1 February 2016: Extended paper deadline to 17 February (abstracts: 10 February).
20 January 2016: Added paper submission instructions (see green text below). Note the separate abstract (1 February) and paper deadlines (7 February).

Expressive 2016 — Call for Papers

Date: May 7–9, 2016
Location: Lisbon, Portugal
URL: http://expressive.graphics/2016/
Co-sponsored by: ACM SIGGRAPH and Eurographics
Abstract submission deadline: February 10, 2016 (extended)
Paper submission deadline: February 17, 2016 (extended)
Acceptance notification: March 13, 2016

Expressive 2016 is a joint symposium that includes

The conference will take place in Lisbon, Portugal, May 7–9, 2016, and it will be co-located with the Eurographics 2016 conference. A single registration for Expressive 2016 will include all three symposia.

Invited talks and artists talks will be shared among the conferences and sessions will be mixed. The submission, review, and publication process for the event will be handled jointly across the three conferences. Each paper submission should be designated as belonging to one of the three tracks.

Computational Aesthetics

Computational Aesthetics (CAe) bridges the analytic and synthetic by integrating aspects of computer science, philosophy, psychology, and the fine, applied & performing arts. It seeks to facilitate both the analysis and the augmentation of creative behaviors. CAe also investigates the creation of tools that can enhance the expressive power of the fine and applied arts and furthers our understanding of aesthetic evaluation, perception, and meaning. The Computational Aesthetics conference brings together individuals with technical experience of developing computer-based tools to solve aesthetic problems and people with artistic/design backgrounds who use these new tools and inform their design. Refereed CAe papers and artworks aim to facilitate a dialog between scientists and engineers, and also artists and designers. Presentations will provide a snapshot of the latest technical breakthroughs and the most recent artistic or design achievements in applying computer-based techniques to solve aesthetic problems.

Technical submissions are invited across the broad range of areas covered by Computational Aesthetics. Specific technical areas include, but are not limited to:

  • computational analysis and modeling of creative behavior (AI, A-life)
  • artistic image transformation techniques (colors, edges, patterns, dithering)
  • image style and salience analysis (paintings, photographs, others)
  • visualization (perceptual, affective or aesthetics based)
  • sketching, simplification techniques (artistic, cognitive)
  • composition, visual balance, layout
  • non-photorealistic and illustrative rendering addressing computational aesthetics
  • empirically based metrics of aesthetic attributes
  • applied visual perception (color appearance, spatial vision, and other aspects)
  • measuring and describing aesthetics
  • computational tools for artists

Successful submissions can, for example, describe novel technical approaches that address one or more of the areas mentioned above (or beyond). However, we are equally interested in papers that discuss the use of existing techniques but combine them in an interesting new way or apply them in a new context that addresses problems in computational aesthetics.

Sketch-Based Interfaces and Modeling

Advances in pen-based computer hardware have enabled digital sketch-based interfaces to emerge as a powerful way to combine the quick and intuitive feel of paper with the power of computation. However, fully realizing the potential of these sketch-based systems requires effective input devices, user interface design and underlying algorithms to analyze the input. The goal of this symposium is to explore models, algorithms and technologies needed to enable effective sketch-based interfaces. It investigates novel methods for classification and recognition of hand-drawn shapes, and ways of using these techniques for creating or editing digital models, text, mathematics and 3D shapes. Likewise, the symposium explores the application of sketch-based interfaces to 3D computer graphics, animation, CAD and computer games, as well as other specific applications such as diagram editing, note taking and novel input devices. Finally, the symposium welcomes empirical user studies aimed at clarifying the nature of sketch-based interfaces and comparing them to other interaction techniques.

Created in 2004, SBIM provides a unique venue for researchers, students and practitioners interested in sketch-based techniques to interact with one another, share lessons learned, show new results and discuss open issues.

