We present new techniques for creating photorealistic textured 3D facial models from photographs of a human subject, and for creating smooth transitions between different facial expressions by morphing between these different models. Starting from several uncalibrated views of a human subject, we employ a user-assisted technique to recover the camera poses corresponding to the views as well as the 3D coordinates of a sparse set of chosen locations on the subject's face. A scattered data interpolation technique is then used to deform a generic face mesh to fit the particular geometry of the subject's face. Having recovered the camera poses and the facial geometry, we extract from the input images one or more texture maps for the model. This process is repeated for several facial expressions of a particular subject. To generate transitions between these facial expressions we use 3D shape morphing between the corresponding face models, while at the same time blending the corresponding tex...

Corresponding drawings of components in (c); (e) Composite drawing of separate parts as the final drawing. Creating a portrait in the style of a particular artistic tradition or a particular artist is a difficult problem. Elusive to codify algorithmically, the nebulous qualities which combine to form artwork are often well captured using example-based approaches. These methods place the artist in the process, often during system training, in the hope that their talents may be tapped. Example based methods do not make this problem easy, however. Examples are precious, so training sets are small, reducing the number of techniques which may be employed. We propose a system which combines two separate but similar subsystems, one for the face and another for the hair, each of which employs a global and a local model. Facial exaggeration to achieve the desired stylistic look is handled during the global face phase. Each subsystem uses a divide-and-conquer approach, but while the face subsystem decomposes into separable subproblems for the eyes, mouth, nose, etc., the hair needs to be subdivided in a relatively arbitrary way, making the hair subproblem decomposition an important step which must be handled carefully with a structured model and a detailed model.

The cvisualization of data involves a mapping of data values to visual attributes or graphical representations. For quantitative data, data values...

this paper, we present a new semiautomatic method to reconstruct 3D facial model for animation

In this work, a new image deformation method based on a copy-art technique is described. This copy-art process involves the use of either a photocopier or a linear scanner with a motif in motion as the light bar sweeps by to create distortions. The new method provides an easy-to-use tool which is very intuitive and offers predictable results. This allows the artist to recreate the original copy-art process digitally. In order to define the transformation completely, the user has to specify three elements for the original image interactively: path, rotation and velocity. To get the final image, two methods can be followed: either to sample each line from the original image to the result image using forward mapping or to split the transformation into a grid. This latter approach will allow more control in the final result.