Sketch Creation Research Articles

Exploration of the Expression of Color Emotion in Oil Painting Sketch Creation

This paper deeply analyzes the expression of color emotion in oil painting sketch creation. Starting with the three basic attributes of color theory (hue, lightness, and purity), this paper discusses its emotional symbolic significance and the relationship between contrast and harmony. By interpreting the works of artists such as Van Gogh’s Sunflower, Monet’s Rouen Cathedral, and Cézanne’s Mont Sainte-Victoire, this paper shows the unique charm of different colors in conveying emotions, creating atmosphere, and expressing themes. At the same time, it is expounded that in the creation of an oil painting sketch, the effective expression of color emotion can be realized by observing nature, using subjective colors, and reasonable composition and layout of colors, so as to enhance the artistic value of the works.

On the Experience of Teaching Monumental Painting Using the Method of Visual Learning

The author of the article investigates the use of a visual teaching approach for monumental painting, as applied to fifth-year students at the Sergey Andriaka Academy of Watercolor and Fine Arts. The project involved students and their teacher collaboratively creating a painting plafond with a total area of 78 m2. The article chronicles the project's workflow, encompassing the creation of sketches, preparation of cardboard, execution of multilayer painting on canvases, and the subsequent installation of the plafond. Emphasis is placed on techniques for creating polychrome images using colorants with a restrained tonal and color palette, as well as on the multilayer oil painting process, which includes a grisaille tempera undercoat and a final glaze.

Face Sketch Creation and Recognition

Face Sketch Creation and Recognition

Face Sketch Creation and Recognition

Abstract: This paper presents a wisdom mapping approach to dissect the thematic elaboration of face recognition exploration. For this reason, different bibliometric tools are combined (Performance analysis, wisdom mapping and Coword analysis) to identify the most important, productive and loftiest- -impact sub fields. also, different visualization tools are used to display a graphical vision of the face recognition field to determine the thematic disciplines and their evolutionary geste. . Eventually, this study proposes the most applicable lines of exploration for the face recognition field. Findings indicate a huge increase in face recognition exploration since 2014. Mixed approaches revealed a great interest compared to original and global approaches. In terms of algorithms, the use of deep literacy styles is the new trend. On the other hand, the illumination variation impact on face recognition algorithms' performances is currently, the most important and impacting challenge for the face recognition field.

Face Sketch Creation and Identification

Face Sketch Creation and Identification

Балет М. де Фальи «Треуголка» в сценическом оформлении П. Пикассо (1919)

The article is devoted to the description of the creative process accompanying the appearance of scenography of Manuel de Falla’s ballet "El sombrero de tres picos" ("The Three-Cornered Hat"). The details of events in the center of which the leading figures of 1910th–1920th art (Pablo Picasso, Sergei Diaghilev, Léonide Massine, Tamara Karsavina, Vladimir Polunin) worked and lived, are presented in the article in a panoramic and detailed way. Picasso’s scenography of the "The Three-Cornered Hat" (which implies not only the creation of sketches of scenery, costumes and curtains, but also the painting of portraits of ballet troupe artists, as well as the development of individual sketches of makeup for them) is considered as a single artistic whole and analyzed in a comprehensive manner, in reliance on the interaction of art-historical and theater-historical aspects.

Deep Learning for Free-Hand Sketch: A Survey.

Free-hand sketches are highly illustrative, and have been widely used by humans to depict objects or stories from ancient times to the present. The recent prevalence of touchscreen devices has made sketch creation a much easier task than ever and consequently made sketch-oriented applications increasingly popular. The progress of deep learning has immensely benefited free-hand sketch research and applications. This paper presents a comprehensive survey of the deep learning techniques oriented at free-hand sketch data, and the applications that they enable. The main contents of this survey include: (i) A discussion of the intrinsic traits and unique challenges of free-hand sketch, to highlight the essential differences between sketch data and other data modalities, e.g., natural photos. (ii) A review of the developments of free-hand sketch research in the deep learning era, by surveying existing datasets, research topics, and the state-of-the-art methods through a detailed taxonomy and experimental evaluation. (iii) Promotion of future work via a discussion of bottlenecks, open problems, and potential research directions for the community.

