The Three-Dimensional Interpretation of a Class of Simple Line-Drawings

We provide a theory of the three-dimensional interpretation of a class of line-drawings called p-images, which are interpreted by the human vision system as parallelepipeds ("boxes"). Despite their simplicity, p-images raise a number of interesting vision questions: *Why are p-images seen as three-dimensional objects? Why not just as flatimages? *What are the dimensions and pose of the perceived objects? *Why are some p-images interpreted as rectangular boxes, while others are seen as skewed, even though there is no obvious distinction between the images? *When p-images are rotated in three dimensions, why are the image-sequences perceived as distorting objects---even though structure-from-motion would predict that rigid objects would be seen? *Why are some three-dimensional parallelepipeds seen as radically different when viewed from different viewpoints? We show that these and related questions can be answered with the help of a single mathematical result and an associated perceptual principle. An interesting special case arises when there are right angles in the p-image. This case represents a singularity in the equations and is mystifying from the vision point of view. It would seem that (at least in this case) the vision system does not follow the ordinary rules of geometry but operates in accordance with other (and as yet unknown) principles.

Generating Semantic Descriptions From Drawings of Scenes With Shadows

The research reported here concerns the principles used to automatically generate three-dimensional representations from line drawings of scenes. The computer programs involved look at scenes which consist of polyhedra and which may contain shadows and various kinds of coincidentally aligned scene features. Each generated description includes information about edge shape (convex, concave, occluding, shadow, etc.), about the type of illumination for each region (illuminated, projected shadow, or oriented away from the light source), and about the spacial orientation of regions. The methods used are based on the labeling schemes of Huffman and Clowes; this research provides a considerable extension to their work and also gives theoretical explanations to the heuristic scene analysis work of Guzman, Winston, and others.

Model-Based Matching of Line Drawings by Linear Combinations of Prototypes

We describe a technique for finding pixelwise correspondences between two images by using models of objects of the same class to guide the search. The object models are 'learned' from example images (also called prototypes) of an object class. The models consist of a linear combination ofsprototypes. The flow fields giving pixelwise correspondences between a base prototype and each of the other prototypes must be given. A novel image of an object of the same class is matched to a model by minimizing an error between the novel image and the current guess for the closest modelsimage. Currently, the algorithm applies to line drawings of objects. An extension to real grey level images is discussed.

Computer Perception of Three-Dimensional Objects

We first pose the following problem: to develop a program which takes line-drawings as input and constructs three-dimensional objects as output, such that the output objects are the same as the ones we see when we look at the input line-drawing. We then introduce the principle of minimum standard-deviation of angles (MSDA) and discuss a program based on MSDA. We present the results of testing this program with a variety of line- drawings and show that the program constitutes a solution to the stated problem over the range of line-drawings tested. Finally, we relate this work to its historical antecedents in the psychological and computer-vision literature.

Recognizing Three-Dimensional Objects without the Use of Models

We present an approach to the problem of recognizing three-dimensional objects from line-drawings. In this approach there are no models. The system needs only to be given a single picture of an object; it can then recognize the object in arbitrary orientations.

Relative Contributions of Internal and External Features to Face Recognition

The central challenge in face recognition lies in understanding the role different facial features play in our judgments of identity. Notable in this regard are the relative contributions of the internal (eyes, nose and mouth) and external (hair and jaw-line) features. Past studies that have investigated this issue have typically used high-resolution images or good-quality line drawings as facial stimuli. The results obtained are therefore most relevant for understanding the identification of faces at close range. However, given that real-world viewing conditions are rarely optimal, it is also important to know how image degradations, such as loss of resolution caused by large viewing distances, influence our ability to use internal and external features. Here, we report experiments designed to address this issue. Our data characterize how the relative contributions of internal and external features change as a function of image resolution. While we replicated results of previous studies that have shown internal features of familiar faces to be more useful for recognition than external features at high resolution, we found that the two feature sets reverse in importance as resolution decreases. These results suggest that the visual system uses a highly non-linear cue-fusion strategy in combining internal and external features along the dimension of image resolution and that the configural cues that relate the two feature sets play an important role in judgments of facial identity.