朱仙镇木版年画的“天地人合”

朱仙镇木版年画2006年被首批公布为中国非物质文化遗产,历史悠久,具有独特的地域艺术风貌,折射着浑厚的中原文化底蕴。农业文明向工业文明转型的中国,朱仙镇木版年画已经面临消亡的窘迫局面。本文在田野调查的基础上,结合相关的前学文献运用系统工程的方法以朱仙镇木版年画的传统工艺流程为切入点,对年画中的"天地人合"进行阐述,对朱仙镇木版年画相关文献的完善和保护具有拾遗补漏的意义。     

基于信息传播的绥德石雕艺术元素数据平台开发

数字化和图形设计已成为当今传播信息与提高认知的一种主要载体。基于民间手工技艺保护和创新的势态,以绥德石雕的数字化建设为抓手,通过对绥德石雕艺术元素进行分类归纳,提取艺术元素并进行数字化处理,再通过Android平台、网络技术和计算机辅助技术手段进行数据平台的构建和实现。研究、传播带动当地石雕特色产业的创新发展,促进技艺的生产性保护,创造出源于本土且适用于现代生活方式的民间手工技艺。     

浅析四川绵竹年画的色彩特征

绵竹年画是中国四大木板年画之一,与川戏、川菜一道选为四川文化三绝[1]。绵竹年画匠人把对色彩的原始感觉反映到了画面之中,文章通过对其色彩的象征性、装饰性以及色彩的大众性进行分析,找到绵竹年画的色彩特征,为其传承发展开辟新的思路。     

微结构网点的半色调信息隐藏技术

目的 基于阈值矩阵的加网方法设计出具有微观防伪功能的艺术型网点,利用半色调信息隐藏技术将隐藏信息载入到由微结构网点组成的色版中,研究微结构网点在信息隐藏中的应用价值。方法 利用改进后的阈值矩阵对要加载隐藏信息的色版进行微结构加网,完成各色版的半色调处理,将隐藏信息嵌入到微结构加网的色版中,利用参数匹配的解锁工具完成信息的提取,并评价信息的隐藏和提取效果。结果 通过信息的隐藏和提取实验,主观测试发现无论是单色版还是合并色版,微结构网点对信息隐藏的视觉保密性效果都比普通网点的隐蔽性好,客观结构相似度的数值计算结果都达到了0.995以上,比普通隐藏结果更佳,而且显隐能够达到信息清晰完整的再现效果。结论 该防伪方法能够在不增加成本来的条件下提高经济价值较高的印刷品和包装品的防伪标准、效率和附加价值,尤其在有价证券、护照、票据等印刷品、医药食品包装和电子影像出版产品的包装防伪方面具有广阔的应用前景与价值。     

梁平木版年画“门神”现代化转换的实现路径研究

“门神”是梁平木版年画中重要的一类人物形象题材,不仅集中显现了梁平木版年画的艺术美感,还承载了巴渝人民朴素的审美观念和世俗情感。梁平木版年画“门神”所涵有的多元特征,凸显了其区别于其他民间美术的特殊性。文章通过对“门神”特征的分析以及现代化转换价值的厘清,进而提供了梁平木版年画“门神”现代化转换的三重实现路径,以此切实助力巴渝民间美术的传承与发展。     

基于支持向量机的气温自记纸图像数字化

气温自记迹线是记录气温连续变化过程的图像数据,气温自记纸图像数字化是完成纸质气温图像自记纸中字符和迹线信息的数字化处理,建立长序列历史精细化气温数据集。实现气温自记迹线提取和图像数字化,是解决纸质历史气温自记纸保护和应用的重要途径。将支持向量机(Support Vector Machine, SVM)和形态学的迹线识别算法集成于气温自记迹线数字化提取软件中,实现了气温自记迹线智能化跟踪提取、质量控制、检查修正以及产品生成。应用结果显示：与前期开发的降水自记迹线、气压自记迹线和EL电接风自记迹线数字化软件相比,该系统首次实现了形变矫正和时间记号线自动识别功能,在自记迹线发生扭曲、歪斜等情况不需人工对自记纸图像重新扫描,可以通过自记纸本身微调自动订正和器差订正,经与A文件中人工整理的气温记录对比,能够满足气温自记纸迹线提取对数据质量和精度的要求。     

面向自然图像的年画风格化算法

年画作为中国民间艺术的优秀代表之一,其风格对艺术创作有重要意义。为了快速方便地实现自然图像的年画风格化,设计了一种自动化的年画风格化算法框架,并尽可能准确的保持自然图像的原有图案与颜色分配。对于一幅用户给定的自然图像,算法首先对图像进行自动的颜色分割聚类,提取关键线条作为年画轮廓线,运用基于优化的年画配色映射方法将不同的分割区域重新着色,最后通过年画风格细节增强,使结果图的颜色风格更加接近年画风格。针对颜色配色优化,算法综合考量了生成图像与原图像的颜色相似度和相邻色块的颜色对比度,并利用差分进化策略对能量方程进行最小化求解得出合理的颜色配置方案。在实验中进行了几组不同产地的年画风格化实验,结果算法可有效地将一幅自然图像自动转化为年画风格,且效果较自然,颜色具有地方特色。     

