Computer Art that Isn't
Dave Sims.
IEEE Computer Graphics and Applications, pp. 4--6,
1994. [BibTeX]
Computer Generated Copper Plates
Wolfgang Leister.
Computer Graphics Forum, Vol. 13, No. 1, pp. 69--77,
1994. [BibTeX]
Computer Generation of Penrose Tilings
J. Rangel-Mondragon, S. J. Abas.
Computer Graphics Forum, Vol. 7, No. 1, pp. 29--37,
1988. [BibTeX]
Computer Graphics Advances the Art of Anime
Jan Krikke.
IEEE Computer Graphics and Applications, Vol. 26, No. 3, pp. 14--19, May/June,
2006. [BibTeX]
Computer Graphics System for Reproducing Three-Dimensional Shape from Idea Sketch
Makoto Akeo, Hiroshi Hashimoto, Taisuke Kobayashi, Tetsuo Shibusawa.
Computer Graphics Forum, Vol. 13, No. 3, pp. 477--488,
1994. [BibTeX]
Computer Painting in a Different Light
Michael Haggerty.
IEEE Computer Graphics and Applications, Vol. 12, No. 6, pp. 4--6, November,
1992. [BibTeX]
Creating Watercolor Style Images Taking Into Account Painting Techniques
Henry Johan, Hiroshi Hashimoto, Tomoyuki Nishita.
The Journal of the Society for Art and Science, Vol. 3, No. 4, pp. 207--215,
2004. [BibTeX]
Cubist Style Rendering from Photographs
John P. Collomosse, Peter M. Hall.
IEEE Transactions on Visualization and Computer Graphics, Vol. 9, No. 4, pp. 443--453, October,
2003. [BibTeX]
Curvature-based stroke rendering
Suguru Saito, Akane Kani, Youngha Chang, Masayuki Nakajima.
The Visual Computer, Vol. 24, No. 1, pp. 1--11,
2008. [BibTeX]
Defining Pictorial Style: Lessons from Linguistics and Computer Graphics
Author(s): John Willats, Frédo Durand.
Article: Axiomathes, Vol. 15, No. 2,
2005.
[BibTeX] 
Abstract:
A definition of pictorial style in terms of distinctive combinations of pictorial devices characteristic of a particular culture or period or the work of an individual artist is proposed. Four kinds of pictorial structure are described: the drawing (spatial) systems, the denotation systems, the mark systems and the attributes systems. Three pictures by Poussin, Rembrandt and the Achilles painter are then analyzed in terms of these four systems. It is suggested that descriptions of style of this kind can be thought of as hypotheses about the nature of the implicit rules that generated the pictures to which they were applied. Examples of ways of testing this suggestion by embodying such stylistic rules in computer graphics programs are given.