Theater sketch in the Avangard in view (based on materials by Anatoly Petritsky for ballets "Corsar" and "Red Poppy"

The purpose of the article is aimed to study an important aspect of the preparation of a theatrical costume - its sketch creation in a set of tasks. In the historical evolvement, the sketch of the costume in the performances of Ukrainian theaters firstly accommodated the commonly used methods of performance. During the years of spreading the theatrical avant-garde, there was a significant step forward in terms of using new materials and textures to form special interpretations of the characters for visual solutions. A striking example of this is Anatoly Petritsky's sketches for two ballets: Corsair (1926) and Red Poppy (1927). Important methods for the study of the chosen topic involve consistent consideration of factual materials in chronological and artistic contexts. The first approach, which is based on the cultural-historical method, makes it possible to establish the main characteristics of the sketch of a theatrical costume within a particular historical period. The historical-comparative method allows comparing the features of approaches to creating sketches in chronological order. The application of the formal method reveals the special approaches of artists to the creation of visual meanings of the characters of the play. The novelty of the study is due to the systematic analysis of the most important parameters of the sketch as a type of work of art, a set of techniques used in the Ukrainian avant-garde theatrical and decorative arts. Conclusions. The analysis of the technological methods traced in the article allows us to state that in the projects of A. Petritsky's performances of the first half of the 1920s mostly established materials and graphic techniques were used. The artist intensified his experiments with textures in the middle of this decade, using drawing and applique to create an individual character, using not only different types of paper but also textiles.
 Key words: fore-sketch, compositional sketch, texture, collage, kraft paper, suprematism drawing.

Співпраця художника Володимира Порай-Кошиця із ЦК ДОПГОЛ/НАСЛІДГОЛ при ВУЦВК у створенні благодійних марок у 1922-1923 роках

The article examines the cooperation of the artist, co-organizer of the Union of Creative Intelligentsia and Museum Affairs in Kharkiv Borys Poray-Koshyts (1886–1964) with the authorities of the USSR during the mass artificial famine of 1921–1923 in creating charitable stamps to help the starving and children affected from hunger. The artist, despite his "socially alien" origins and his stay in the Cheka prison in 1920, participated in the creation of sketches for the Central Commission for Aid to the Hungry at the All-Ukrainian Central Executive Committee in 1922. The article proves that he is the author of a postage-charity stamp with a portrait of Taras Shevchenko (denomination "20 + 20 karbovantsiv"), which some researchers attributed to another artist. Like the whole series, it combines Art Nouveau style and national flavor, is an interesting example of Ukrainian artistic industrial graphics of the early twentieth century. The stamps of this series have a high artistic level in general and in comparison with other similar postage stamps issued to help the starving in the RSFSR and the Azerbadjan SSR, in particular. B. Poray-Koshyts contributed to the appearance of the series "Helping the Hungry" not only as the author of the sketch of the stamp, but also as an expert of the All-Ukrainian State Trade Office on Exports and Imports, who in 1922 participated in the selection of drawings for it. Analysis of the documents of the Central Commission for Combating the Consequences of Hunger at the All-Ukrainian Central Executive Committee suggests that B. Poray-Koshyts is also the author of a series of four charity stamps "Help the Child" with denominations of 1, 3, 5 and 10 rubles issued in Kharkiv in 1923. The artist developed their sketches in the conditions of creation of the hypercentralized state of the imperial type of the USSR that was reflected in the design of sketchs. Despite compromises with the ruling communist regime in the 1920s and 1930s, B. Poraj-Koshyts emigrated from occupied Kharkiv to Germany in the 1940s.

