EP1958160A1 - Procede pour construire une physionomie - Google Patents

Procede pour construire une physionomie

Info

Publication number
EP1958160A1
EP1958160A1 EP05812881A EP05812881A EP1958160A1 EP 1958160 A1 EP1958160 A1 EP 1958160A1 EP 05812881 A EP05812881 A EP 05812881A EP 05812881 A EP05812881 A EP 05812881A EP 1958160 A1 EP1958160 A1 EP 1958160A1
Authority
EP
European Patent Office
Prior art keywords
head
eyewitness
sketched
proportions
face
Prior art date
Legal status (The legal status is an assumption and is not a legal conclusion. Google has not performed a legal analysis and makes no representation as to the accuracy of the status listed.)
Withdrawn
Application number
EP05812881A
Other languages
German (de)
English (en)
Inventor
Gil Gibli
Current Assignee (The listed assignees may be inaccurate. Google has not performed a legal analysis and makes no representation or warranty as to the accuracy of the list.)
Globes Publisher News (1983) Ltd
Original Assignee
Globes Publisher News (1983) Ltd
Priority date (The priority date is an assumption and is not a legal conclusion. Google has not performed a legal analysis and makes no representation as to the accuracy of the date listed.)
Filing date
Publication date
Application filed by Globes Publisher News (1983) Ltd filed Critical Globes Publisher News (1983) Ltd
Publication of EP1958160A1 publication Critical patent/EP1958160A1/fr
Withdrawn legal-status Critical Current

Links

Classifications

    • A—HUMAN NECESSITIES
    • A61—MEDICAL OR VETERINARY SCIENCE; HYGIENE
    • A61B—DIAGNOSIS; SURGERY; IDENTIFICATION
    • A61B5/00—Measuring for diagnostic purposes; Identification of persons
    • A61B5/117—Identification of persons
    • A61B5/1171—Identification of persons based on the shapes or appearances of their bodies or parts thereof
    • A61B5/1176—Recognition of faces
    • B—PERFORMING OPERATIONS; TRANSPORTING
    • B44—DECORATIVE ARTS
    • B44D—PAINTING OR ARTISTIC DRAWING, NOT OTHERWISE PROVIDED FOR; PRESERVING PAINTINGS; SURFACE TREATMENT TO OBTAIN SPECIAL ARTISTIC SURFACE EFFECTS OR FINISHES
    • B44D2/00—Special techniques in artistic painting or drawing, e.g. oil painting, water painting, pastel painting, relief painting
    • G—PHYSICS
    • G06—COMPUTING; CALCULATING OR COUNTING
    • G06T—IMAGE DATA PROCESSING OR GENERATION, IN GENERAL
    • G06T11/00—2D [Two Dimensional] image generation
    • G—PHYSICS
    • G06—COMPUTING; CALCULATING OR COUNTING
    • G06V—IMAGE OR VIDEO RECOGNITION OR UNDERSTANDING
    • G06V40/00—Recognition of biometric, human-related or animal-related patterns in image or video data
    • G06V40/10—Human or animal bodies, e.g. vehicle occupants or pedestrians; Body parts, e.g. hands
    • G06V40/16—Human faces, e.g. facial parts, sketches or expressions
    • G06V40/168—Feature extraction; Face representation
    • G06V40/171—Local features and components; Facial parts ; Occluding parts, e.g. glasses; Geometrical relationships

