Abstract— The term inpainting comes from art restoration, where it is also called retouching. Medieval artwork started to be restored as early as the Renaissance, the motives being often as much to bring medieval pictures “up to date” as to fill-in any gaps. The need to retouch the image in an unobtrusive way extended naturally from paintings to photography and film. The purposes remained the same, to revert deterioration (e.g., scratches and dust spots in film), or to add or remove elements. In the digital domain, the inpainting problem first appeared under the name “error concealment” in telecommunications, where the need was to fill-in image blocks that had been lost during data transmission. One of the first works to address automatic inpainting in a general setting dubbed it “image disocclusion”, since it treated the image gap as an occluding object that had to be removed, and the image underneath would be the restoration result. Popular terms used to denote inpainting algorithms are also “image completion” and “Image fill-in”. The erosion, which is a morphological operator, is used for inpainting. In this paper, the image to inpainted is eroded repeatedly, to fill the damaged region of the.

Index Terms— Digital image impainting, Error concealment, Erosion, Image completion, Image fill-in

Cite: Rajkumar L Biradar, "DIGITAL IMAGE INPAINTING USING EROSION," International Journal of Electrical and Electronic Engineering & Telecommunications, Vol. 4, No. 3, pp. 40-46, July 2015.