Este trabalho apresenta um estudo sobre as representações de arquitetura, a partir da leitura e interpretação de um objeto histórico, o risco debuxado na parede do consistório da Capela do Carmo de Ouro Preto em 1789, e promove uma abordagem ainda não realizada, desde a sua descoberta em 1942, durante reforma realizada na capela pelo então SPHAN (Serviço do Patrimônio Histórico e Artístico Nacional). O risco e os documentos da Ordem do Carmo revelam aspectos importantes para a compreensão da fábrica da arquitetura religiosa no período colonial brasileiro, quando o Brasil era parte do vasto reino de Portugal. Ao longo do texto confirma-se a existência de uma trama social e produtiva hierarquizada, em que o risco aparece como parte da fábrica da arquitetura religiosa, um recurso de reflexão coletiva no campo hoje reconhecido como das práticas projetuais. Mais especificamente, um procedimento de reforma do risco original feito para a obra de talha dos seis altares do corpo da capela, uma revisão de aspectos formais que só foram percebidos com os altares já asentados, ou instalados. Ao desenhar, ou debuxar, eram articulados conhecimentos técnicos e artísticos. As pessoas envolvidas em tal processo, mestres oficiais ou não, conheciam o peso da matéria e o sentido das ideias representadas a partir de recursos gráficos específicos, que comunicavam, antecipavam e constituíam elemento de coesão dessa estrutura social, consolidada na concepção e materialização de suas ideias, como pode ser visto na cidade de Ouro Preto. / This work presents a study on the architectural representations, from the reading and interpretation of a historical object, the risk drawn on the wall of the consistory of the Carmo Chapel of Ouro Preto in 1789, and promotes an approach not yet accomplished, since its Discovered in 1942, during a reform carried out in the chapel by the SPHAN (National Historical and Artistic Heritage Service). The risk and documents of the Order of Carmel reveal important aspects for the understanding of the religious architecture factory in the Brazilian colonial period, when Brazil was part of the vast kingdom of Portugal. Throughout the text, the existence of a hierarchical productive and social fabric is confirmed, in which the risk appears as part of the religious architecture factory, a resource of collective reflection in the field today recognized as of the project practices. More specifically, an original risk reform procedure done for the carving work of the six altars of the chapel body, a review of formal aspects that were only perceived with the altars already settled, or installed. When drawing, or debugging, technical and artistic knowledge was articulated. The people involved in this process, both official and non-formal masters, knew the weight of the material and the meaning of the ideas represented by specific graphic resources that communicated, anticipated and constituted an element of cohesion of this social structure, consolidated in the conception and materialization of its Ideas, as can be seen in the city of Ouro Preto.

This work aims at content-based image search. Different approaches to this type of search are investigated. The main focus of the thesis is special category of content-based image search called sketch-based image search. The most important descriptor types used for image feature extraction in image search are analyzed. Main contribution of the thesis to this research area is a new feature extraction method based on sketch-based image search. This method is implemented together with search interface. The method was evaluated by three test persons. The testing results show promising properties of new method and suggest further possible improve-ments. Powered by TCPDF (www.tcpdf.org)

No segmento criminal, uma ferramenta digital capaz de comparar informações sobre suspeitos criminais, restringindo a lista de potenciais criminosos, representa um grande avanço tecnológico. O desafio é conseguir recuperar imagens similares em banco de dados a partir do retrato falado de um suspeito, sendo assim possível localizar as imagens de criminosos no banco de faces da polícia. A importância desse desafio deve-se ao fato que na maioria dos casos, o retrato falado gerado, a partir da descrição verbal de testemunhas é o ponto de partida para o desfecho de muitas investigações. Em vista disto, este trabalho tem por objetivo apresentar um sistema computacional capaz de buscar imagens de faces humanas de um banco de faces através dos esboços das imagens de face, a partir de um retrato falado. Foram feitos retratos falados para comparar com os esboços das imagens das faces humanas presentes em banco de dados e foram recuperadas as mais semelhantes. Na metodologia proposta, as imagens de face passam por um processamento chamado Misturograma, que resulta no esboço da imagem de face, que é utilizado para se comparar com os retratos falados obtidos. O algoritmo proposto usa distância Euclidiana para comparação de semelhança e wavelets de Haar como descritor das imagens. Foram utilizadas as métricas estatísticas de avaliação de desempenho: Recall X Precision e Cumulative Match Score. A metodologia proposta obteve uma precisão de 95% de acertos nas buscas realizadas em Cross Validation, dessa forma mostra-se um método viável para