We present a simple image-based method of generating novel visual appearance in which a new image is synthesized by stitching together small patches of existing images. We call this process image quilting. First, we use quilting as a fast and very simple texture synthesis algorithm which produces surprisingly good results for a wide range of textures. Second, we extend the algorithm to perform texture transfer -- rendering an object with a texture taken from a different object. More generally, we demonstrate how an image can be re-rendered in the style of a different image. The method works directly on the images and does not require 3D information.

A new algorithm is proposed for removing large objects from digital images. The challenge is to fill in the hole that is left behind in a visually plausible way. In the past, this problem has been addressed by two classes of algorithms: 1) “texture synthesis” algorithms for generating large image regions from sample textures and 2) “inpainting ” techniques for filling in small image gaps. The former has been demonstrated for “textures”—repeating twodimensional patterns with some stochasticity; the latter focus on linear “structures ” which can be thought of as one-dimensional patterns, such as lines and object contours. This paper presents a novel and efficient algorithm that combines the advantages of these two approaches. We first note that exemplar-based texture synthesis contains the essential process required to replicate both texture and structure; the success of structure propagation, however, is highly dependent on the order in which the filling proceeds. We propose a best-first algorithm in which the confidence in the synthesized pixel values is propagated in a manner similar to the propagation of information in inpainting. The actual color values are computed using exemplar-based synthesis. In this paper, the simultaneous propagation of texture and structure information is achieved by a single, efficient algorithm. Computational efficiency is achieved by a block-based sampling process. A number of examples on real and synthetic images demonstrate the effectiveness of our algorithm in removing large occluding objects, as well as thin scratches. Robustness with respect to the shape of the manually selected target region is also demonstrated. Our results compare favorably to those obtained by existing techniques.

The Problem: Pixel representations for images do not have resolution independence. When we zoom into a bitmapped image, we get a blurred image. Figure 1 shows the problem for a teapot image, rich with real-world detail. We know the teapot’s features should remain sharp as we zoom in on them, yet standard pixel interpolation methods, such as pixel replication (b, c) and cubic spline interpolation (d, e), introduce artifacts or blurring of edges. For images zoomed 3 octaves, such as these, sharpening the interpolated result has little useful effect (f, g). Many applications in graphics or image processing could benefit from such pixel resolution independence, such as texture mapping, enlarging consumer photographs, and converting NTSC video content to HDTV. We don’t expect perfect resolution independence—even the polygon representation doesn’t have that—but increasing the resolution independence of pixel-based representations is an important task for image-based rendering. Our example-based super-resolution algorithm yields Fig. 1 (h, i). Previous Work: Researchers have long studied image interpolation, although only recently using machine learning or sampling approaches, which offer much power. Cubic spline interpolation [5] is a very common image interpolation function, but suffers from blurring of edges and image details. Recent attempts to improve on cubic spline interpolation [6, 8, 2] have met with limited success. Schreiber and collaborators [6] proposed a sharpened Gaussian interpolator function to minimize information

Abstract not found

This paper presents interactive image editing tools using a new randomized algorithm for quickly finding approximate nearest-neighbor matches between image patches. Previous research in graphics and vision has leveraged such nearest-neighbor searches to provide a variety of high-level digital image editing tools. However, the cost of computing a field of such matches for an entire image has eluded previous efforts to provide interactive performance. Our algorithm offers substantial performance improvements over the previous state of the art (20-100x), enabling its use in interactive editing tools. The key insights driving the algorithm are that some good patch matches can be found via random sampling, and that natural coherence in the imagery allows us to propagate such matches quickly to surrounding areas. We offer theoretical analysis of the convergence properties of the algorithm, as well as empirical and practical evidence for its high quality and performance. This one simple algorithm forms the basis for a variety of tools – image retargeting, completion and reshuffling – that can be used together in the context of a high-level image editing application. Finally, we propose additional intuitive constraints on the synthesis process that offer the user a level of control unavailable in previous methods.

