract facial traits from text descriptions and create a realistic human face.

Sketchai: using FCNS to Extract Line ART Drawings

The digital revolution has improved every field of human lives. And field of ART is no exception. The rapid development of modern technology and techniques has made an impact on the work of painters, sketch artists and even comic book writers. One would be hard pressed to find artists in this day and age who haven’t heard of modern tools and applications such as Adobe Photoshop, GIMP, etc. But though these applications have undoubtedly made the lives of artists better, the use of AI for art is still at a nascent stage. The current work aims at developing a web-based application called SketchAI which uses Artificial Intelligence to simplify rough sketches or art work and extract the simplified line drawing. Fully Convolution Networks or FCNs are used to automate the task of sketch simplification. Dataset of rough sketches and corresponding line art drawings are used to train the system to extract line art. Different parameters such as number of epochs, loss functions etc. are considered for experimentation along with different subsets and augmentations of the data. Finally, comparisons of different methods are done to integrate deep learning models with a web application.

Art and Politics of the Landscape: Tani Motokatsu (1778–1840), Ezochi and Nineteenth-century Japan

: This article analyses a travel record and images produced by a painter, Tani Motokatsu, who participated in the shogunate’s mission to directly rule the northernmost island of Ezo in 1799. Motokatsu fulfilled his role as a sketch artist and produced numerous images of the landscape, the natural world, and the people during the six months of the journey. The article is interested in the mechanism that forced Motokatsu to wrestle with the wilderness of Ezochi. He repeatedly remarked upon his fascination with the unfamiliar landscape, noting that he could not help but ‘devour’ the strangely beautiful views, but what made the views so charming? By untangling his desires to depict the environment of Ezochi as truthfully and accurately as possible, I conclude that his desire for the stunning landscapes originates in his pursuit of new knowledge. The article underscores the ways cultural and artistic productions function as medium and mediator for the expansion of knowledge.

A framework for suspect face retrieval using linguistic descriptions

Facial sketch plays a vital role in suspect’s identification and apprehension by law enforcement agencies. The sketch artist develops sketches based on the memory of the eye witness. However, sketch artists are less in number and limited to availability. It is also observed that as time passes, the onlooker even forgets many of the critical attributes, which proves costly in time-sensitive investigations. State-of-the-art sketch-photo retrieval methods have used the sketch to retrieve the suspect’s photograph and ignore the importance of time sensitivity. In this paper, we have proposed a linguistic description based approach for suspect’s photo retrieval. In the proposed approach, the facial attributes and their descriptions are extracted from the input linguistic information using parts of speech and attributes ontology. Attributes are ranked according to their importance in the identification of a suspect. An ensemble classifier which aggregates the predictions of multiple classifiers is used to retrieve a suspect’s image. Experiments are performed on standard datasets. The performance of the proposed approach is evaluated by comparing it with the existing methods of linguistic sketch-based retrieval as well as with sketch to photo retrieval method. Experimental results illustrate that the proposed linguistic-base method using ensemble classification attains auspicious performance as compared to state-of-the-art methods.

An Integrated Technique for Face Sketch Recognition Using DCNN

Face Recognition (FR) is considered as one of the chief use in the investigation of criminals. In the majority of the cases, information about the criminal is not available. In such situations, sketch artist draw the sketch of the guess with the oral

A systematic spatial bias in remembering eye positions

ABSTRACTCategorical bias in location memory in geometric spaces is well established. The present study assessed the presence of the bias in locating eyes in images of human faces. Participants were presented with digital faces and indicated the position of one of the eyes in both upright and inverted orientations. Biases resulted from participants using multiple sources of accessible information. No differences were found for upright vs. inverted face images. Overall, the data were consistent with the retrieval category adjustment model. These distortions may be considered within the forensic context, when eyewitnesses work with a sketch artist or use a computer program to generate an image of the culprit.

Memory and Perception-based Facial Image Reconstruction

Visual memory for faces has been extensively researched, especially regarding the main factors that influence face memorability. However, what we remember exactly about a face, namely, the pictorial content of visual memory, remains largely unclear. The current work aims to elucidate this issue by reconstructing face images from both perceptual and memory-based behavioural data. Specifically, our work builds upon and further validates the hypothesis that visual memory and perception share a common representational basis underlying facial identity recognition. To this end, we derived facial features directly from perceptual data and then used such features for image reconstruction separately from perception and memory data. Successful levels of reconstruction were achieved in both cases for newly-learned faces as well as for familiar faces retrieved from long-term memory. Theoretically, this work provides insights into the content of memory-based representations while, practically, it may open the path to novel applications, such as computer-based ‘sketch artists’.

A Novel Decision Support for Composite Sketch Matching using Fusion of Probabilistic Neural Network and Dictionary Matching

Traditional pencil sketches drawn by skilled pencil sketch artists are a product of illustration based on exaggeration; there is always some amount of discrepancy between the description of eye-witnesses and depiction of the offender by the sketch artist. To overcome this difficulty, law enforcement agencies worldwide have started using composite sketches (sketches created using computer). Composite sketches have obviated the need of a skilled sketch artist. Composite sketches can be easily drawn by eyewitnesses using face design system software (SketchCop FACETTE) in a very short time period without any prior specialized software training. Matching composite sketches with photos available in database are still a challenging task. In this paper, a novel technique is proposed to match composite sketches with photos available in database. The key contribution of the proposed system in this paper is an efficient and novel methodology developed to match composite sketches with photos available in databases which could be used by law enforcement agencies. The photos taken from law enforcement agencies databases are passed to face detection module. On the detected faces and composite sketches, feature extraction and classification are performed using Multi-resolution uniform Local Binary Pattern (LBP) and Probabilistic Neural Network (PNN) to generate score 1. Similarly, on detected faces and composite sketches, feature extraction and classification are again performed using Dictionary Matching (DM) to generate score 2. The generated scores are collected using Dempster-Shafer (DS) theory and Proportional Conflict Redistribution rule no. 5 (PCR5). In this study, the authors have performed pilot testing of their technique and results of their analysis are presented to the readers. Keywords: Local binary pattern, probabilistic neural network, dictionary matching, SketchCop FACETTE, dempster-shafer, Proportional Conflict Redistribution.