recuperação de imagens a partir de retratos falados. / In the criminal segment, a digital tool able to compare information on criminal suspects, restricting the list of potential criminals, represents a major technological breakthrough. The challenge is to retrieve similar images in the database and thus from the sketch of a suspect you can find images of criminals in the police faces database. The importance of this challenge is due to the fact that in most cases, the sketch generated from the verbal description of witnesses is the starting point for the outcome of many investigations. In view of this, this paper aims to develop a computer system able to search for images of human faces from a database of faces using face images of outlines from a sketch. Sketches were made to compare with the outlines of the images of human faces present in the database and the most similar were retrieved. In the proposed methodology, the face images go through a process called Misturograma, resulting in the outlines of the face image, which is used to compare the obtained sketches. The proposed algorithm uses Euclidean distance to compare the similarity and Haar wavelets as a descriptor of the images. We used the statistical metrics for performance evaluation: Recall X Precision and Cumulative Match Score. The proposed method achieved an accuracy of 95% in carried out searches in Cross Validation thus proves to be a viable method for recovering images from sketches.

Esta tese é um estudo de desenhos contidos em cadernos e registrados na forma de apontamentos. Estudou-se principalmente as imagens inerentes a quatro cadernos de apontamentos produzidos entre 1997 a 2007, dentre vários existentes. Optamos pelo objeto da pesquisa ser o próprio depoimento do artista, o qual narra os processos poéticos, a coleta das informações visuais, a materialização e a transformação em obra executada e passível de exposição. Os vestígios gráficos contidos principalmente no caderno 1 são próprios dos apontamentos; são desenhos ainda em formação que ora apresentamos como desenhos de memória e que trazem inicialmente apenas a preocupação de registrar formas diversificadas. Já os cadernos 2, 3 e 4 são mais formais, isto é, os registros trazem uma intencionalidade de estabelecer relações entre observações, pensamentos e sensações. Portanto, mais subjetivos enquanto produção poética. Analisando e comparando desenhos (ora esboços, ora obras), estas imagens foram ganhando significados, suscitando o estabelecimento de diálogos com outros desenhos. Também, estes processos permitiram uma experiência poética e a aplicação dos diversificados meios técnicos para a execução e resolução das obras. Foram estudados ainda, os desenhos enquanto fabulação, abstração e devaneio. Buscou-se o élan incrustado em algum lugar do espaço anotado, para deste modo, poder pensar formas de trazê-lo à superfície dos cadernos. A pesquisa procurou mostrar também alguns cadernos de artistas como: John Constable, Claes Oldenburg, Edgar Degas, Le Corbusier, Pablo Picasso, Henry Moore, Joseph Beuys, entre outros. Estes artistas utilizaram-se de cadernos, cada qual a seu modo e no seu tempo, com intuito de registrar e auxiliar na criação posterior das obras. Em muitos casos, os próprios cadernos já possuiam status de obra de arte, como podemos verificar ao longo desta tese. / This thesis is a study of drawings contained in notebooks and registered in the formof notes. The 2007 were studied the inherent images mainly the four sketch books produced between 1997, amongst some existing ones. We opt to the object of the research to be the proper deposition of the artist, which tells the poetical processes, the collection of the visual information, the materialization and the transformation in workmanship executed and passível of exposition. The graphical vestiges contained mainly in notebook 1 are proper of the notes; they are drawings still in formation that however we present as memory drawings and that they bring only the concern initially to register diversified forms. Already notebooks 2, 3 and 4 are more formal, that is, the registers bring a scienter to establish relations between comments, thoughts and sensations. Therefore, more subjective while poetical production. Analyzing and comparing drawings (however sketches, however workmanships), these images had been gaining meanings, exciting the establishment of dialogues with other drawings. Also, these processes had allowed diversified to a poetical experience and the half application of the technician for the execution and resolution of the workmanships. They had been studied still, the drawings while fantastic report, abstraction and devaneio. Élan incrusted in some place of the written down space searched, for in this way, to be able to think forms to bring it it the surface of notebooks. The research looked for to also show some notebooks of artists as: John Constable, Claes Oldenburg, Edgar Degas, Le Corbusier, Pablo Picasso, Henry Moore, Joseph Beuys, among others. These artists had used themselves of notebooks, each one its way and in its time, with intention to register and to assist in the posterior creation of the workmanships. In many cases, the proper notebooks already possessed status of work of art, as we can verify throughout this thesis.

