Once these brush descriptions have been obtained, the painting can be animated at the brush stroke level. We model a single brush stroke using its skeleton and contour, and we characterize texture variation within each stroke by sampling perpendicularly along its skeleton. The steps in our extraction technique are first to segment the input image, then to find the best set of brush strokes that fit the regions, and, finally, to refine these strokes to account for local appearance. The key to the extraction process is the use of a brush stroke library, which is obtained by digitizing single brush strokes drawn by an experienced artist. We first extract descriptions of the brush strokes that hypothetically produced it. This article proposes a technique to animate a Chinese style painting given its image. Finally a number of art theoretical questions are introduced to exercise the suggested generative art definition and implicit paradigm. A number of specific artists and studies are discussed within this systems and complexity theory influenced paradigm.
This inclusive view leads to the somewhat surprising observation that generative art is as old as art itself.
This leads to the adoption of effective complexity, order, and disorder as organizing principles in the comparison of various generative art systems. Citing examples from information theory and complexity science, it is noted that highly ordered and highly disordered systems are typically viewed as simple, and complex systems exhibit both order and disorder. It is noted that systems exist on a continuum from the highly ordered to the highly disordered. Various ideas from complexity theory are then introduced. First the use of systems is identified as a key element in generative art. In this paper an attempt is made to offer a definition of generative art that is inclusive and provides fertile ground for both technical and art theoretical development.
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