Detailed Program
| Room 1: Monday, 4th June | |
| 9:00-10:00 | Key-note 1 OverCoat: A journey in between primary and secondary space Robert Sumner |
| Pause | |
| Oral sessions: Sketching applications | |
| 10:30 | Sketch-based Geological Modeling from Uncertainty (SBIM) |
| 11:00 | Geological Storytelling — Graphically Exploring and Communicating Geological Sketches (SBIM) |
| 11:30 | RedDog: A Smart Sketch Interface for Autonomous Aerial Systems (SBIM) |
| Pause | |
| Oral sessions: Art in Action | |
| 13:30 | No Photos Harmed / Growing Paths from Seed: An Exhibition (NPAR) |
| 14:00 | SAMBA: Steadied choreographies (CAe) |
| 14:30 | Integrarte: digital art using body interaction (CAe) |
| 15:00 | Sketches by Paul the Robot (CAe) |
| Room 2: Monday, 4th June | |
| Oral sessions: Gesture and Math | |
| 13:30 | Concepture: a regular language based framework for recognizing gestures with repetitive patterns (SBIM) |
| 14:00 | The 1¢ Recognizer: A Fast, Accurate, and Easy-to-Implement Handwritten Gesture Recognition Technique (SBIM) |
| 14:30 | SetPad: A Sketch-Based Tool For Exploring Discrete Math Set Problems (SBIM) |
| 15:00 | Newtons Pen II: An Intelligent, Sketch-Based Tutoring System and its Sketch Processing Techniques (SBIM) |
| Room 1: Tuesday, 5th June | |
| 9:00-10:00 | Key-note 2 The Process of Visual Thinking Colin Ware |
| Pause | |
| Oral sessions: Sketch understanding | |
| 10:30 | Automated Labeling of Ink Stroke Data (SBIM) |
| 11:00 | Exploiting Artistic Cues to obtain Line Labels for Free-hand Sketches (SBIM) |
| 11:30 | Experiences with Mobile Vision-Based Sketch Recognition (SBIM) |
| Pause | |
| Oral sessions: Making it change | |
| 13:30 | Shape-Free Hybrid Image (NPAR) |
| 14:00 | Feedback-guided Stroke Placement for a Painting Machine (CAe) |
| 14:30 | The aMotion Toolkit: Painting with Affective Motion (CAe) |
| 15:00 | A Technique for Art Direction of Physically Based Fire Simulation (CAe) |
| Room 2: Tuesday, 5th June | |
| Oral sessions: Aesthetics and perspective | |
| 10:30 | Evaluating Visual Aesthetics in Photographic Portraiture (CAe) |
| 11:00 | Determining an Aesthetic Inscribed Curve (CAe) |
| 11:30 | Developing a system of screen-less animation for experiments in perception of movement (CAe) |
| Pause | |
| Oral sessions: Pixelation and colour | |
| 13:30 | Pixelating Vector Line Art (NPAR) |
| 14:00 | Pixelated Image Abstraction (NPAR) |
| 14:30 | Random Discrete Colour Sampling (CAe) |
| 15:00 | Exploring the Effect of Color Palette in Painterly Rendered Character Sequences (CAe) |
| Room 1: Wednesday, 6th June | |
| 9:00-10:00 | Key-note 3 Six uses of line in pictures, foreshortening in vision & touch, crosstalk illusions and metaphor John Kennedy |
| Pause | |
| Oral sessions: Lines, strokes and textures in 3D | |
| 10:30 | Active Strokes: Coherent Line Stylization for Animated 3D Models (NPAR) |
| 11:00 | Duotone Surfaces (CAe) |
| 11:30 | Surface Covering Curves (CAe) |
| Pause | |
| Oral sessions: Sketching for eyes, trees and 3D | |
| 13:30 | I Don‘t Believe My Eyes! Geometric Sketch Recognition for a Computer Art Tutorial (SBIM) |
| 14:00 | TreeSketch: Interactive Procedural Modeling of Trees on a Tablet (SBIM) |
| 14:30 | JustDrawIt: A 3D Sketching System (SBIM) |
| 15:00 | Consistent Stylization and Painterly Rendering of Stereoscopic 3D Images (NPAR) |
| Room 2: Wednesday, 6th June | |
| Oral sessions: Image processing / image to art | |
| 13:30 | Virtual Passepartouts (NPAR) |
| 14:00 | Combining Sketch and Tone for Pencil Drawing Production (NPAR) |
| 14:30 | Texture-Preserving Abstraction (NPAR) |
| 15:00 | Accurate and Discernible Photocollages (CAe) |