Esta tese é um estudo de desenhos contidos em cadernos e registrados na forma de apontamentos. Estudou-se principalmente as imagens inerentes a quatro cadernos de apontamentos produzidos entre 1997 a 2007, dentre vários existentes. Optamos pelo objeto da pesquisa ser o próprio depoimento do artista, o qual narra os processos poéticos, a coleta das informações visuais, a materialização e a transformação em obra executada e passível de exposição. Os vestígios gráficos contidos principalmente no caderno 1 são próprios dos apontamentos; são desenhos ainda em formação que ora apresentamos como desenhos de memória e que trazem inicialmente apenas a preocupação de registrar formas diversificadas. Já os cadernos 2, 3 e 4 são mais formais, isto é, os registros trazem uma intencionalidade de estabelecer relações entre observações, pensamentos e sensações. Portanto, mais subjetivos enquanto produção poética. Analisando e comparando desenhos (ora esboços, ora obras), estas imagens foram ganhando significados, suscitando o estabelecimento de diálogos com outros desenhos. Também, estes processos permitiram uma experiência poética e a aplicação dos diversificados meios técnicos para a execução e resolução das obras. Foram estudados ainda, os desenhos enquanto fabulação, abstração e devaneio. Buscou-se o élan incrustado em algum lugar do espaço anotado, para deste modo, poder pensar formas de trazê-lo à superfície dos cadernos. A pesquisa procurou mostrar também alguns cadernos de artistas como: John Constable, Claes Oldenburg, Edgar Degas, Le Corbusier, Pablo Picasso, Henry Moore, Joseph Beuys, entre outros. Estes artistas utilizaram-se de cadernos, cada qual a seu modo e no seu tempo, com intuito de registrar e auxiliar na criação posterior das obras. Em muitos casos, os próprios cadernos já possuiam status de obra de arte, como podemos verificar ao longo desta tese. / This thesis is a study of drawings contained in notebooks and registered in the formof notes. The 2007 were studied the inherent images mainly the four sketch books produced between 1997, amongst some existing ones. We opt to the object of the research to be the proper deposition of the artist, which tells the poetical processes, the collection of the visual information, the materialization and the transformation in workmanship executed and passível of exposition. The graphical vestiges contained mainly in notebook 1 are proper of the notes; they are drawings still in formation that however we present as memory drawings and that they bring only the concern initially to register diversified forms. Already notebooks 2, 3 and 4 are more formal, that is, the registers bring a scienter to establish relations between comments, thoughts and sensations. Therefore, more subjective while poetical production. Analyzing and comparing drawings (however sketches, however workmanships), these images had been gaining meanings, exciting the establishment of dialogues with other drawings. Also, these processes had allowed diversified to a poetical experience and the half application of the technician for the execution and resolution of the workmanships. They had been studied still, the drawings while fantastic report, abstraction and devaneio. Élan incrusted in some place of the written down space searched, for in this way, to be able to think forms to bring it it the surface of notebooks. The research looked for to also show some notebooks of artists as: John Constable, Claes Oldenburg, Edgar Degas, Le Corbusier, Pablo Picasso, Henry Moore, Joseph Beuys, among others. These artists had used themselves of notebooks, each one its way and in its time, with intention to register and to assist in the posterior creation of the workmanships. In many cases, the proper notebooks already possessed status of work of art, as we can verify throughout this thesis.

