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  1. We introduce HuMoR: a 3D Human Motion Model for Robust Estimation of temporal pose and shape. Though substantial progress has been made in estimating 3D human motion and shape from dynamic observations, recovering plausible pose sequences in the presence of noise and occlusions remains a challenge. For this purpose, we propose an expressive generative model in the form of a conditional variational autoencoder, which learns a distribution of the change in pose at each step of a motion sequence. Furthermore, we introduce a flexible optimization-based approach that leverages HuMoR as a motion prior to robustly estimate plausible pose and shape from ambiguous observations. Through extensive evaluations, we demonstrate that our model generalizes to diverse motions and body shapes after training on a large motion capture dataset, and enables motion reconstruction from multiple input modalities including 3D keypoints and RGB(-D) videos. See the project page at geometry.stanford.edu/projects/humor. 
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  2. Abstract

    Designing fonts and typefaces is a difficult process for both beginner and expert typographers. Existing workflows require the designer to create every glyph, while adhering to many loosely defined design suggestions to achieve an aesthetically appealing and coherent character set. This process can be significantly simplified by exploiting the similar structure character glyphs present across different fonts and the shared stylistic elements within the same font. To capture these correlations, we propose learning a stroke‐based font representation from a collection of existing typefaces. To enable this, we develop a stroke‐based geometric model for glyphs, a fitting procedure to reparametrize arbitrary fonts to our representation. We demonstrate the effectiveness of our model through a manifold learning technique that estimates a low‐dimensional font space. Our representation captures a wide range of everyday fonts with topological variations and naturally handles discrete and continuous variations, such as presence and absence of stylistic elements as well as slants and weights. We show that our learned representation can be used for iteratively improving fit quality, as well as exploratory style applications such as completing a font from a subset of observed glyphs, interpolating or adding and removing stylistic elements in existing fonts.

     
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