To optimize the colors used in cultural and creative products, this paper proposes a color matching design method that considers the color image and visual aesthetics. First, 99 color samples are ...identified based on Chinese traditional colors, and user preferences for 30 image semantic terms are measured by the semantic differential method. This leads to six color image factors being extracted by factor analysis. Second, quantitative analysis of the color visual aesthetics is applied, and formulas for calculating the harmony, balance, and symmetry are derived. On this basis, an interactive genetic algorithm is developed to promote and optimize the color scheme of cultural and creative products, and a fitness function based on subjective image evaluation and objective visual aesthetics is constructed. The subjective image evaluation adopts interval numbers, and a grayscale approach is used to measure the uncertainty of the subjective evaluation. Through grayscale analysis of the interval fitness values, information reflecting the evolutionary distribution of the population is extracted, before adaptive crossover and mutation probabilities are applied to the evolutionary individuals. Finally, the proposed method is verified through the example of color matching design for a speaker box. The results demonstrate that the proposed approach can effectively assist industrial designers.
Color image; Visual aesthetics; Interactive genetic algorithm; Cultural and creative products; Color matching design.
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GEOZS, IJS, IMTLJ, KILJ, KISLJ, NLZOH, NUK, OILJ, PNG, SAZU, SBCE, SBJE, UILJ, UL, UM, UPCLJ, UPUK, ZAGLJ, ZRSKP
The aim of the present study was to explore the colour-related aesthetic pleasure in food at workday lunches. First, we conducted a survey (n = 188) to define how interested people are in the visual ...aesthetics of food and plating. Secondly, an additional questionnaire (n = 105) and a qualitative interview study (n = 12) were conducted to investigate the aesthetic pleasure in food in more detail and its meaning to consumers at a workday lunch. The results of the survey demonstrated that people were interested in the visual aesthetics of food and plating, and this level of interest was dependent upon gender, women being more interested than men. The questionnaire about choice between differently coloured lunch portions (image-processed pictures) showed that the most preferred lunch portions were colourful and had a wide range of colours. In the interview study, aesthetics and colours were considered important, but were not the primary argument for food choices at lunch.
The determinants of aesthetic pleasure in lunch food were found to be fluency, pleasantness, functionality and tidiness. At lunch, people liked colourful food with colour contrasts and bright colours, natural and simple colours and colours typical for the foodstuff. Food should not be monotonous; a variety and diversity of colours was preferred. The colours in lunch food are typically the colours of vegetables; therefore, an increase in the number of colours means more vegetables and consequently a healthier diet. At the practical level, the results of this study can be used by restaurants and canteens for composing an aesthetic and visually attractive workday lunch.
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GEOZS, IJS, IMTLJ, KILJ, KISLJ, NLZOH, NUK, OILJ, PNG, SAZU, SBCE, SBJE, UILJ, UL, UM, UPCLJ, UPUK, ZAGLJ, ZRSKP
Graffiti art is a controversial art form, and as such there has been little empirical work assessing its aesthetic value. A recent study examined image statistical properties of text-based artwork ...and revealed that images of text contain less global structure relative to fine detail compared to artworks. However, previous research did not include graffiti tags or murals, which reside in the space between text and visual art. The current study investigated the image statistical properties and attractiveness of graffiti relative to other text-based and pictorial art forms, focusing additionally on the role of expertise. A series of images (N = 140; graffiti, text and paintings) were presented to a group of observers with varying degrees of art interest and expertise (N = 169). Findings revealed that image statistics predicted attractiveness ratings to images, and that biases against graffiti art are less salient in an expert sample.
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NUK, OILJ, SAZU, UKNU, UL, UM, UPUK
Facade is one of building mass elements which supports street users’s perception 1. Elements that affect the building facade, namely : harmonization, contrast, materials, textures and colors also ...support the visual aesthetics perception district into an unforgettable part to recognize a place 3. The intensity of the building mass such as the Building Coverage Ratio (BCR), Open Space Ratio (OSR), Floor Area Ratio (FAR), Building Height, Scale and Skyline are some physical factors of the street corridor to optimize the image of the city 4. Kartini Street is one of the main streets in Gresik city center which connects the East with the West region of Gresik. Complexity of existing land use and lack of decisiveness system in Building and Land Use Regulation affected the image of the city in variety of facade. Therefore, optimization of the facade and built environment is very important to support the image of the city 2. Observations are made to provide data in existing facade, facade tendency and the historical background of the region. From the data analysis, it is found that there are building elements which can be a visual aesthetic element to unify and optimize harmonization of Kartini Gresik street corridor to support the image of Gresik.
