Degraded Document Bleed-Through Removal

Conventional thresholding algorithms have had limited success with degraded document images. Recently, partial differential equations (PDEs) have been applied with good results. However, these are usually tailored to handle relatively few specific distortions. In this study, we combine an edge detection term with a linear binarization source term in a PDE formulation. Additionally, a new proposed diffusivity function further amplifies desired edges. It also suppresses undesired edges that comprise bleed-through effects. Furthermore, we develop the fractional variant of the proposed scheme, which further improves results and provides more flexibility. Moreover, nonlinear color spaces are utilized to improve binarization results for images with color distortion. The proposed scheme removes document image degradation such as bleed-through, stains, smudges, etc., and also restores faded text in the images. Experimental subjective and objective results show consistently superior performance of the proposed approach compared to the state-of-the-art PDE-based models.

Download Full-text

Aquarelles parisiennes: Gautier, Baudelaire, and the Poetry of Urban Watercolours

Nottingham French Studies ◽

10.3366/nfs.2019.0246 ◽

2019 ◽

Vol 58 (2) ◽

pp. 170-182

Author(s):

Karen F. Quandt

Keyword(s):

Urban Landscape ◽

Second Empire ◽

Theophile Gautier ◽

Avant Garde ◽

Meeting Point ◽

Mise En Scene ◽

Bleed Through ◽

Fleurs Du Mal

Baudelaire refers in his first essay on Théophile Gautier (1859) to the ‘fraîcheurs enchanteresses’ and ‘profondeurs fuyantes’ yielded by the medium of watercolour, which invites a reading of his unearthing of a romantic Gautier as a prescription for the ‘watercolouring’ of his own lyric. If Paris's environment was tinted black as a spiking population and industrial zeal made their marks on the metropolis, Baudelaire's washing over of the urban landscape allowed vivid colours to bleed through the ‘fange’. In his early urban poems from Albertus (1832), Gautier's overall tint of an ethereal atmosphere as well as absorption of chaos and din into a lulling, muted harmony establish the balmy ‘mise en scène’ that Baudelaire produces at the outset of the ‘Tableaux parisiens’ (Les Fleurs du mal, 1861). With a reading of Baudelaire's ‘Tableaux parisiens’ as at once a response and departure from Gautier, or a meeting point where nostalgia ironically informs an avant-garde poetics, I show in this paper how Baudelaire's luminescent and fluid traces of color in his urban poems, no matter how washed or pale, vividly resist the inky plumes of the Second Empire.

Download Full-text