Definitions

  • the present invention relates to the field of drawing identifiable objects. More particularly, the present invention relates to a method for sketching a face of a person based on its recollection by another person.
  • PhotoFit Another technique, which is known as the “PhotoFit” technique, involves usage of 600 interchangeable photographs of facial parts, for picturing five basic features: forehead and hair, eyes and eyebrows, mouth and lips, nose, and chin and cheeks.
  • Alternatives to PhotoFit have also been developed, which include, for example, the Multiple Image-Maker and Identification Compositor (MIMIC), which uses film strip projections; and the Identikit, which uses plastic overlays of drawn features to produce a composite resembling a sketch.
  • MIMIC Multiple Image-Maker and Identification Compositor
  • Identikit which uses plastic overlays of drawn features to produce a composite resembling a sketch.
  • a computerized version of the Identikit process available from the Visitex Corporation.
  • US 4,676,753 discloses an overlay based identification kit similar to Identikit.
  • US 4,034,485 discloses a composite face apparatus and method.
  • a plurality of stacks of opaque pages are utilized such that each stack of page bears a representation of a facial part (e.g., eyes), while each page thereof bears a unique representation of this part (i.e., particular shape of eyes).
  • the stacks of pages are arranged along a binding to represent, in order, representations of hair, eyes, nose and mouth.
  • An eyewitness is intended to flip the stacks of pages until obtaining a face that resembles to the face of the suspect.
  • this method has the drawback of using fixed versions of eyes, hair, noses etc., such that only a general perception of the - 3 -
  • US 4,045,883 discloses an identification kit and method. According to US 4,045,883, two pluralities of photographic facial portions are provided, each portion bearing one or more facial characteristics. The first plurality of photographic facial portions is related to full front face views, whereas the second plurality of photographic facial portions is related to profile face views that correspond to the full front face views. The portions in the two pluralities of photographic facial portions are in the same geometric scale. However, due to the use of pluralities of portions, US 4,045,883 suffers from the same drawbacks as US 4,034,485.
  • eyewitnesses do not remember small details of the major five elements of the face (hair, eyes, nose, ears and chin), such as the exact contour lines thereof, or the size of each element.
  • eyewitnesses do tend to remember the general shape of the face, the relative size and location of the elements in the general shape of the face.
  • Another problem that characterizes the prior art is that because a sketched, or a composite, face is based primarily on the recollection of small details of the five elements of the face, the prior art do not allow associating the face to a distinct section of the population or to some stereotype. Associating a face to a particular stereotype can be beneficial because such association can add additional 'dimension' to the "wanted" face, which can assist in comprehending the suspect.
  • the present invention provides a method for sketching a face of a person based on its recollection by another person.
  • the method of the invention is characterized by that the recollection of the head and the jutting parts thereof (e.g., forehead, nose, lower jaw, ears, etc.) by an eyewitness is translated into a sketched face by use of several basic geometrical forms that allow, e.g., a sketch artist, to focus on the general outline/shape of the head and, thereafter, to focus on the size and location of each facial part relative to the other facial parts.
  • the method of the invention utilizes more efficiently the visual memory of humans.
  • the inventor of the current invention utilizes what may be generally called, pseudo art rules, in particular those relating to the Cubism style of art, for organizing the various geometrical forms.
  • 'Cubism' is a style of art that stresses abstract structure at the expense of other pictorial elements especially by displaying several aspects of the same object simultaneously and by fragmenting the form of depicted objects
  • the method of the invention is further characterized by that it allows associating a person, whose face is sketched, to a particular group, or stereotype, of population.
  • An exemplary group is a group of humans having round shaped faces.
  • the method of the invention is further characterized by that it allows enhancing the recollected face by providing a depth perception to the recollected face.
  • the aforesaid enhancement allows, e.g., to reveal in the face 'hidden', or 'concealed' features, recesses and jutting areas other than the five major elements (i.e., forehead, eyes, ears, nose and lips). For example, the eyes may be recessed back, and a jutting area may be projecting cheekbones or a lower jaw. More specifically, the aforesaid enhancement gives clues as to facial features that cannot be derived using conventional methods.
  • the method of the invention is further characterized by that the sketch artist starts to sketch a recollected face by focusing on the general shapes, relative sizes and locations of major facial features, and then, as the questioning of the eyewitness progresses, the sketch artist gradually focuses on nuances in the face.
  • a new 'graphical language' is used, for providing a communication means that allows a simple and easy communication between the sketch artist and the eyewitness.
  • the graphical language is based on several geometric forms, such as, but not limited to, a circle, oval, triangle, rectangle, "A", “U”, “V”, and “T”, and it utilizes the relatively good memory of humans for general shapes and for relative size and location of figural elements that are contained within a general, larger, figural element.
  • the witness is not required to remember specific details of, e.g., the nose, eyes, etc. Instead, the witness is requested to associatively relate the corresponding geometrical figures to the general shape of the head and to the relative size and location of the five major facial elements contained therein, as recollected by him.