two intersecting lines (green) specified by the user, (c) intermediate result after propagating structure and texture information along the user-specified lines, and (d) final result after filling in the remaining unknown regions by texture propagation. In this paper, we introduce a novel approach to image completion, which we call structure propagation. In our system, the user manually specifies important missing structure information by extending a few curves or line segments from the known to the unknown regions. Our approach synthesizes image patches along these user-specified curves in the unknown region using patches selected around the curves in the known region. Structure propagation is formulated as a global optimization problem by enforcing structure and consistency constraints. If only a single curve is specified, structure propagation is solved using Dynamic Programming. When multiple intersecting curves are specified, we adopt the Belief Propagation algorithm to find the optimal patches. After completing structure propagation, we fill in the remaining unknown regions using patch-based texture synthesis. We show that our approach works well on a number of examples that are challenging to state-of-the-art techniques.

We present a new method for completing missing parts caused by the removal of foreground or background elements from an image. Our goal is to synthesize a complete, visually plausible and coherent image. The visible parts of the image serve as a training set to infer the unknown parts. Our method iteratively approximates the unknown regions and composites adaptive image fragments into the image. Values of an inverse matte are used to compute a confidence map and a level set that direct an incremental traversal within the unknown area from high to low confidence. In each step, guided by a fast smooth approximation, an image fragment is selected from the most similar and frequent examples. As the selected fragments are composited, their likelihood increases along with the mean confidence of the image, until reaching a complete image. We demonstrate our method by completion of photographs and paintings.

A near-regular texture deviates geometrically and photometrically from a regular congruent tiling. Although near-regular textures are ubiquitous in the man-made and natural world, they present computational challenges for state of the art texture analysis and synthesis algorithms. Using regular tiling as our anchor point, and with user-assisted lattice extraction, we can explicitly model the deformation of a near-regular texture with respect to geometry, lighting and color. We treat a deformation field both as a function that acts on a texture and as a texture that is acted upon, and develop a multimodal framework where each deformation field is subject to analysis, synthesis and manipulation. Using this formalization, we are able to construct simple parametric models to faithfully synthesize the appearance of a near-regular texture and purposefully control its regularity.

(a) input (b) sample possible renditions: bright and sharp, gray and highly detailed, and contrasted, smooth and grainy Figure 1: This paper describes a technique to enhance photographs. We equip the user with powerful filters that control several aspects of an image such as its tonal balance and its texture. We make it possible for anyone to explore various renditions of a scene in a few clicks. We provide an effective approach to æsthetic choices, easing the creation of compelling pictures. We introduce a new approach to tone management for photographs. Whereas traditional tone-mapping operators target a neutral and faithful rendition of the input image, we explore pictorial looks by controlling visual qualities such as the tonal balance and the amount of detail. Our method is based on a two-scale non-linear decomposition of an image. We modify the different layers based on their histograms and introduce a technique that controls the spatial variation of detail. We introduce a Poisson correction that prevents potential gradient reversal and preserves detail. In addition to directly controlling the parameters, the user can transfer the look of a model photograph to the picture being edited.

We present a novel technique for large deformations on 3D meshes using the volumetric graph Laplacian. We first construct a graph representing the volume inside the input mesh. The graph need not form a solid meshing of the input mesh’s interior; its edges simply connect nearby points in the volume. This graph’s Laplacian encodes volumetric details as the difference between each point in the graph and the average of its neighbors. Preserving these volumetric details during deformation imposes a volumetric constraint that prevents unnatural changes in volume. We also include in the graph points a short distance outside the mesh to avoid local self-intersections. Volumetric detail preservation is represented by a quadric energy function. Minimizing it preserves details in a least-squares sense, distributing error uniformly over the whole deformed mesh. It can also be combined with conventional constraints involving surface positions, details or smoothness, and efficiently minimized by solving a sparse linear system. We apply this technique in a 2D curve-based deformation system allowing novice users to create pleasing deformations with little effort. A novel application of this system is to apply nonrigid and exaggerated deformations of 2D cartoon characters to 3D meshes. We demonstrate our system’s potential with several examples.