基于改进概率霍夫变换的车道线快速检测方法

车道线是行车安全的重要参考。为提高无人驾驶行车过程中车道线检测的准确性和实时性,提出一种基于改进概率霍夫变换的车道线快速检测方法。首先对获取的图像进行感兴趣区域提取,根据车道线颜色的特殊性,合理选取三色通道的比值对图片进行灰度化,为增强阈值处理的鲁棒性,采用大津二值化法对灰度图像进行二值化,由于Canny算子具有良好的定位边缘的能力,本次边缘提取算子选取为Canny。接着分别从车道线长度、角度、车体和车道宽度4个方面提出4点约束条件对该算法加以改进,剔除干扰线和伪车道线,最后通过线性回归法拟合出正确车道线。实验结果表明,该算法在快速检测车道线的同时保证了检测的准确率,并将实验结果与其他算法进行比较,证明了该算法的实时性和准确性优于其他算法。     

基于图像金字塔的山脉线提取方法

借鉴多分辨率分析思想对格网DEM数据进行多尺度处理,设计了一种山脉线的提取方法。该方法利用图像金字塔对格网DEM数据进行逐层分解,对不同尺度空间下的山脊线提取结果进行叠加套和,以获取最终的山脉线。实验结果表明,该方法能够较好的去除原有山脊线中存在的细小分支,提取结果符合地貌认知。     

基于图像金字塔的山脉线提取方法

借鉴多分辨率分析思想对格网DEM数据进行多尺度处理,设计了一种山脉线的提取方法。该方法利用图像金字塔对格网DEM数据进行逐层分解,对不同尺度空间下的山脊线提取结果进行叠加套和,以获取最终的山脉线。实验结果表明,该方法能够较好的去除原有山脊线中存在的细小分支,提取结果符合地貌认知。     

Automatic Generation of Virtual Woodblocks and Multicolor Woodblock Printing

In this paper, we study a method to synthesize a multicolor virtual woodblock print by using several virtual woodblocks. It consists of two sections: carving and printing, to synthesize a virtual print. In the carving section, virtual woodblocks are generated by a user with supporting of an automatically carving method based on feature extraction of a gray value image. And woodblocks are also generated automatically by using a full-color image as a draft. In the printing section, a "paper sheet", a "printing brush" and "ink" are prepared in addition to the "woodblock" in the virtual space and the user synthesizes a woodblock print interactively. As the printing factors, a color of ink, a moisture value and a grain change the finish of the print. Using several virtual woodblocks and printing to a paper sheet in succession, a printing image of each woodblock is combined based on the printing factors and a multicolor virtual prints is synthesized.     

一种利用颜色词检索图像的方法

在基于内容的图像检索中，图像的内容包括图像的低层视觉特征和高层语义。通常，前者是通过图像分析得到的数据，后者是用自然语言表示的概念词，但两者没有明显的联系。为了能够对彩色图像进行更有效的检索，试图将彩色图像的主色调数据与自然语言检索中的颜色词相结合，用于图像检索，并首先通过分析常用的颜色模型，提出了一种新的颜色模型和一种颜色相似度计算方法，然后在此基础上提出了一种提取图像主色调的方法，最后通过分析颜色命名系统，提出了一种利用颜色词检索彩色图像的方法，同时给出了初步实验结果。实验表明，这种方法在彩色图像检索中是有效的。     

Clean color: Improving multi‐filament 3D prints

Fused Filament Fabrication is an additive manufacturing process by which a 3D object is created from plastic filament. The filament is pushed through a hot nozzle where it melts. The nozzle deposits plastic layer after layer to create the final object. This process has been popularized by the RepRap community. Several printers feature multiple extruders, allowing objects to be formed from multiple materials or colors. The extruders are mounted side by side on the printer carriage. However, the print quality suffers when objects with color patterns are printed – a disappointment for designers interested in 3D printing their colored digital models. The most severe issue is the oozing of plastic from the idle extruders: Plastics of different colors bleed onto each other giving the surface a smudged aspect, excess strings oozing from the extruder deposit on the surface, and holes appear due to this missing plastic. Fixing this issue is difficult: increasing the printing speed reduces oozing but also degrades surface quality – on large prints the required speed level become impractical. Adding a physical mechanism increases cost and print time as extruders travel to a cleaning station. Instead, we rely on software and exploit degrees of freedom of the printing process. We introduce three techniques that complement each other in improving the print quality significantly. We first reduce the impact of oozing plastic by choosing a better azimuth angle for the printed part. We build a disposable rampart in close proximity of the part, giving the extruders the opportunity to wipe oozing strings and refill with hot plastic. We finally introduce a toolpath planner avoiding and hiding most of the defects due to oozing, and seamlessly integrating the rampart. We demonstrate our technique on several challenging multiple color prints, and show that our tool path planner improves the surface finish of single color prints as well.     

