![]() ![]() Together with the constrained deformation approach, we formulate the ASCII art generation as an optimization that minimizes shape dissimilarity and deformation. Our key contribution is a novel alignment-insensitive shape sim- ilarity (AISS) metric that tolerates misalignment of shapes while accounting for the differences in position, orientation and scaling. Most existing shape similarity metrics either fail to address the misalignment in real-world scenarios, or are unable to account for the differences in position, orientation and scaling. Representing the unlimited image content with the extremely lim- ited shapes and restrictive placement of characters makes this prob- lem challenging. It approximates the major line struc- ture of the reference image content with the shape of characters. This paper presents a novel method to generate structure-based ASCII art that is cur- rently mostly created by hand. Existing tone-based ASCII art generation methods lead to halftone-like results and require high text resolution for display, as higher text resolution offers more tone variety. The wide availability and popularity of text-based communication channels encourage the usage of ASCII art in representing im- ages. Seven distinctive features of this art are discussed. The analysis draws on a database of some 5,000 images. This article focuses on an IRC group called "rainbow," that has communicated mainly via images since May 1997. Figurative images also partially resemble paper greeting cards. It is a form of "quilting in time" rather than space. Thus, images are both "art" and "communication." Despite its intangibility, this art has many affinities with traditional weaving, embroidery and especially quilting. In a highly ritualized mode of playful communication, images are displayed on the screen in real time to greet other participants. This art contains much play with ornament, pattern, and symmetry, and may be either abstract or figurative. Since the advent of Windows 95, participants in certain "channels" (chatrooms) on IRC (Internet Relay Chat) have developed a brilliantly colored form of text-based art, an elaboration of ASCII art. Text" and "textile" share the same Latin root - textus, or "woven." In the 1960s and 1970s a digital form of amateur text-based art known as "ASCII (pronounced AS-kee) art" began to flourish - images created with letters and other typographic symbols on the computer keyboard. Luke DuBois, Simon Greenwold, Francis Li, and Hernando Barragán and interviews with Jared Tarbell, Martin Wattenberg, James Paterson, Erik van Blockland, Ed Burton, Josh On, Jürg Lehni, Auriea Harvey and Michaël Samyn, Mathew Cullen and Grady Hall, Bob Sabiston, Jennifer Steinkamp, Ruth Jarman and Joseph Gerhardt, Sue Costabile, Chris Csikszentmihályi, Golan Levin and Zachary Lieberman, and Mark Hansen. The Processing software and all of the code presented can be downloaded and run for future exploration.Īlexander R. Processing can be used by reading each unit in order, or by following each category from the beginning of the book to the end. Appendixes, references to other material, and a glossary contain additional technical details. "Extensions" present concise introductions to further areas of investigation, including computer vision, sound, and electronics. More advanced professional projects from such domains as animation, performance, and typography are discussed in interviews with their creators. Tutorial units make up the bulk of the book and introduce the syntax and concepts of software (including variables, functions, and object-oriented programming), cover such topics as photography and drawing in relation to software, and feature many short, prototypical example programs with related images and explanations. The ideas in Processing have been tested in classrooms, workshops, and arts institutions, including UCLA, Carnegie Mellon, New York University, and Harvard University. It offers a comprehensive reference and text for Processing (an open-source programming language that can be used by students, artists, designers, architects, researchers, and anyone who wants to program images, animation, and interactivity. This book is an introduction to the concepts of computer programming within the context of the visual arts. It has been more than twenty years since desktop publishing reinvented design, and it's clear that there is a growing need for designers and artists to learn programming skills to fill the widening gap between their ideas and the capability of their purchased software.
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