Para criar representações do mundo real, ilustradores utilizam técnicas baseadas em princípios perceptuais para criar efeitos e comunicar informação de maneira eficiente e elegante. Nos últimos anos, essas técnicas têm sido adotadas na computação gráfica para melhorar a visualização de dados científicos. Os ilustradores tradicionais conseguem compor imagens utilizando apenas linhas, gerando representações limpas e simples e com grande poder de comunicar forma. Apesar de alguns trabalhos tentarem reproduzir os efeitos das ilustrações tradicionais com linhas, os princípios perceptuais utilizados pelos artistas ainda não foram bem explorados. Esses princípios são importantes para gerar uma imagem fácil de interpretar, sem ambigüidades e criar efeitos como focos de atenção, sombreamento, noção de profundidade, etc. Este trabalho explora as técnicas utilizadas pelos ilustradores profissionais na criação de visualizações digitais, propondo a adaptação de um método chamado perspective contouring, utilizado para criar focos de atenção em ilustrações baseadas em linhas de contorno. O sistema de ilustração desenvolvido utiliza uma interface baseada em esboço para a definição das regiões de interesse, onde se quer dar ênfase, para determinação de curvas de eixo do modelo e para o desenho de curvas de controle dos atributos das linhas de desenho, como espessura e espaçamento. A título de resultado, são apresentadas comparações de imagens criadas por um ilustrador profissional e imagens criadas pelo sistema desenvolvido. / To create representations of the real world, illustrators use techniques based on perceptual principles to create effects and communicate information in an efficient and elegant manner. In the last years, these techniques have been adopted in computer graphics to improve the visualization of scientific data. Traditional illustrators can compose images using only lines, creating representations that are clean, simple and are suitable to communicate form. Although some works try to reproduce the effects of traditional line illustration, the perceptual principles used by artists are not fully explored. These principles are important to create an image that is easy to interpret and has no ambiguity, and also to create effects like focus of attention, shading, depth perception, etc. In this work, we aim at exploring the techniques used by professional illustrators in the creation of digital visualizations, by proposing the adaptation of a method called perspective contouring, used to create focus of attention in contour lines illustrations. We implemented an illustration system that uses a sketch-based interface to define the regions of interest, where the emphasis is desirable, to create axis curves for the model, and to draw curves that control line attributes like width and spacing. As results, we present a comparison of images by a professional illustrator and images created with the developed system.

Traditional sketching with pen on paper can be seen as to visualize the memory. Limited to a framework of influences, experiences and ideas the outcome will result in something already known.In searching for knowledge an experimental sketch method counteracts this framework. The aim of this work is to explore morph animation of archetypical garments. Shape interpolation in Adobe Flash software makes it possible to calculate the way between two silhouettes. The result is a third silhouette, a morph of selected garments and depends on where the animation is paused. The work also deals with the gap between visualize(sketching) and making(construction/realization). In the investigation a new way of using animation as an sketch method have been found. Also how to use computer based 3D sketching in fashion design and an alternative construction method based on paper craft techniques have been developed. The collection consists of garments based on a morph between a classic skirt and a blazer to discuss new visions and possibility’s in fashion. Can the way we sketch, construct and produce affect garment definitions? And how could the findings in this work being used in a commercial industry. / Program: Modedesignutbildningen

