This paper addresses the automatic generation of a typographic font from a subset of characters. Specifically, we use a subset of a typographic font to extrapolate additional characters. Consequently, we obtain a complete font containing a number of characters sufficient for daily use. The automated generation of Japanese fonts is in high demand because a Japanese font requires over 1,000 characters. Unfortunately, professional typographers create most fonts, resulting in significant financial and time investments for font generation. The proposed method can be a great aid for font creation because designers do not need to create the majority of the characters for a new font. The proposed method uses strokes from given samples for font generation. The strokes, from which we construct characters, are extracted by exploiting a character skeleton dataset. This study makes three main contributions: a novel method of extracting strokes from characters, which is applicable to both standard fonts and their variations; a fully automated approach for constructing characters; and a selection method for sample characters. We demonstrate our proposed method by generating 2,965 characters in 47 fonts. Objective and subjective evaluations verify that the generated characters are similar to handmade characters.
Suveeranont and Igarashi addressed a generation of alphabetical characters for typographic fonts @cite_8 . They generated characters by blending predefined characters from miscellaneous complete fonts. This method is based on a vector format, in contrast with the proposed method, which accepts an image format. Campbell and Kautz learned a manifold of standard fonts of alphabetical characters @cite_17 . Locations on the manifold represent a new font. Feng used a wavelet transform to blend two fonts @cite_2 . Tenenbaum and Freeman used complete fonts as references to form characters from the generation results @cite_28 .
@cite_28 @cite_2 @cite_17 @cite_8
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Perceptual systems routinely separate “content” from “style,” classifying familiar words spoken in an unfamiliar accent, identifying a font or handwriting style across letters, or recognizing a familiar face or object seen under unfamiliar viewing conditions. Yet a general and tractable computational model of this ability to untangle the underlying factors of perceptual observations remains elusive (Hofstadter, 1985). Existing factor models (Mardia, Kent, & Bibby, 1979; Hinton & Zemel, 1994; Ghahramani, 1995; Bell & Sejnowski, 1995; Hinton, Dayan, Frey, & Neal, 1995; Dayan, Hinton, Neal, & Zemel, 1995; Hinton & Ghahramani, 1997) are either insufficiently rich to capture the complex interactions of perceptually meaningful factors such as phoneme and speaker accent or letter and font, or do not allow efficient learning algorithms. We present a general framework for learning to solve two-factor tasks using bilinear models, which provide sufficiently expressive representations of factor interactions but can nonetheless be fit to data using efficient algorithms based on the singular value decomposition and expectation-maximization. We report promising results on three different tasks in three different perceptual domains: spoken vowel classification with a benchmark multi-speaker database, extrapolation of fonts to unseen letters, and translation of faces to novel illuminants. Based on the cubic B-spline curve, new Chinese fonts are generated by wavelet transforms in this paper. The outlines of Chinese fonts are first transformed into B-spline curves. Then, using wavelet transforms, the control points of each curve are decomposed into hierarchies containing the detailed features of the Chinese fonts. Using the synthesis procedure of wavelet transforms, new fonts can be generated by modifying details at selected hierarchies. The design and manipulation of typefaces and fonts is an area requiring substantial expertise; it can take many years of study to become a proficient typographer. At the same time, the use of typefaces is ubiquitous; there are many users who, while not experts, would like to be more involved in tweaking or changing existing fonts without suffering the learning curve of professional typography packages. Given the wealth of fonts that are available today, we would like to exploit the expertise used to produce these fonts, and to enable everyday users to create, explore, and edit fonts. To this end, we build a generative manifold of standard fonts. Every location on the manifold corresponds to a unique and novel typeface, and is obtained by learning a non-linear mapping that intelligently interpolates and extrapolates existing fonts. Using the manifold, we can smoothly interpolate and move between existing fonts. We can also use the manifold as a constraint that makes a variety of new applications possible. For instance, when editing a single character, we can update all the other glyphs in a font simultaneously to keep them compatible with our changes.