Fitting a Second Degree Curve in the Presence of Error
IEEE Transactions on Pattern Analysis and Machine Intelligence
An Experimental Comparison of Range Image Segmentation Algorithms
IEEE Transactions on Pattern Analysis and Machine Intelligence
Fitting Curves and Surfaces With Constrained Implicit Polynomials
IEEE Transactions on Pattern Analysis and Machine Intelligence
Orthogonal Distance Fitting of Implicit Curves and Surfaces
IEEE Transactions on Pattern Analysis and Machine Intelligence
Invariant Fitting of Planar Objects by Primitives
IEEE Transactions on Pattern Analysis and Machine Intelligence
ICIP'09 Proceedings of the 16th IEEE international conference on Image processing
Journal on Computing and Cultural Heritage (JOCCH)
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In this paper, a methodology of general applicability is presented for answering the question if an artist used a number of archetypes to draw a painting or if he drew it freehand. In fact, the contour line parts of the drawn objects that potentially correspond to archetypes are initially spotted. Subsequently, the exact form of these archetypes and their appearance throughout the painting is determined. The method has been applied to celebrated Thera Late Bronze Age wall paintings with full success. It has been demonstrated that the artist or group of artists has used seven geometrical archetypes and seven corresponding well-constructed stencils (four hyperbolae, two ellipses, and one Archimedes' spiral) to draw the wall painting "Gathering of Crocus” in 1650 B.C. This method of drawing seems to be unique in the history of arts and of great importance for archaeology, and the history of mathematics and sciences, as well.