Do Background Colors Have an Impact on Preferences and Catch the Attention of Users?

In recent years, our environment has become more invasive and stimulating than ever. People must choose carefully what to look for in their over-stimulated daily lives. One way to attract visual attention, which may even interrupt the cognitive task being performed, is color. However, a question arises: Does each color attract the attention of users in a similar way? In this paper, we attempt to answer this question. Our goal is to investigate whether there are colors that have a greater visual power than other colors and, thus, can capture the attention of users more strongly, independent of the background (e.g., color or image). We also discuss which mode of visual attention (divided or sustained) is particularly susceptible to such visual messages. For this purpose, a perceptual experiment was developed, in which user preferences concerning user-friendly and readable color compositions were acquired. At the same time, we measured the unconscious reactions of users related to their first impression, thus indicating the color composition which first (from a displayed pair of images) draws the attention of users. Reactions were measured using an eye tracker. As a result of this research, we found that the background color, in the case of some colors, does not have a significant impact on the perception of the visual message, even if it is intended to attract and maintain the attention of the user.

The Role of Contour Line in Painting — an Analysis of Morandi's Still Life Painting

In painting, line is one of the basic compositional elements and an important "tool" for artists to express their ideas. The combination of line and color, composition, and shape allows the viewer to feel the author's thoughts, emotions, or distinctive thinking through the picture. Foreign cave paintings, European pre-Renaissance oil paintings and modern paintings, and domestic Dunhuang murals, silk paintings of the Warring States period and cave paintings all show that the contour line has never disappeared despite its different roles in the changing times. Therefore, the artist's generalized expression of contour lines can become a characteristic of the picture that makes the artist stand out.

Karakteristik Warna Pada Lukisan Wakidi

This study discusses the color character that Wakidi presents in his paintings, which mostly uses soft colors in his naturalist paintings. The method used in this study refers to a qualitative method which includes field observations, interviews, documentation, and literature studies as well as research conducted in the Padang area, West Sumatra. Based on the results of research on the characteristics of Wakidi's color in his paintings, the use of soft colors in Wakidi's paintings is to remind him that nature is very beautiful and has a calm atmosphere. Based on the type of human according to the typology of Hypocrates and Galenus Wakidi, it is a Phlegmatic type. Wakidi tends to present natural scenery in the evening with a reddish color. The color characters in Wakidi's works are discussed based on color dimensions, color composition, and differences with other artists. There is a lot that can be learned and researched from Wakidi's active work in addition to being a painting teacher and an Mooi Indie artist at the beginning of the pioneering of fine arts in West Sumatra, as well as being able to become a cultural asset that elevates natural scenery and ancient culture into his paintings. It is hoped that research on the color character of Wakidi's paintings can be a reference so that there are opportunities for other researchers to research from other scientific points of view.

Morphogenesis Analysis for Digital Image Production with L-System

The process of forming an image requires a correct color composition, location and distance between the lines to produce a good image. Human abilities in both creativity and high imagination are very limited, especially in forming new images by utilizing existing image patterns or images that resemble old images. Here we showed the implementation of L-System to generate new image generations with additional flame as a fire effect/glow on images for image transformation. This research used the L-System algorithm, Iterated Function System, and Voronoi Diagram to improve the result of image transformation. The results of this study indicated that mathematical calculations can be applied in the formation of images and the resulting images can be abstract and symmetrical. The next generation of images produced in this research can be in unlimited numbers as the generation of morphogenesis processes. The process of generating images is carried out randomly by merging the two existing images with morphogenesis analogy. The resulting images can be exported into jpg, png, and svg formats. Furthermore, this research showed that the implementation of the calculation for the variation reach the value of 99.48% while the image variation composition has a value of 99.29%.

Reference-guided structure-aware deep sketch colorization for cartoons

Digital cartoon production requires extensive manual labor to colorize sketches with visually pleasant color composition and color shading. During colorization, the artist usually takes an existing cartoon image as color guidance, particularly when colorizing related characters or an animation sequence. Reference-guided colorization is more intuitive than colorization with other hints, such as color points or scribbles, or text-based hints. Unfortunately, reference-guided colorization is challenging since the style of the colorized image should match the style of the reference image in terms of both global color composition and local color shading. In this paper, we propose a novel learning-based framework which colorizes a sketch based on a color style feature extracted from a reference color image. Our framework contains a color style extractor to extract the color feature from a color image, a colorization network to generate multi-scale output images by combining a sketch and a color feature, and a multi-scale discriminator to improve the reality of the output image. Extensive qualitative and quantitative evaluations show that our method outperforms existing methods, providing both superior visual quality and style reference consistency in the task of reference-based colorization.

KILIM WEAVING SAMPLES REGISTERED TO THE NIGDE MUSEUM

Weaving is an example of art produced at the end of human need. The samples produced because they were needed first turned into art. It is not known exactly whether the art of weaving started as a carpet or as examples of plain weaving, rug weaving. Throughout history, carpet and rug weaving has developed in connection with each other. Rug weaving samples, which have an important place in Turkish culture, are accepted as source information about the period they were woven and the geography they were woven. Looking at kilim weaving examples, patterns are given with threads of different colors and different weaving techniques are used. Unlike carpet weaving, there is no pile height in weaving. The motifs used in the patterns are generally traditional motifs. Geometric motifs are used more frequently. In rug weaving, unlike carpet weaving, the threads are mostly twisted. Rug weaving samples found in the inventory records in the Niğde museum show that the rug weaving tradition is as old as carpet weaving in Niğde and its surroundings. The aim of this study is to share the information obtained as a written source on the general condition, pattern and color composition properties of the weaving samples in the exhibition hall and warehouse in the museum.

The Aesthetics of Stalker

This chapter examines the elements of cinema and how Tarkovsky carefully approaches them. In turn, color, composition, meaning, silence, and sound are investigated as presented in the film and Tarkovsky’s journals. Color and sound and their intentional absences in particular, are of note in this chapter, due to Tarkovsky’s films for their deliberate precision with regard to the use of silence and black and white sequences. For him, the use of color in film feels gimmicky, and only through the absence of color, does its usage have cinematic relevance. Similarly, Tarkovsky emphasizes silence in Stalker to reintroduce sound with further emphasis, which this chapter compares to other Tarkovsky films like Solaris and The Mirror. Finally, the chapter concludes with an examination of the usage of Beethoven’s “Ode to Joy” in the film, and its ideological implications.