Disentangled and controllable sketch creation based on disentangling the structure and color enhancement

Existing sketch-based image processing methods include sketch recognition, sketch synthesis and sketch-based image retrieval. For sketch creation, a meaningful task is proposed namely disentangled and controllable sketch creation (DCSC) based on disentangling the structure and color enhancement. Specifically, as the first subtask, sketch structure enhancement (SSE) is used to enhance a non-professional sketch (NPS) and obtain a professional sketch (PS), which is a process denoted as NPS2PS. A data set named SketchMan is first provided, consisting of NPSs and PSs with various postures in different scenes. SSE is trained as a conditional image-to-image translation problem, and there are three models: direct sketch-to-sketch (SS), grayscale guided SS and contour guided SS. Multiple IOU metrics are proposed based on Corner Point Map (CPM), Straight Line Map (SLM) and Segmented Area Map (SAM). As the second subtask, sketch color enhancement (SCE) is trained as a two-stage framework containing a topology enhancement network (TE-Net) that maps a sketch to the corresponding grayscale domain and a color injection network (CI-Net) that injects the global color feature to the AdaIN residual blocks to perform adaptive sketch colorization. The TE-Net and CI-Net disentangle the topological and color features to perform more controllable and diverse SCE results. Experimental results demonstrate that our proposed methods are effective to address the challenging and meaningful DCSC task compared with other state-of-the-art methods.

3D SKETCHES IN VIRTUAL REALITY AND THEIR EFFECT ON DEVELOPMENT TIMES

AbstractIn the product development process, digital support continues to advance. Some work steps during product development are still carried out without assistance. Sketch creation is one of these. Therefore, the content created here is rarely documented due to the effort required for digital transformation. An alternative can be sketching in virtual reality. This article explores whether 3D sketching in VR enables faster sketching and can offer the basic features of hand-drawn sketches. To verify this, a tool for 3D sketching was developed. 27 test subjects were asked to solve one out of two different design tasks using this tool. The experiments were evaluated using video coding to identify the subjects actions. The created solutions have been analyzed about quality. The study showed initial indications that sketching in VR generally enables faster processing while maintaining the same solution quality.

Edge Detection Algorithm Used in a 3D Sketching & Photogrammetry System

A clear 3D representation is vital to prototyping in design. 3D modeling is a popular approach to design structures in 3D, resulting in accurate models that can be viewed from multiple perspectives. However, 3D modeling is too costly and rigid for designers because it has a steep learning curve. Existing heavy-weight 3D software packages are usually not suitable for ideation. Therefore, we consider using sketches to convey ideas in 3D as a more natural way for prototyping. Even if most sketches are loose and 2D, people can still identify 3D structures from them. However, most sketching tools only support drawing in 2D, motivating us to find a solution to bridging 2D sketches and 3D structures. To fill the gap, we propose a 3D sketching system that facilitates sketch creation in 3D. Users can create a sketch in 3D and view it from multiple perspectives, without having to create multiple 2D sketches. This application also supports reconstructing a point cloud from images taken from existing structures. We designed a novel edge detection algorithm derived from the Hough transform to extract borders as strokes from a point cloud reconstructed from captured images. This includes fitting multiple planes to the point cloud and creating strokes by projecting points to the planes. We also present real-world use cases to evaluate our system. Our application allows designers to prototype more rapidly, opening a gate to more user-friendly ideation processes.

Iterative local re-ranking with attribute guided synthesis for face sketch recognition

Because of the large texture and spatial structure discrepancies between face sketches and photos, face sketch recognition becomes a challenging problem in face recognition community. For example, in law enforcement and security, the specific face sketch generation process could introduce some inevitable biases which results in poor face sketch recognition performance. In order to mimic the modality gap introduced by the biases during face sketch creation process, the novel iterative local re-ranking with attribute guided synthesis method is proposed for face sketch recognition, which does not require any extra manually annotation or human interaction. The clues of face attributes are utilized to generate images with varying local characteristic from probe sketches, which could help eliminate the unavoidable biases. Considering the special property of face sketches, the iterative local re-ranking algorithm is designed to encode the contextual information integrated with local invariant discriminative information for matching sketches with photos. Experimental results on multiple face sketch databases demonstrate that the proposed method achieves superior performances compared with state-of-the-art methods.