  • the method for sketching by a sketch artist a face of a person based on its recollection by an eyewitness comprises use of geometric forms as fiducial marks, the proportions, relative size and location of which essentially represent proportions, relative size and location of portions, parts, lines, and/or elements in the face recollected by the eyewitness.
  • the method for sketching a face of a person based on its recollection by an eyewitness comprises: (a) determining a set of two dimensional, and/or spatial geometric forms, each of which, or a combination thereof, corresponds to a specific part of a human face; (b) IL2005/001302
  • - 8 - determining a set of proportions between pre-selected geometric forms; (c) determining a set of distances between pre-selected geometric forms; (d) allowing the eyewitness to select a general, basic, facial outline that essentially matches the facial outline he remembers; and (e) adding a group of geometrical forms, selected by said eyewitness, to said outline, while, for each geometrical form, allowing said eyewitness to optimally match the location, shape, size and orientation of said geometrical form to facial portions of said person, using said proportions, said distances and relative angles derived from the orientation of said geometric forms.
  • the forms are preferably the letters "A"- for characterizing the nose and its vicinity; "V”— for characterizing the Zygomatic Bones and the lower jaw; "U”— for characterizing the chin, rectangles, for characterizing the frontal bone, temples and nose; a set of general, basic, facial outlines, for characterizing the general shape of the recollected head; and 'bicycle seat'- like form, for further characterizing the lower jaw and said Zygomatic Bones.
  • the 'bicycle seat'- like form is primarily intended for characterizing the structure, or bones, of the lower jaw, and, depending on the face of the person, the TDicycle seat'- like form might give also clues as to the characteristics of the Zygomatic Bones.
  • the method for sketching a recollected head/face comprises the steps:
  • the 'sketched head' found by the eyewitness as most resembling the outline of the "wanted" head is hereinafter referred to as the 'sketched head'.
  • the basic facial outline, for characterizing the general outline of the recollected head is selected from the group of: (1) Oval
  • OS Shape
  • RS Round Shape
  • TS Triangular Shape
  • the OS type head Since the OS type head is the most common figure, it must be further analyzed with respect to its different parts, or elements, such as cheek bones and jaw, an explanation of the characterization thereof is explained hereinafter.
  • the 'RS' type of heads implies high probability of a 'full * face, with tendency to complete a semi-circle that passes below the chin.
  • the 'TS' type heads indicates conspicuous cheek bones and lower jaw, but there is a risk that if a specific head is covered with dens hair, the witness might erroneously remember it as belonging to the OS type.
  • the sketched head and the ears are shown to the witness overlaid on a rectangular figure that is associated with a basic neck.
  • the association of the rectangle to a general neck is intended to show to the sketch artist the general shape of the recollected neck, and its location and proportions relative to the sketched head.
  • the witness can easily instruct the sketch artist to draw a neck with proportions recollected by him.
  • the witness may guide the sketch artist to change the width and/or height of the rectangle until the recollected proportions thereof are obtained.
  • the two, substantially, vertical lines of the rectangle will be a little curved.
  • the rectangle will look more like a trapezoid, the wider base of which faces downwards; i.e., to the direction opposite to the direction of the head;
  • the left and right hand sides of the middle drawer symbolize Zygomatic Bones.
  • the secondary rectangles symbolize three 'drawers', each of which can jut independently of the other drawers, for symbolizing jutting parts and recesses in the recollected face.
  • the three secondary rectangles are not necessarily identical to one another in their dimensions, and their prime purpose is to represent the proportions (i.e., as recollected by the eyewitness) of various facial parts that relate to the sketched head. For example, a jutting lower 'drawer' symbolizes a jutting lower jaw;
  • FIG. 9 Drawing a 'bicycle seat'- like figure, that includes a flat, symmetrically- shaped saddle and a seat post projecting downwardly from its middle portion.
  • the seat is sketched to have two, horizontally, opposing ends and a middle end that projects downwardly towards the seat post.
  • the seat post symbolizes the neck, the two opposite ends symbolize the Zygomatic Bones, and the middle end symbolizes the bone of the lower jaw. Accordingly, the proportions of the bicycle seat provide meaningful information concerning the structure of the cheekbones and the lower jaw, and also the relationships therebetween; and
  • FIG. 1A schematically illustrate three basic, or common, shapes of heads, according to the present invention
  • FIG. 2 schematically exemplifies two different ratios between height and width of a head
  • FIG. 3A and 3B schematically illustrate exemplary objects for demonstrating steps 1 and 2 of the method according to the present invention
  • FIG. 4A and 4B schematically illustrate two exemplary combinations of necks and heads, according to the present invention
  • FIG. 5A, 5B, 5 C and 5D schematically illustrate a cupboard and three drawers for teaching an eyewitness the figural language of the present invention
  • FIG. 6 schematically illustrates usage of the cupboard and drawers of Fig. 5 for obtaining features that relate to the forehead and nose;
  • FIG. 7 schematically illustrates usage of the cupboard and drawers of Fig. 5 for obtaining the angle of the nose
  • FIG. 8A, 8B and 8C schematically illustrate three typical profiles of heads, for demonstrating three exemplary angles of noses as might be obtained using the drawing shown in Fig. 7;
  • FIG. 9 schematically illustrates usage of the figural element "A" in accordance with the principles of the present invention.
  • FIG. 10 illustrates an exemplary sketched face, in which the figural elements "U” and “A” are joined together, in accordance with the principles of the present invention
