Abstract—For traditional painting materials, the artisan used to combine the pigments with different binders to create colors. As time goes by, the materials used for painting evolved from natural to chemical materials. The vast variety of ingredients used in chemical materials has complicated restoration work; it makes conservation work more difficult. Conservation work also becomes harder whe...

Persian painting has usually been studied from historical point of views. But its formation is rooted in a specific social context. In this study, we will try to contextualize it and we will show that this social context has a crucial role regarding its aesthetic. Persian painting is an art of royal courts and it represents the life of princes combined with Persian epic legendes. This social co...

We propose a novel image in-painting method composed of two parts: band matching and seamless cloning. In band matching, a band enclosing the boundary of a missing region is compared to those from the other parts of the image. The inner area of the minimum difference band is then copied to the missing region. Even though this band matching results in successful inpainting in many practical appl...

In eukaryotes, detailed surveys of recombination rates have shown variation at multiple genomic scales and the presence of "hotspots" of highly elevated recombination. In bacteria, studies of recombination rate variation are less developed, in part because there are few analysis methods that take into account the clonal context within which bacterial evolution occurs. Here, we focus in particul...

In this paper we consider a natural generalization of standard tree games where the underlying structure is a directed acyclic graph. We analyze the properties of the game and illustrate its relation with other graph based cost games. We show that although the game is not convex its core is always non-empty. Furthermore we provide a painting algorithm for large families of directed acyclic grap...

We present two methods to create realistic Chinese painting. The first method is to create 3D Chinese painting animation using existing software packages. The second method is an expressive paint tool which allows an artist to interactively create 2D Chinese painting.

Full-body, unencumbered, gestural interfaces o er new possibilities for computer painting tools. However, traditional painting metaphors and current gestural input technology are not well suited to one another; the user cannot be tracked with su cient accuracy to support brush-like or pen-like painting. Our approach to this problem has been to interpose di erent layers of abstraction between in...

This paper presents a novel Chinese calligraphy and painting system, which serves as an expressive vehicle for interactively creating Chinese traditional calligraphy and ink-wash painting works. We developed a brush model which gives the user natural control of complex brush strokes. This model enhances the realistic sense of the user’s manipulating the pen with the pressure sense. We also deve...