The philosophical art of Paul Chenavard

The article is devoted to the history of the creation of sketches for murals of Pantheon of Paris in 1848 by French painter Paul Chenavard. The work was commissioned by the State in the reign of Louis-Philippe. In the period of the Second Empire these sketches were rejected by fine arts administration of Napoleon III. In the graphic series the painter attempted to imagine the theory of three stages of the development of society in the light of the positivism and in the manner of German “Die Nazarener”. The sketches of Chenavard don’t were transferred to the walls of Pantheon and at present they are kept at the Musée des Beaux-Arts of Lyon. The sketches were an example of the quest for new forms in the monumental decorative art of France, richness of the content and meaningful images. The article quotes opinions of the famous art critics (Ch. Baudelaire, Th. Silvestre, Ch. Blanc, A. Houssaye) and painter’s contemporaries (E. Delacroix, Au. Rodin, E. Zola).

USE OF INFORMATION AND COMMUNICATION TECHNOLOGIES FOR INTENSIFICATION OF THA ARTS ARTISTIC-LABOR ACTIVITY OF THE FUTURE PRIMARY SCHOOL TEACHERS

The article analyses the peculiarities of the use of information and communication technologies in the process of artistic-labour training of the future primary school teachers. The sphere of professional competence of the future primary school teachers includes the compulsory use of information and communication technologies, because one of the requirements for the modern graduate of a higher educational institution is the ability to use computer technology and other means of communication and information, including telecommunication networks. It is revealed that the modern information and communication technologies introduced in the educational process of the higher pedagogical school greatly contribute to the solution of one more urgent problem - intensification of creative artistic-labour training of the future teachers of primary classes, which provides, among other things, artistic-project activity in the field of decorative-applied arts. The attention is focused on the practical direction of the objects of design, proving its related connection with the decorative-applied arts. The issue of distribution of design in fine and decorative kinds of art, and its branches – ethno- design, art-design, ergo- design has been revealed. Practical experience shows that the intensity and the quality of the educational process grows significantly when introducing creative tasks on computer creation of sketches, compositions, ornaments for various types of decorative-applied arts. Students’ interest in the quality of their knowledge and confidence in their own abilities also increase, inducing some of them to further independent deepening knowledge in the field of computer design of decorative-applied goods. It is confirmed that the creation and the use of the multimedia system provides powerful information support to the process of artistic-labour training of students, promotes the intensification of the educational process through the precise structuring and systematization of educational material and expanding the ways of its presentation, provides quick and objective verification of the level of mastering of the knowledge and skills, expands the abilities for organization of independent artistic-project work at home, promotes the upbringing of future teachers of primary school needs of using the means of ICT in everyday life and the future professional activity.

Receive, Reorganize, Return: Theatre as Creative Scholarship

This article focuses on the use of theatre as a mode of creative scholarship, from the research involved in sketch creation to the presentation of that research to academic audiences. We particularly focus on a specific sketch developed by the CRLT Players—one that explores the consequences of subtle discrimination faced by women scientists in research laboratory settings—to illustrate the ways in which theatre can engage audiences with research results. The article explains how participation in such performances promotes a more active exploration of scholarship than simply reading or hearing a presentation. Interactive theatre directs and focuses an audience's attention in ways unique to the stage; the embodiment of research in 3-dimensional characters allows spectators to explore multiple perspectives on research results; and the process of critical reflection and facilitated discussion that follows the performance leads viewers to consider changes, both personal and institutional, that can address the issues depicted in the sketch.

CrossShade

We facilitate the creation of 3D-looking shaded production drawings from concept sketches. The key to our approach is a class of commonly used construction curves known as cross-sections , that function as an aid to both sketch creation and viewer understanding of the depicted 3D shape. In particular, intersections of these curves, or cross-hairs , convey valuable 3D information, that viewers compose into a mental model of the overall sketch. We use the artist-drawn cross-sections to automatically infer the 3D normals across the sketch, enabling 3D-like rendering. The technical contribution of our work is twofold. First, we distill artistic guidelines for drawing cross-sections and insights from perception literature to introduce an explicit mathematical formulation of the relationships between cross-section curves and the geometry they aim to convey. We then use these relationships to develop an algorithm for estimating a normal field from cross-section curve networks and other curves present in concept sketches. We validate our formulation and algorithm through a user study and a ground truth normal comparison. As demonstrated by the examples throughout the paper, these contributions enable us to shade a wide range of concept sketches with a variety of rendering styles.