  • FIG. 11 illustrates an exemplary sketched face in which the figural element "V" is exemplified, in accordance with the principles of the present invention
  • FIG. 12 schematically illustrates thick cheekbones
  • FIG. 13A and 13B schematically illustrate exemplary figural elements that are shapes as "bicycle seat", according to the present invention
  • FIG. 14 schematically illustrates another exemplary sketched face in which a figural element "V" is exemplified, in accordance with the principles of the present invention
  • FIG. 15 schematically illustrates determination of the eyes' supraorbit borders relative to the "A", in accordance with the principles of the present invention
  • - Fig. 16 is a picture of the face of an exemplary person
  • Fig. 17 is a profile picture of the suspect whose face is shown in Fig. 16;
  • Fig. 18 shows a cup and its two holding 'ears' that were sketched with reference to the face shown in Figs. 16 and 17;
  • FIG. 19 shows a cupboard and upper drawer that were sketched with reference to the face shown in Figs. 16 and 17;
  • FIG. 20 shows a preliminary head, chin and neck cupboard sketched with reference to the face shown in Figs. 16 and 17;
  • Fig. 21 shows the lips as sketched with reference to the face shown in Figs. 16 and 17;
  • FIG. 22 shows the resulting profile sketch of the person shown in Figs.
  • the set of two dimensional and spatial geometric forms comprises, for example, a sketched cup with 'ears' (Fig. 3B), rectangle 41 (Fig. 4A, shown modified in Fig. 4B), cupboard without and with drawers (Figs. 5A to 5D), the letters "T” (Fig. 6), “A” (Fig. 9), “U” (Fig. 10) and “V” (Fig. 14), 'bicycle seat' - like element (Fig. 13).
  • Figs. IA, IB and 1C schematically illustrate three exemplary general, basic, facial outlines: Oval Shape (OS) (Fig. IA), (2) Round Shape (RS) (Fig. IB), and (3) Triangular Shape (TS) (Fig. 1C), which can be utilized in accordance with the principles of this invention.
  • OS Oval Shape
  • RS Round Shape
  • TS Triangular Shape
  • other kinds of facial outlines can be utilized as well to characterize the general shape of the person's face/head.
  • the eyewitness is requested by the sketch artist to refer to the general shape of the head as recollected by him.
  • the eyewitness chooses one of the aforesaid three basic outlines, or shapes, of heads; i.e., OS, RS or TS, as the shape that most characterizes the head.
  • the eyewitness is requested to complete step 1 by modifying the proportions of the chosen outline of head, to conform to the recollected head. For example, if the eyewitness has chosen, e.g., the OS type (oval shape, Fig. IA) as the shape that most characterizes the recollected head (Fig. 2), he will be asked to complete this step by specifying to the sketch artist the recollected ratio between the height (H) to the width (W) of the head.
  • the eyewitness may generally remember the head to be very narrow, as shown in Fig. 2A, or less narrow, as shown in Fig. 2B.
  • the basic head's shape as chosen by the eyewitness serves as a general IL2005/001302
  • step 2 the size and location of the ears are determined relative to the general shape of the sketched head (i.e., the head chosen by the eyewitness).
  • This step is performed by presenting to the eyewitness schematic drawing of a vessel, such as a cup (30, Fig. 3A) whose general shape resembles the shape of the sketched head and, thereafter, adding a holding 'ear' to the cup (31, Fig. 3B).
  • the eyewitness associatively connects the 'ears' of the cup to the ears of the sketched head, and, accordingly guides the sketch artist as to the size and location of the ears relative to the sketched head.
  • the sketched head is given a third (i.e., depth) dimension.
  • the witness will understand the association of figural elements to the recollected head and will continue to direct the sketch artist without focusing on the image itself of the face, which could, e.g., traumatize the eyewitness.
  • At least some of the major characteristics of the Zygomatic Bones are derived from lines (142 and 143, Fig. 14) that connect the upper portion of the ears of the person to his chin and pass on both sides of his mouth
  • step 3 a neck is added to the sketched head and ears.
  • a rectangular shape (41) is added to the sketched head (40, Fig. 4A), such that the traverse line 42 emphasizes the shape of the chin and lower jaw (43).
  • This step is utilized for obtaining two main things: (i) the width (W) of the neck relative to the sketched head (Fig. 4A), and (ii) if the recollected neck is characterized by having straight, essentially parallel, lines, as shown in Fig. 4A (44, 45), it is most probable that the sketched head (40) belongs to a woman. However, if the lines of the neck are curved outwardly, as shown in Fig.
  • step 4 the sketch artist shows the eyewitness a main rectangular shape (Fig. 5A), whose ratio, between one of its sides to its neighboring sides, essentially resembles to the ratio between the height (H) and the width (W) of the sketched head (see Fig. 2).
  • a line (52) is drawn by the sketch artist (Fig. 5B), for providing the figure of Fig. 5A with perception of depth.
  • three rectangles (53, 54 and 55) are added to the figure of Fig. 5B, as shown in Fig. 5C.
  • the three rectangles do not necessarily have the same dimensions, and their purpose is to symbolize the proportions (i.e., as recollected by the eyewitness) of various facial parts that relates to the sketched head.
  • rectangles 53 to 55 Additional purpose of rectangles 53 to 55 is to provide depth perception, which is obtainable because, usually, eyewitnesses associatively identify rectangles 53 to 55 as three 'drawers', which can be (i.e., one or more of the drawers), therefore, Opened', independently of one another, to make the drawer(s) protrude from plane 56 (Fig. 5B).
  • a protruding 'drawer' 55 means that the sketched head, for example head 40 (Fig. 4), has a jutting chin bone.
  • the upper drawer (53) corresponds to the forehead of the sketched head, and its lower part 57 corresponds to the part that connects the upper part 1302
  • the sides (58, 59) of the drawer 53 represent the temporal lines.
  • the middle drawer (54) is related to the nose.
  • Drawer 54 is partitioned to three parts (Fig. 6) 60, 61 and 62.
  • the middle part (61) forms the vertical portion of a "T” (63), which represents the 'base' of "T” 63.