Texture Mapping Real‐World Objects with Hydrographics

In the digital world, assigning arbitrary colors to an object is a simple operation thanks to texture mapping. However, in the real world, the same basic function of applying colors onto an object is far from trivial. One can specify colors during the fabrication process using a color 3D printer, but this does not apply to already existing objects. Paint and decals can be used during post‐fabrication, but they are challenging to apply on complex shapes. In this paper, we develop a method to enable texture mapping of physical objects, that is, we allow one to map an arbitrary color image onto a three‐dimensional object. Our approach builds upon hydrographics, a technique to transfer pigments printed on a sheet of polymer onto curved surfaces. We first describe a setup that makes the traditional water transfer printing process more accurate and consistent across prints. We then simulate the transfer process using a specialized parameterization to estimate the mapping between the planar color map and the object surface. We demonstrate that our approach enables the application of detailed color maps onto complex shapes such as 3D models of faces and anatomical casts.     

An adjustable algorithm for color quantization

Color quantization is an important technique in digital image processing. Generally it involves two steps. The first step is to choose a proper color palette. The second step is to reconstruct an image by replacing original colors with the most similar palette colors. However a problem exists while choosing palette colors. That is how to choose the colors with different illumination intensities (we call them color layers) as well as the colors that present the essential details of the image. This is an important and difficult problem. In this paper, we propose a novel algorithm for color quantization, which considers both color layers and essential details by assigning weights for pixel numbers and color distances. Also this algorithm can tune the quantization results by choosing proper weights. The experiments show that our algorithm is effective for adjusting quantization results and it also has very good quality of quantization.     

Using hybrid knowledge engineering and image processing in color virtual restoration of ancient murals

This paper proposes a novel scheme to virtually restore the colors of ancient murals. Our approach integrates artificial intelligence techniques with digital image processing methods. The knowledge related to the mural colors is first categorized into four types. A hybrid frame and rule-based approach is then developed to represent knowledge and to inter colors. An algorithm that takes into account color similarity and spatial proximity is developed to segment mural images. A novel color transformation method based on color histograms is finally proposed to restore the colors of murals. A number of experiments based on real images have demonstrated the validity of the proposed scheme for color restoration.     

材料变更对平版画发展的影响——论金属平版画取代石版画的必然性

任何一类版画画种都诞生于工业印刷技术,印刷材料是版种存在的根本条件,石版画随着石版印刷这一印刷手段的淘汰造成的材料短缺而日渐式微,以PS版为制版材料的金属平版画逐渐取代传统石版画也将是历史的必然。随着将来印刷技术和材料的发展,其他门类的版画面临材料和技法的变革也是不可避免的,我们对此大可不必担心,无论材料怎样更替,人都是艺术创作的主体,我们要做的事尽快熟悉和掌握材料的特性,利用新材料带来的便捷优势,创作出无限的可能。     

A new approach for color image segmentation based on color mixture

The aim of this paper is to propose a new methodology for color image segmentation. We have developed an image processing technique, based on color mixture, considering how painters do to overlap layers of various hues of paint on creating oil paintings. We also have evaluated the distribution of cones in the human retina for the interpretation of these colors, and we have proposed a schema for the color mixture weight. This method expresses the mixture of black, blue, green, cyan, red, magenta, yellow and white colors quantified by the binary weight of the color that makes up the pixels of an RGB image with 8 bits per channel. The color mixture generates planes that intersect the RGB cube, defining the HSM (Hue, Saturation, Mixture) color space. The position of these planes inside the RGB cube is modeled, based on the distribution of r, g and b cones of the human retina. To demonstrate the applicability of the proposed methodology, we present in this paper, the segmentation of “human skin” or “non-skin” pixels in digital color images. The performance of the color mixture was analyzed by a Gaussian distribution in the HSM, HSV and YCbCr color spaces. The method is compared with other skin/non-skin classifiers. The results demonstrate that our approach surpassed the performance of all compared methodologies. The main contributions of this paper are related to a new way for interpreting color of binary images, taking into account the bit-plane levels and the application in image processing techniques.     

一种基于自适应颜色压缩的织物图案提取方法

文章介绍了一种新的基于主成分分析网络PCA与自组织特征映射网络SOFM的颜色自适应压缩技术,并首先将该技术应用到了纹理状织物图案的提取研究中。研究表明:提取主颜色系对消除图像中的噪声污染成分非常有效,能够减少原图像上因噪声干扰引起的纹理分割误差。通过竞争学习的分类识别引入了像素间的空间位置关系,使得经神经网络分类出的图像与原图像最接近,并提高了在图案提取分割中的计算效率。该研究结果在获取织物图案设计与仿制中可减少人机交互量,提高识别效率,在工程应用上具有相当的实用价值。     

Dual‐color mixing for fused deposition modeling printers

In this work we detail a method that leverages the two color heads of recent low‐end fused deposition modeling (FDM) 3D printers to produce continuous tone imagery. The challenge behind producing such two‐tone imagery is how to finely interleave the two colors while minimizing the switching between print heads, making each color printed span as long and continuous as possible to avoid artifacts associated with printing short segments. The key insight behind our work is that by applying small geometric offsets, tone can be varied without the need to switch color print heads within a single layer. We can now effectively print (two‐tone) texture mapped models capturing both geometric and color information in our output 3D prints.