Topic areas for SBIM 2016 include but are not limited to:

  • Multimodal interfaces for sketching
  • Novel sketch input and editing devices
  • Novel pen-based interaction techniques
  • Low level ink processing and pen stroke segmentation
  • Sketch parsing, classification and recognition
  • Sketch-based interfaces for CAD systems
  • Sketch-based modeling and editing of 3D shapes
  • Sketch-based control of animations
  • Sketch-based interfaces for other applications (surface editing, diagram creation, mathematical annotations, games, etc.)
  • Rendering techniques for sketch-based systems (NPR)
  • Sketches for medical and volume data editing
  • Sketch-based retrieval of multimedia information
  • Usability studies of sketch-based systems
  • Studies of the impact of sketching on creativity and design
  • Multi-touch interfaces and applications

Non-Photorealistic Animation and Rendering

Non-Photorealistic Animation and Rendering (NPAR) refers to computational techniques for visual communication. Such techniques usually generate imagery and motion which is expressive, rather than photorealistic, although they may incorporate realistic elements.

We invite researchers, artists, and practitioners of all areas connected to non-photorealistic animation and rendering to submit papers and posters on their work. Submitted papers should be self-classified into one of the following three categories:

  • Research: new algorithms, scientific studies, analysis, or data (i.e., traditional NPAR papers). These must contain novel results that make a substantive contribution to the field.
  • Production: candid discussion of the process of creating a work (e.g., film, image, game) or art tool (e.g., paint or CAD program, software library).
  • Meta: statements about research that do not contain new results, e.g.: grand challenges, position papers, evaluation standards, surveys, and primers on art / aesthetics / psychophysics for a computer science audience.

All work must be previously unpublished and contain a novel contribution. Production and Meta papers need not contain original research or results.

Topic areas of NPAR 2016 include, but are not limited to:

  • Expressive character animation and physics
  • Abstraction and stylization of images/video
  • Interaction techniques
  • Accounts of real productions (e.g., animated films)
  • NPAR in real software products (e.g., modeling, visualization, presentation software)
  • Visual composition
  • Hardware acceleration
  • Evaluation methods for NPAR algorithms
  • Psychophysics of NPAR
  • Rendering and layout for text and presentation graphics
  • Quantitative analysis of human artists
  • Generative or evolutionary approaches
  • Style transfer
  • Temporal and spatial coherence
  • Adapting classic CG effects like motion blur, depth of field, and lighting for NPAR
  • Simulation of natural media and traditional styles
  • Non-traditional camera models
  • Position papers on grand challenges

Technical Paper Submissions

Technical papers should present original, unpublished work. There is no absolute maximum length for paper submissions; please use the SIGGRAPH length guidelines. In particular, note that papers longer than 8–10 pages must make a very significant contribution to be accepted. Manuscripts must be written in English, and should follow the Eurographics formatting instructions, including a title page with an abstract and keywords, and a bibliography. The submission is electronic in PDF format; supplemental video and images may also be submitted. Research papers are reviewed double-blind and so must be anonymous when submitted.

NEW: Paper submissions will be made electronically through the Eurographics Submission and Review Management (SRM) system. Please be sure to remove all personal data (such as authors, affiliations, etc.) from your submission. References to your own work should be made in the third person to maintain anonymity. Do not forget to designate the paper submission as belonging to one of the three tracks.

Please also note that only PDF files will be accepted for your submission. Make sure that all fonts are embedded in your PDF file. Additional material such as additional images or videos may be submitted as PDF or as a zipped archive (ZIP files) with a maximum size of 30 MB. For videos please ensure that a commonly available format and codec is used. For example, make sure that the video plays with VLC, which is available on most platforms.

Accepted papers will be published as a single conference proceedings by Eurographics and will be available online via both the Eurographics Digital Library and the ACM Digital Library.

Important Dates

Abstract submission deadline: February 10, 2016 (extended)
Paper submission deadline: February 17, 2016 (extended)
Acceptance notification: March 13, 2016
Papers camera-ready deadline: March 27, 2016
Conference: May 7–9, 2016

All deadlines are at 23:59:59 UTC/GMT.

Conference Chairs

General chair: Luís Gonzaga Magalhães, University of Minho, Portugal
Manuel João Fonseca, University of Lisbon, Portugal
Metin Sezgin, Koç University, Turkey
CAe track chairs: Angus Forbes, University of Illinois at Chicago, USA
Lyn Bartram, Simon Fraser University, Canada
NPAR track chairs: Pierre Bénard, University of Bordeaux, France
Holger Winnemöller, Adobe Systems, USA
SBIM track chair: Yotam Gingold, George Mason University, USA
Ergun Akleman, Texas A&M University, USA