  • the upper portion of "T” 63 overlaps the upper drawer 53.
  • the "T” (63) can be differentially 'opened' by 'opening' drawers 53 and 54. By 'differentially' is meant that each of the drawers 53 to 55 (Fig.
  • Fig. 5D schematically shows a profile of the 'drawers' 53 to 55, where each one of them is shown protruding to a different extent.
  • the two sides of the middle drawer (54) represent the zygomatic bones (i.e., cheekbones).
  • step 4 is to set the relative protrusion/depth of the forehead, nose, eyes and chin.
  • Step 5 is directed towards finding the inclination angle (a, Fig. 7) of the nose 73 relative to the plane of the forehead 71.
  • an imaginary pivot 72 is virtually located in the upper portion of base
  • a ⁇ is relatively large, and is greater than al (Fig. 8B) and ⁇ 3 (Fig. 8C). Therefore, in Fig. 8A the skin covering the upper teeth and the upper lip is shown 'pulled' (81) upwards, towards the nose, unlike the skin and upper lip in Figs. 8B and 8C.
  • the angle between the forehead 85 to the nose 82 and the curvature of the forehead are determined. It is noted that, in accordance with the principles of the current invention, the shape, size and location of each facial element is determined, during the interaction between the sketch artist and the eyewitness, while considering the relationships between each of the facial elements to the other facial elements. With respect to Fig. 8, it will be simple and easy for an eyewitness to describe a remarkable nose, such as a flattened nose or a 'hooked' nose.
  • step 6 the sketch artist focuses on the area locked' within the "A” figure (Fig. 9), as well as on the implications thereof on various areas that reside internal, or external, to the "A” figure.
  • the sketch artist focuses on the lower portion of the "A”, which represents the area below the ala of the nose.
  • the vertex (91) which can overlap the imaginary pivot 72 (Fig. 7) is located above the nose, and its base line overlaps the upper lip 92.
  • the two legs 93 and 94 of the "A" represent the dimples that limit the area of the cheeks.
  • the area 95 which is delimited by lines 93, 94 and 96, represents the skin that covers the upper lip 92, and, unlike in the prior art, is utilized as a facial element that stands for itself.
  • the angle ⁇ corresponds to the width of the mouth, and also to the shape of the lips.
  • a narrow “A” i.e., "A” with small ⁇
  • 'small ⁇ ' is meant that the length of the base of the "A", which essentially overlaps lip 92, is much shorter than its sides 93 and 94.
  • a narrow "A” implies a fleshy lower lip.
  • an eyewitness is expected to modify angle a according to his recollection of the head.
  • Angle a has implications on the vicinity of the nose, including the mouth/lips.
  • a larger (a) implies a smaller 'opening' angle ⁇ of an "A" figure, which is described hereinafter in connection with Fig. 9, that relates to the frontal view of the nose.
  • a detail description of the utilization of the "A" figure is given in connection with Fig. 9
  • the skin that covers the upper teeth tends to shrink upwardly, towards the nose, and to 'pull' with it the upper lip. This way, the recess between the upper lip and the bottom portion of the nose will be made noticeable.
  • step 7 the sketch artist focuses on the "V” that is usually formed by two lines, each of which connects one of the two zygomatic bones to the chin.
  • Fig. 14 it shows an exemplary head on which the "V" figure is shown to consist of legs' 142 and 143. The two legs 142 and 143 intersect each other outside the headl44; i.e., at imaginary point 141.
  • Each leg of the "V” figure has a proximal end that lays essentially between the 2
  • exemplary 'leg' 142 its proximal end 148 lays between eye 145 and the upper portion of ear 146, and its distal end 149 lays on the "U” 147.
  • the "V" shaped figure might be very clear, like in the example shown in Fig. 14. Some people have a distinct "V'-shaped figure, whereas other people may have pseudo "V'-shaped figure, or one that somewhat resembles "V'- shaped figure but not completely 'V'-shaped figure.
  • the 'V includes the lower lip and its vertex lays on the lowermost point of the chin.
  • the 'V shaped figure might imply a projecting lower lip and/or chin, or a recess between the lower lip and the chin.
  • the purpose of the above-described steps is to organize the various facial elements in proportional manner, while taking into account the sketched head type. However, it may occur, that, at a certain point, a decision will be made by the sketch artist, eyewitness, or both sketch artist and eyewitness, that the sketched head is the incorrect type and that it has to be replaced by a different type of head.
  • the results obtained therefrom can be utilized for further characterization of the face. That is, to the sketch, which is obtained after completing the seven steps, are added by the sketch artist with the consent of the eyewitness, facial features that are only implied by the already obtained features.
  • step 8 the sketch artist focuses on the two, symmetrical, panels (101 and 102, Fig. 10) of the head. Basically, four factors are examined: (i) the location of the cheekbones relative to the head and to the other parts thereof, (ii) the characterization of the two lines of the 'V (97, Fig. 9), (iii) 005/001302
  • Fig. 11 it shows a case typical to a sketched head of the OS type.
  • One end of a 'marker' straight line 110 coincides with the point 111 of the helix of the auricle 112, whereas the opposite end of line 110 coincides with a point 113 on the nose's ala.
  • the lines of the "V" (108 and 109) are going towards to the chin. If the "U" (115, Fig. 11) is 'moderate', lines 108 and 109 will end essentially in the middle of the "U" (i.e., points 116 and 117).
  • the bicycle seat 139 includes a saddle 137 and a seat post 138.
  • Saddle 137 includes two opposing horizontal ends 131 and 132, and a middle end 136 that projects downwardly towards the seat post 138.
  • the determination process of the shape of the lower jaw, and whether the OS and TS shaped heads are more like square shaped involves presenting to the eyewitness a the "bicycle seat” 139 (Fig.