Colored exaggerative caricature creation using inter- and intra-correlations of feature shapes and positions

This paper develops a system comprising a statistics-based exaggerative (SBE) module and a non-photorealistic rendering (NPR) module for the automatic creation of colored facial caricatures with exaggerated facial features and individual facial details such as beards and moles. Unlike previous research that focused on the inter-correlation (the difference between the facial features of input image and those of the mean face in the training database), the SBE module exaggerates the input image utilizing an iterative approach based on both inter- and intra-correlations of the facial features. The intra-correlation considered in this study makes the comparison with other features within the same input image, and has the effect of exaggerating the major facial features while simultaneously subduing the visual impact of non-major facial features. The NPR module consists of a black-and-white sketch creation process and a colored facial cartoon creation process. The results of the two processes are combined to generate a colored cartoon-like sketch, which is then warped into a colored exaggerative facial caricature based on the corresponding exaggerative shape and position created by the SBE module. The experimental results demonstrate that the proposed method can emphasize the major characteristics of a face better than previous methods that only considered feature inter-correlation.

Automatic single-line drawing creation from a paper-based overtraced freehand sketch

Freehand sketching on a paper is commonly found to be used as it is a natural and intuitive communication channel for portraying ideas. Additional strokes are often drawn over the existing ones to make the sketch clearer. For its usefulness in subsequent steps, a sketch is transformed to be a 3D CAD model that is typically performed manually by a designer due to a lack of technology support. Geometrical reconstruction from an offline scanning of a sketch has been a challenge because enriched information obtained during sketching is reduced to a batch of data points. This paper presents an algorithm for identifying a single-line drawing from a paper-based overtraced sketch as it is the first important step towards geometrical reconstruction. Key activities in this approach are thick-line sketch creation, contour boundary extraction, segments identification, and line drawing creation. The algorithm has been successfully implemented on LabVIEW and tested with several samples.

Investigating three-dimensional sketching for early conceptual design—Results from expert discussions and user studies

As immersive 3D user interfaces reach broader acceptance, their use as sketching media is attracting both commercial and academic interests. So far, little is known about user requirements and cognitive aspects of immersive 3D sketching. Also the latter's integration into the workflow of virtual product development is far from being solved. We present results from two focus group expert discussions, a comparative user study on immersive 3D sketching conducted among professional furniture designers and a qualitative content analysis of user statements. The results of the focus group discussions show a strong interest in using the three-dimensional (3D) space as a medium for conceptual design. Users expect it to provide new means for the sketching process, namely spatiality, one-to-one proportions, associations, and formability. Eight groups of functions required for 3D sketching were outlined during the discussions. The comparative study was intended to find and investigate advantages of immersive three-dimensional space and its additional degrees-of-freedom for creative/reflective externalization processes. We compared a 3D and a 2D baseline condition in the same technical environment, a VR-Cave system. In both conditions, no haptic feedback was provided and the 2D condition was not intended to simulate traditional 2D sketching (on paper). The results from our user study show that both the sketching process and the resulting sketches differ in the 2D and 3D condition, namely in terms of the perceived fluency of sketch creation, in terms of the perceived appropriateness for the task, and in terms of the perceived stimulation by the medium, the movement speed, the sketch sizes, the degree of detail, the functional aspects, and the usage time. In order to validate the results of the focus group discussions, we produced a questionnaire to check for the subjectively perceived advantages and disadvantages in both the 2D and 3D conditions. A qualitative content analysis of the user statements revealed that the biggest advantage of 3D sketching lies in the sketching process itself. In particular, the participants emphasized the system's ability to foster inspiration and to improve the recognition of spatiality and spatial thinking. We argue that both 2D and 3D sketching are relevant for early conceptual design. As we progress towards 3D sketching, new tangible interactive tools are needed, which account for the user's perceptual and cognitive abilities.