L’objet de cette thèse consiste à décrire le processus et les techniques de composition utilisées par Claude Debussy à la fin de sa vie. À partir d’une réflexion préliminaire sur la situation et les conditions des pratiques compositionnelles de Debussy, plusieurs éléments du processus créateur et un certain nombre de techniques de composition peuvent être illustrés, en se fondant sur une analyse des esquisses qui conservent la trace du travail créateur. Ces dernières prennent la forme de ratures, interprétables grâce aux outils que fournit la critique génétique. Le corpus considéré embrasse plusieurs avant-textes d’œuvres composées durant l’été 1915, En blanc et noir pour deux pianos, les Douze études pour piano et la Sonate pour violoncelle piano, auxquelles s’ajoute la Sonate pour violon et piano, composée entre 1916 et 1917. Les documents les plus intéressants des dossiers génétiques, porteurs de traces abondantes du processus créateur, ont fait l’objet de transcriptions diplomatiques. Ces dernières ne constituent pas des facsimilés normalisés, mais offrent une représentation du manuscrit dans sa dimension à la fois spatiale et temporelle, tout en le reliant au devenir de l’œuvre. Ces transcriptions sont au fondement des analyses par lesquelles sont envisagés trois grands angles d’approche que la lecture des esquisses a fait émerger : la genèse des idées, les techniques de composition appliquées au matériau et la gestation de la forme musicale. La notion d’idée musicale permet d’explorer d’abord la constitution du projet musical, souvent cristallisé autour d’un élément extra-musical, puis le rapport entre l’invention mélodique et le processus de composition et, enfin, la construction des phrases musicales. Les techniques de composition mises en lumière se structurent par couples complémentaires : l’ellipse et l’interpolation, l’harmonie et le rythme, la duplication et la variation. La forme musicale est abordée selon deux problèmes apparents dans les esquisses : premièrement, la relation entre les fonctions formelles et leur mobilité, propre à l’œuvre in statu nascendi ; deuxièmement, la difficulté spécifique des zones conclusives. Cette « visite » de l’atelier de Debussy permet de faire l’hypothèse d’une méthode de composition reposant sur les catégories dégagées par l’analyse que d’autres travaux pourront étayer, nuancer ou préciser. / This dissertation describes the compositional process and the techniques used by Claude Debussy at the end of his life. Starting from a preliminary thought on the status of Debussy’s compositional practices, several features of the creative process and some compositional techniques may be highlighted, by analysing the sketches which record the traces of the creative work. These traces appear as crossings-out, which can be interpreted with the tools given by the genetic criticism. The corpus includes several avant-textes from works composed during the summer 1915, En blanc et noir for two pianos, the etudes for the piano, and the cello sonata plus the violin sonata, composed between 1916 and 1917. From the most pertinent documents, that are part of the genetic files and carry many traces of the creative process, diplomatic transcriptions have been realised. They do not constitute facsimile, nor normalised transcriptions; they rather represent the manuscript in terms of time and space, linking it also to the achieved work. These transcriptions form the basis of the analysis through which three perspectives are considered: the genesis of the ideas, the compositional techniques applied to the material, and the gestation of the musical shape. The notion of musical idea allows exploring first the constitution of a musical project, often focused on an extra-musical element, then the relationship between the melodic invention and the compositional process, and, lastly, the building of musical phrases. The compositional techniques go in complementary pairs: the ellipse and the interpolation, the harmony and the rhythm, the duplication and the variation. The musical shape is approached from two points of view: first, the relationship between the formal functions and their mobility, peculiar to the work in progress; second, the specific difficulty located in the conclusion areas. This ‘guide tour’ from Debussy’s studio leads up to hypothesise that there is a compositional method, relying on the categories identified by the analysis, and that further studies can support, moderate and precise.