  • the form of the bicycle seat as presented to the eyewitness (Fig. 13A) is rather abstract and is not easy to grasp. That is, an eyewitness may not immediately understand that a bicycle seat is presented to him and how it is related to the face of the person. However, it has been found by the inventor of this invention that eyewitnesses usually understand that a bicycle seat is presented to them in light of the other, preceding, steps of the method of the invention. In cases where an eyewitnesse will not understand that a bicycle seat is presented to him, additional elements of the seat can be added to the sketch, for example elements 134 and 135 (Fig. 13B).
  • the eyes' supraorbit borders are determined by referring to two contour lines, as described in connection with Fig. 15.
  • the two "L-I” lines start essentially from the corresponding inner intersection points (151, 152) of the upper and lower eyelids.
  • "L-2" are lines that start from the aforesaid inner intersection points (151, 152) and continue downwardly, essentially parallel to the lines of the "A".
  • the extent, to which these contour lines will be defined and emphasized depends on the formerly obtained facial features, and on whether the cheeks are fleshy. In fleshy faces, the legs' of the "A” will be emphasized as a fleshy wrinkle, and the line “L-I” will be essentially the place where the cheek starts to thickens.
  • the factors of the age of the suspect and the extent to which he is fat are considered as well. That is, in cases where the eyewitness remebers that the suspect is older than, say, fifty, and/or he is very fat, it will be assumed that his skin has wrinkles and its flesh is loosen and tend to drop to some extent, and the sketch will be amended accordingly. Of course, assuming that the suspect is relatively old and/or very fat can be utilized as a starting point.
  • FIG. 16 A realistic example will be given hereinafter, in connection with Figs. 16 to 22. That is, the face of a real person will be sketched using the method of this invention. Referring to Figs. 16 and 17, they show a front and side/profile view, respectively, of a real person. An eyewitness will probably remember that the head of the person belongs to the round shape type (RS, see Fig. IB). Therefore, according to step 1 of the method, the sketch artist draws a three-dimensional cup (181, Fig. 18), the shape of which essentially resembles the proportions of the head shown in Fig. 16 (i.e., the RS shape). In addition, it is likely that the eyewitness will remember the ears as pointing outwardly (161 and 162, Fig. 16).
  • the eyewitness will guide the sketch artist to draw the recollected ears 161 and 162 as shown by reference numerals 182 and 183, respectively (Fig. 18).
  • reference numerals 182 and 183 respectively
  • the eyewitness will not remember the ears because they are very close to the head and tend to merge with the contour line of the head.
  • step 3 the sketch artist will 'add' a neck to the head.
  • the eyewitness might say that he does not remember a neck, because, as shown in Figs. 16 and 17, the neck seems to be very short and the sides of the head seem to merge with it (see also Fig. 4A, for comparison).
  • a cupboard 191 (Fig. 19) with three drawers similar to the three drawers shown in Fig. 5. Only one drawer (190), which is relevant to the forehead in question (166) is shown in Fig. 19.
  • the upper 'drawer' 163 which is analogous to drawer 190 in Fig. 19 and to 'drawer' 53 in Fig. 5C, will be remembered clearly by the eyewitness because of the receding hairline and because of the broad forehead (166, Fig. 16).
  • the two sides 164 and 165 of the 'drawer' 163 are very distinct, the 'drawer' 163 projects outwardly away from the plane of the face (towards the observer), which causes the eyes to recess back, whereby to obtain what is commonly known as 'deep set eyes', and the eyewitness may say that the ends of the eyebrows are pointed.
  • Fig. 19 allows the eyewitness to point out to the sketch artist where the hairline starts and to refer to the receding hairline above the temples.
  • the eyewitness will guide the sketch artist to draw a line such as line 192 that corresponds to the hairline 168.
  • the line 192 allows the sketch artist to conclude that the hairline of exemplary person 160 starts after the curve of the forehead.
  • the next step (i.e., step 5) is intended to determine the inclination angle of the nose 172 (see also angle a, Fig. 7).
  • step 5 is intended to determine the inclination angle of the nose 172 (see also angle a, Fig. 7).
  • speculations as to the nose inclination angle are irrelevant because person 160 has a flat nose 172 that is easily remembered.
  • step 6 involves utilizing the letter "A", and it is intended to determine the characteristics of the nose 172 and of its vicinity (see also Fig. 9).
  • the letter "A” is shown in Fig. 16 quite distinct.
  • the left and right legs' of the "A” essentially reach the opposing two ends of the mouth 170 and 171.
  • the eyewitness will probably remember 'fleshy' lips.
  • the sketch artist learns that the neck merges with the round shape of the head, and that the chin is characterized by being relatively wide, both features are schematically shown in Fig. 20 (see reference numerals 201 and 202, respectively).
  • the eyewitness will remember a wide mouth line, this will be reflected by the baseline 173 of the letter "A" being relatively wide; that is, the angle ⁇ (see also Fig. 9) will be relatively large.
  • the lower thick, fleshy, lip will evidence a corresponding thick upper lip, and, accordingly, the sketch artist can conclude therefrom that the portions under the nose 172, which are circumscribed by a triangle, jut out towards the observer, and that there is a recess between the upper lip and the nose's ala, which leads to the conclusion that the upper line 203 (Fig. 21) of the upper lip is "classically” shaped.
  • a "bicycle seat” like figural element is utilized in order to determine the shape of the lower jaw and whether the OS and TS shaped heads are more like square shaped, as demonstrated in Fig. 12, a "bicycle seat” like figural element is utilized.
  • the "bicycle seat” like figural element is irrelevant because of the basically rounded and fleshy head of the person 160.
  • a fleshy face it is most probable that the bone of the lower jaw is covered by relatively thick flesh and that the person has, what is commonly called as, a double chin, in which case the cheekbones will not be distinct. Accordingly, it is most probable that the eyewitness will not remember a distinct "V" (see Fig. 14).

