.
An interface for the interactive design of artistic screens
N. Rudaz, Roger D. Hersch, Victor Ostromoukhov.
Electronic Publishing, Artistic Imaging and Digital Typography, Springer Verlag, Lecture Notes in Computer Science 1375, pp. 1--10,
1998. [BibTeX]
Artistic Halftoning - Between Technology and Art
Victor Ostromoukhov.
SPIE Vol. 3963, pp. 489--509,
2000. [BibTeX]
Artistic Screening
Victor Ostromoukhov, Roger D. Hersch.
Siggraph 95,
1995. [BibTeX]
Decoupling Strokes and High-Level Attributes for Interactive Traditional Drawing
Frédo Durand, Victor Ostromoukhov, Matthew Miller, Francois Duranleau, Julie Dorsey.
Eurographics Workshop on Rendering 2001,
2001. [BibTeX]
Digital Facial Engraving
Victor Ostromoukhov.
SIGGRAPH 99,
1999. [BibTeX]
Hatching by Example: a Statistical Approach
Pierre-Marc Jodoin, Emric Epstein, Martin Granger-Piche, Victor Ostromoukhov.
2nd International Symposium on Non-Photorealistic Animation and Rendering (NPAR'02), Annecy, France, June 3-5,
2002. [BibTeX]
Mathematical Tools for Computer-Generated Ornamental Patterns
Victor Ostromoukhov.
Electronic Publishing, Artistic Imaging and Digital Typography, Lecture Notes in Computer Science 1375, Springer Verlag, pp. 193--223,
1998. [BibTeX]
Multi-Color and Artistic Dithering
Victor Ostromoukhov, Roger D. Hersch.
Computer Graphics Proceedings, Annual Conference Series, pp. 425--432,
1999. [BibTeX]
Non-Photorealistic Rendering of Hair for Animated Cartoons
Martin Côté, Pierre-Marc Jodoin, Charles Donohue, Victor Ostromoukhov.
GRAPHICON 04,
2004. [BibTeX]
Perceptual and Artistic Principles for Effective Computer Depiction
Author(s): Maneesh Agrawala, Frédo Durand, Bruce Gooch, Victoria Interrante, Victor Ostromoukhov, Denis Zorin.
In Collection: SIGGRAPH 2002, ACM Press, Course #13, San Antonio, Texas,
2002.
[BibTeX] 
Abstract:
This course presents connections between human visual perception and the art of picture production. Findings from perceptual and cognitive sciences are used to explore pictorial techniques used by artists as they address the challenges raised by the depiction of three-dimensional scenes on a flat media. The course introduces perceptual explanations for a variety of artistic styles. Finally, we present mechanisms that can make an image more effective, and demonstrate the adaptation of these mechanisms to computer graphics. The course is intended for both artists and scientists. Although it offers some practical insights, it is intended more as an in-breadth overview.