No segmento criminal, uma ferramenta digital capaz de comparar informações sobre suspeitos criminais, restringindo a lista de potenciais criminosos, representa um grande avanço tecnológico. O desafio é conseguir recuperar imagens similares em banco de dados a partir do retrato falado de um suspeito, sendo assim possível localizar as imagens de criminosos no banco de faces da polícia. A importância desse desafio deve-se ao fato que na maioria dos casos, o retrato falado gerado, a partir da descrição verbal de testemunhas é o ponto de partida para o desfecho de muitas investigações. Em vista disto, este trabalho tem por objetivo apresentar um sistema computacional capaz de buscar imagens de faces humanas de um banco de faces através dos esboços das imagens de face, a partir de um retrato falado. Foram feitos retratos falados para comparar com os esboços das imagens das faces humanas presentes em banco de dados e foram recuperadas as mais semelhantes. Na metodologia proposta, as imagens de face passam por um processamento chamado Misturograma, que resulta no esboço da imagem de face, que é utilizado para se comparar com os retratos falados obtidos. O algoritmo proposto usa distância Euclidiana para comparação de semelhança e wavelets de Haar como descritor das imagens. Foram utilizadas as métricas estatísticas de avaliação de desempenho: Recall X Precision e Cumulative Match Score. A metodologia proposta obteve uma precisão de 95% de acertos nas buscas realizadas em Cross Validation, dessa forma mostra-se um método viável para recuperação de imagens a partir de retratos falados. / In the criminal segment, a digital tool able to compare information on criminal suspects, restricting the list of potential criminals, represents a major technological breakthrough. The challenge is to retrieve similar images in the database and thus from the sketch of a suspect you can find images of criminals in the police faces database. The importance of this challenge is due to the fact that in most cases, the sketch generated from the verbal description of witnesses is the starting point for the outcome of many investigations. In view of this, this paper aims to develop a computer system able to search for images of human faces from a database of faces using face images of outlines from a sketch. Sketches were made to compare with the outlines of the images of human faces present in the database and the most similar were retrieved. In the proposed methodology, the face images go through a process called Misturograma, resulting in the outlines of the face image, which is used to compare the obtained sketches. The proposed algorithm uses Euclidean distance to compare the similarity and Haar wavelets as a descriptor of the images. We used the statistical metrics for performance evaluation: Recall X Precision and Cumulative Match Score. The proposed method achieved an accuracy of 95% in carried out searches in Cross Validation thus proves to be a viable method for recovering images from sketches.

La modélisation à l'aide de croquis a pour but de construire une forme tridimensionnelle à partir d'un dessin en deux dimensions. L'utilisateur dessine la silhouette de l'objet à reconstruire sur le plan de dessin, puis un algorithme génère automatiquement une forme en 3D à partir de ce croquis. La modélisation par croquis à l’avantage d’être plus simple et plus rapide que la modélisation classique qui requiert l’utilisation de logiciels complexes comme 3DS Max, Maya, Blender, etc. Les applications liées à la modélisation par croquis seraient nombreuses : dans le domaine de l'infographie, la modélisation géométrique pour les jeux vidéo le dessin industriel, les effets spéciaux, etc., serait plus rapide et moins coûteuse. La modélisation à l’aide de croquis pourrait être utilisée par tout le monde. Nous avons tous, un jour ou l’autre, fait un croquis pour expliquer le chemin à prendre pour aller à un lieu précis, un croquis pour l’agencement d’une cuisine et d’une salle de séjour, ou un croquis pour expliquer le fonctionnement d’une machine, etc. Dans ce mémoire de thèse, nous nous intéressons dans un premier temps au problème de la génération de courbes en 3D constituées d’hélices à partir de croquis. Nous présentons deux algorithmes qui traitent ce problème. Puis dans un second temps, nous nous intéressons à la génération de surfaces à partir de croquis et plus particulièrement à la génération de bas-reliefs, ces surfaces ayant l’avantage de ne pas présenter de parties cachées. / The goal of sketch based modeling is to generate a 3D shape from a 2D sketch. The user draw the outline of the object to rebuild on the sketch plane, then an algorithm automatically build the 3D shape from the sketch. Sketch based modeling is easier to use and faster than traditional technics which uses complex modeling software such as 3DS max, Maya or Blender. There is a lot of applications for sketch based modeling, for example, the geometric modeling for video games, industrial design, special effects, etc. would be faster and less expensive. Sketch based modeling can be used by anybody. We all , at one time or another , made a sketch to explain a route to take to get to a specific place , a sketch for the arrangement of a kitchen and a living room, or sketches to explain the operation of a machine, etc. In this thesis memory, we look initially to the problem of generating piecewise helix curves from 2D sketches . We present two algorithms that address this problem. Then in a second step, we focus on the generation of 3D surfaces from sketches and more particularly to the generation of low reliefs, these surfaces have the advantage of not presenting hidden parts.