This article articulates the importance of developing a Theory of Online Visual Aesthetics in the IS tradition, and demonstrates that to date the field is still lacking a theoretical model for ...explaining online visual aesthetics. To address this gap in the literature the authors propose the Online Visual Aesthetics Theoretical Model, drawn from over 100 years of literature in complementary disciplines. The Online Visual Aesthetics Theory Model proposes that the perception of the composition of an online medium is directly influenced by the eight web design categories: Graphics, Text, Simplicity, Animation, Layout, Unity, Emphasis, and Balance. The variance of each of these web design categories may then be explained by the more traditional seven primary design dimensions: Lines, Shapes, Colors, Textures, Forms, Values, and Spaces. The final instantiated Online Visual Aesthetics Theoretical Model is then presented and a program of study is articulated for the evaluation and validation of the proposed theoretical model.
•Online visual appeal often treated as subjective.•Research provides theoretical underpinning to understanding online visual appeal.•Develops theoretical model of visual appeal utilizing a multidisciplinary approach.•Treats online visual appeal as a composition of different elements.
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GEOZS, IJS, IMTLJ, KILJ, KISLJ, NLZOH, NUK, OILJ, PNG, SAZU, SBCE, SBJE, UILJ, UL, UM, UPCLJ, UPUK, ZAGLJ, ZRSKP
A well-known tradition in the study of visual aesthetics holds that the experience of visual beauty is grounded in global computational or statistical properties of the stimulus, for example, ...scale-invariant Fourier spectrum or self-similarity. Some approaches rely on neural mechanisms, such as efficient computation, processing fluency, or the responsiveness of the cells in the primary visual cortex. These proposals are united by the fact that the contributing factors are hypothesized to be global (i.e., they concern the percept as a whole), formal or non-conceptual (i.e., they concern form instead of content), computational and/or statistical, and based on relatively low-level sensory properties. Here we consider that the study of aesthetic responses to music could benefit from the same approach. Thus, along with local features such as pitch, tuning, consonance/dissonance, harmony, timbre, or beat, also global sonic properties could be viewed as contributing toward creating an aesthetic musical experience. Several such properties are discussed and their neural implementation is reviewed in the light of recent advances in neuroaesthetics.
Motivated by the need to develop an integrated measure of simplicity perception for a smartphone user interface, our research incorporated visual aesthetics, information design, and task complexity ...into an extended construct of simplicity. Drawn from three distinct domains of human–computer interaction design and related areas, the new development of a simplicity construct and measurement scales were then validated. The final measurement model consisted of six components: reduction, organization, component complexity, coordinative complexity, dynamic complexity, and visual aesthetics. The following phase aimed at verifying the relationship between simplicity perception of the interface and evaluations of user satisfaction. The hypothesis was accepted that user satisfaction was positively affected by simplicity perception and that the relationship between the two constructs was very strong. The findings imply that a simplified interface design of the task performance, information hierarchy, and visual display attributes contributes to positive satisfaction evaluations when users interact with their smartphone as they engage in communication, information search, and entertainment activities.
► Measurement scale of smartphone interface simplicity perception consisted of six components. ► Visual aesthetics appeared as a very strong component of simplicity perception. ► User satisfaction was positively affected by simplicity perception.
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This paper examines how culturally displaced brand owners help construct imagined worlds with their selection and use of brand visual aesthetics (BVA). Using the theoretical lens of habitus, we focus ...on the role of owners’ design-related decisions in this process and use brand owners of Middle Eastern origin as the research context. Through a multiple-case study with five distinct small-to-medium-sized enterprises in Australia, our research finds how habitus shapes an owner’s selection and use of BVA to help construct an imagined Middle Eastern identity through dimensions of autobiography, heritage, and aesthetic sensibility. These BVA dimensions are represented on a continuum of incremental and radical innovation in relation to the owner’s cultural origin. This research contributes to research on brands constructing imagined worlds by helping us better appreciate the role of a brand owner’s cultural origin in designing connections to markets and spaces with visual aesthetics in a brand.
This paper addresses new and significant research issues in web page design in relation to the use of graphics. The original findings include that (a) graphics play an important role in enhancing the ...appearance and thus users' feelings (aesthetics) about web pages and that (b) the effective use of graphics is crucial in designing web pages. In addition, we have developed a web page design support database based on a user-centered experimental procedure and a neural network model. This design support database can be used to examine how a specific combination of design elements, particularly the ratio of graphics to text, will affect the users' feelings about a web page. As a general rule, the ratio of graphics to text between 3:1 and 1:1 will give the users the best feelings of ease-to-use and clear-to-follow. A web page with a ratio of 1:1 will have the most realistic look, while a ratio of over 3:1 will have the fanciest appearance. The result provides useful insights in using graphics on web pages that help web designers best meet users' specific expectations and aesthetic consistency.
► The first impression of users is strongly influenced by the web page appearance. ► Graphics play an important role in enhancing the visual aesthetics of web pages. ► Most influential elements are “Ratio of Graphics to Text” and “Hyperlink Style”. ► The ratio between 3:1 and 1:1 shows the feelings of ease-to-use and clear-to-follow. ► The result helps designers best meet users' specific expectations and web aesthetics.
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