In this work, we explore the problem of generating fantastic special-effects for the typography. It is quite challenging due to the model diversities to illustrate varied text effects for different characters. To address this issue, our key idea is to exploit the analytics on the high regularity of the spatial distribution for text effects to guide the synthesis process. Specifically, we characterize the stylized patches by their normalized positions and the optimal scales to depict their style elements. Our method first estimates these two features and derives their correlation statistically. They are then converted into soft constraints for texture transfer to accomplish adaptive multi-scale texture synthesis and to make style element distribution uniform. It allows our algorithm to produce artistic typography that fits for both local texture patterns and the global spatial distribution in the example. Experimental results demonstrate the superiority of our method for various text effects over conventional style transfer methods. In addition, we validate the effectiveness of our algorithm with extensive artistic typography library generation.
Efros and Lueng @cite_19 proposed a pioneering pixel-by-pixel synthesis approach based on sampling similar patches. The subsequent works improve it in quality and speed by synthesizing patches rather than pixels. To handle the overlapped regions of neighboring patches for seamlessness, Liang . @cite_29 proposed to blend patches, and Efros and Freeman @cite_28 used dynamic programming to find an optimal separatrix in overlapped regions, which is further improved via graph cut @cite_30 . Unlike previous methods that synthesize textures in a local manner, recent techniques synthesize globally using objective functions. A coherence-based function @cite_24 is proposed to synthesize textures in an iterative coarse-to-fine fashion. This method performs patch matching and voting operations alternately and achieves good local structures. It is then extended to adapt to non-stationary textures through patch geometric and photometric transformations @cite_31 @cite_5 .
@cite_30 @cite_28 @cite_29 @cite_24 @cite_19 @cite_5 @cite_31
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Example-based texture synthesis algorithms have gained widespread popularity for their ability to take a single input image and create a perceptually similar non-periodic texture. However, previous methods rely on single input exemplars that can capture only a limited band of spatial scales. For example, synthesizing a continent-like appearance at a variety of zoom levels would require an impractically high input resolution. In this paper, we develop a multiscale texture synthesis algorithm. We propose a novel example-based representation, which we call an exemplar graph, that simply requires a few low-resolution input exemplars at different scales. Moreover, by allowing loops in the graph, we can create infinite zooms and infinitely detailed textures that are impossible with current example-based methods. We also introduce a technique that ameliorates inconsistencies in the user's input, and show that the application of this method yields improved interscale coherence and higher visual quality. We demonstrate optimizations for both CPU and GPU implementations of our method, and use them to produce animations with zooming and panning at multiple scales, as well as static gigapixel-sized images with features spanning many spatial scales. This paper proposes a novel algorithm for multiview stereopsis that outputs a dense set of small rectangular patches covering the surfaces visible in the images. Stereopsis is implemented as a match, expand, and filter procedure, starting from a sparse set of matched keypoints, and repeatedly expanding these before using visibility constraints to filter away false matches. The keys to the performance of the proposed algorithm are effective techniques for enforcing local photometric consistency and global visibility constraints. Simple but effective methods are also proposed to turn the resulting patch model into a mesh which can be further refined by an algorithm that enforces both photometric consistency and regularization constraints. The proposed approach automatically detects and discards outliers and obstacles and does not require any initialization in the form of a visual hull, a bounding box, or valid depth ranges. We have tested our algorithm on various data sets including objects with fine surface details, deep concavities, and thin structures, outdoor scenes observed from a restricted set of viewpoints, and "crowded" scenes where moving obstacles appear in front of a static structure of interest. A quantitative evaluation on the Middlebury benchmark [1] shows that the proposed method outperforms all others submitted so far for four out of the six data sets. In this paper we introduce a new algorithm for image and video texture synthesis. In our approach, patch regions from a sample image or video are transformed and copied to the output and then stitched together along optimal seams to generate a new (and typically larger) output. In contrast to other techniques, the size of the patch is not chosen a-priori, but instead a graph cut technique is used to determine the optimal patch region for any given offset between the input and output texture. Unlike dynamic programming, our graph cut technique for seam optimization is applicable in any dimension. We specifically explore it in 2D and 3D to perform video texture synthesis in addition to regular image synthesis. We present approximative offset search techniques that work well in conjunction with the presented patch size optimization. We show results for synthesizing regular, random, and natural images and videos. We also demonstrate how this method can be used to interactively merge different images to generate new scenes. Current methods for combining two different images produce visible artifacts when the sources have very different textures and structures. We present a new method for synthesizing a transition region between two source images, such that inconsistent color, texture, and structural properties all change gradually from one source to the other. We call this process image melding. Our method builds upon a patch-based optimization foundation with three key generalizations: First, we enrich the patch search space with additional geometric and photometric transformations. Second, we integrate image gradients into the patch representation and replace the usual color averaging with a screened Poisson equation solver. And third, we propose a new energy based on mixed L2 L0 norms for colors and gradients that produces a gradual transition between sources without sacrificing texture sharpness. Together, all three generalizations enable patch-based solutions to a broad class of image melding problems involving inconsistent sources: object cloning, stitching challenging panoramas, hole filling from multiple photos, and image harmonization. In several cases, our unified method outperforms previous state-of-the-art methods specifically designed for those applications.