Landscapes

  • Engineering & Computer Science (AREA)
  • Health & Medical Sciences (AREA)
  • General Health & Medical Sciences (AREA)
  • Oral & Maxillofacial Surgery (AREA)
  • Life Sciences & Earth Sciences (AREA)
  • Physics & Mathematics (AREA)
  • Theoretical Computer Science (AREA)
  • General Physics & Mathematics (AREA)
  • Human Computer Interaction (AREA)
  • Medical Informatics (AREA)
  • Computer Vision & Pattern Recognition (AREA)
  • Biophysics (AREA)
  • Pathology (AREA)
  • Biomedical Technology (AREA)
  • Heart & Thoracic Surgery (AREA)
  • Multimedia (AREA)
  • Molecular Biology (AREA)
  • Surgery (AREA)
  • Animal Behavior & Ethology (AREA)
  • Public Health (AREA)
  • Veterinary Medicine (AREA)
  • Processing Or Creating Images (AREA)

Abstract

L'invention concerne un procédé pour esquisser un visage d'une personne, sur la base de son souvenir par un témoin oculaire, dans lequel un ensemble de formes géométriques spatiales ou bidimensionnelles est déterminé, de telle sorte que chaque forme ou qu'une combinaison de celles-ci corresponde à une partie spécifique d'un visage humain. Puis un ensemble de proportions entre des formes géométriques présélectionnées et un ensemble de distances entre des formes géométriques présélectionnées sont déterminés. Le témoin oculaire sélectionne un profil facial, basique et général qui correspond sensiblement au profil facial dont il se souvient et ensuite, un groupe de formes géométriques, sélectionné par le témoin oculaire, est ajouté au profil, tandis que pour chaque forme géométrique, le témoin oculaire fait correspondre de manière optimale l'emplacement, la forme, la taille et l'orientation de la forme géométrique sur des parties faciales de la personne, à l'aide des proportions, des distances et des angles relatifs déduits de l'orientation des formes géométriques.
EP05812881A 2005-12-05 2005-12-05 Procede pour construire une physionomie Withdrawn EP1958160A1 (fr)

Applications Claiming Priority (1)

Application Number Priority Date Filing Date Title
PCT/IL2005/001302 WO2007066316A1 (fr) 2005-12-05 2005-12-05 Procede pour construire une physionomie

Publications (1)

Publication Number Publication Date
EP1958160A1 true EP1958160A1 (fr) 2008-08-20

Family

ID=36759007

Family Applications (1)

Application Number Title Priority Date Filing Date
EP05812881A Withdrawn EP1958160A1 (fr) 2005-12-05 2005-12-05 Procede pour construire une physionomie

Country Status (2)

Country Link
EP (1) EP1958160A1 (fr)
WO (1) WO2007066316A1 (fr)

Families Citing this family (1)

* Cited by examiner, † Cited by third party
Publication number Priority date Publication date Assignee Title
US8064724B2 (en) 2007-10-25 2011-11-22 Hewlett-Packard Development Company, L.P. Apparatus, and associated method, for displaying data using data painting of an asymmetrical facial image

Family Cites Families (4)

* Cited by examiner, † Cited by third party
Publication number Priority date Publication date Assignee Title
GB2160480B (en) * 1984-03-12 1987-12-31 Valley Printing Co Identification kit
US5375195A (en) * 1992-06-29 1994-12-20 Johnston; Victor S. Method and apparatus for generating composites of human faces
US5960099A (en) * 1997-02-25 1999-09-28 Hayes, Jr.; Carl Douglas System and method for creating a digitized likeness of persons
CA2236388A1 (fr) * 1998-04-29 1999-10-29 Inter Quest Methode et appareil pour creer des visages

Non-Patent Citations (1)

* Cited by examiner, † Cited by third party
Title
See references of WO2007066316A1 *

Also Published As

Publication number Publication date
WO2007066316A1 (fr) 2007-06-14

Similar Documents

Publication Publication Date Title
CN101779218B (zh) 化妆模拟系统及其化妆模拟方法
Gibson Forensic art essentials: a manual for law enforcement artists
Bruce et al. Sex discrimination: how do we tell the difference between male and female faces?
Vogt et al. Expertise in pictorial perception: Eye-movement patterns and visual memory in artists and laymen
KR101259662B1 (ko) 얼굴 분류 방법, 얼굴 분류 장치, 분류맵, 얼굴 분류프로그램, 및 상기 프로그램이 기록된 기록매체
JP5261586B2 (ja) メイクアップシミュレーションシステム、メイクアップシミュレーション装置、メイクアップシミュレーション方法およびメイクアップシミュレーションプログラム
TWI392462B (zh) Morphological classification of the eye and morphological classification, as well as eye makeup method, eye shape classification and cosmetic equipment
Paunonen et al. Facial features as personality cues
KR20070087555A (ko) 입술의 분류 방법, 화장 방법, 분류 맵 및 화장용 기구
CN110531853B (zh) 一种基于人眼注视点检测的电子书阅读器控制方法及系统
US11227424B2 (en) Method and system to provide a computer-modified visualization of the desired face of a person
Gunes et al. Measuring female facial beauty by calculating the proportions of the face
EP1958160A1 (fr) Procede pour construire une physionomie
IL161510A (en) Method for constructing a physiognomy
Varshovi Facial makeup detection using HSV color space and texture analysis
JP2011101823A (ja) ヘアスタイルアドバイス方法
Kong et al. A Proposal of Auxiliary Line Generation Algorithm for Portrait Drawing Learning Assistant System Using OpenPose and OpenCV
Peshek Evaluations of facial attractiveness and expression
González-Álvarez et al. Gender perception from Facial Structure: Categorization with and without Skin Texture and Color
Marten et al. Forehead aesthetics and pre-operative assessment of the foreheadplasty patient
JP2009106659A (ja) ヘアスタイルアドバイス方法
JP2006116154A (ja) 唇の化粧方法及びそのための器具
Benson A fourth century head in Central Museum, Athens
Yoshida et al. Preliminary analysis of effective assistance timing for iterative visual search tasks using gaze-based visual cognition estimation
Wallraven et al. In the eye of the beholder: perception of indeterminate art

Legal Events

Date Code Title Description
PUAI Public reference made under article 153(3) epc to a published international application that has entered the european phase

Free format text: ORIGINAL CODE: 0009012

17P Request for examination filed

Effective date: 20080618

AK Designated contracting states

Kind code of ref document: A1

Designated state(s): AT BE BG CH CY CZ DE DK EE ES FI FR GB GR HU IE IS IT LI LT LU LV MC NL PL PT RO SE SI SK TR

17Q First examination report despatched

Effective date: 20090625

STAA Information on the status of an ep patent application or granted ep patent

Free format text: STATUS: THE APPLICATION IS DEEMED TO BE WITHDRAWN

18D Application deemed to be withdrawn

Effective date: 20091027