Do observers like curvature or do they dislike angularity?

Humans have a preference for curved over angular shapes, an effect noted by artists as well as scientists. It may be that people like smooth curves or that people dislike angles, or both. We investigated this phenomenon in four experiments. Using abstract shapes differing in type of contour (angular vs. curved) and complexity, Experiment 1 confirmed a preference for curvature not linked to perceived complexity. Experiment 2 tested whether the effect was modulated by distance. If angular shapes are associated with a threat, the effect may be stronger when they are presented within peripersonal space. This hypothesis was not supported. Experiment 3 tested whether preference for curves occurs when curved lines are compared to straight lines without angles. Sets of coloured lines (angular vs. curved vs. straight) were seen through a circular or square aperture. Curved lines were liked more than either angular or straight lines. Therefore, angles are not necessary to generate a preference for curved shapes. Finally, Experiment 4 used an implicit measure of preference, the manikin task, to measure approach/avoidance behaviour. Results did not confirm a pattern of avoidance for angularity but only a pattern of approach for curvature. Our experiments suggest that the threat association hypothesis cannot fully explain the curvature effect and that curved shapes are, per se, visually pleasant

PREFERENCE OF CONSUMERS TOWARD NON-DISTORTED GRAPHICS ON FULL-BODY SHRINK SLEEVE LABELS

Past research has indicated that shrink sleeves can lead to higher product trial rates, better long-term sales, and greater likelihood of brand loyalty. A pilot study and a primary experiment were conducted to investigate the significance of distortion and the ability of the Human Visual System (HVS) to recognize it in packaging design. Distortion works primarily in shrink film on which an image is printed, so these studies dealt only with reductive distortion. The pilot study aimed to identify the absolute threshold, or Just-Noticeable-Difference (JND) for a change from no stimulus, for simple polygons. The primary experiment focused on graphic distortion in full body shrink sleeves (FBSS). Treatments presented each of the stimulus levels, along with a control for comparison, using a 2-AFC (Alternative Forced-Choice) Method. This study used a mixed 2 (labels) x 3 (bottles) x 5 (distortion increments) model, effectively 30 treatments in a Randomized Complete Block Design (RCBD). Label was a between-subject variable while Bottle Shape and Distortion Percentage were within-subject variables. Data indicated that distortion has a significant effect at 100%, but that there is not a threshold at which consumers are guaranteed to perceive graphic distortion on FBSS. Men detected distortion better than women. Participants who said distortion would prevent a purchase decision had the same tolerance as those who reported that it would not. Bottle shape may only impact consumer acceptance of distortion with some percentages of distortion. Familiarity with a brand name label may increase consumer tolerance and acceptance of distortion, and may do so more on some bottle shapes

The psychological bases of visual preference for curvature

[cat] El contorn visual afecta les interaccions entre l’ésser humà i el medi ambient. Confiem en les carac- terístiques del contorn per categoritzar, manipular i avaluar objectes. Preferim objectes amb contorns corbats i associem la curvatura amb sensacions més positives que els contorns angulars. Aquesta prefer- ència es coneix com l’efecte de curvatura i ha estat demostrada en diferents edats, cultures i, fins i tot, espècies. Tot i això, la literatura també mostra que l’efecte es modulat per diversos factors contextuals i de diferències individuals. Aquesta dissertació sintetitza la literatura científica sobre la preferència per la curvatura visual i presenta nova evidència empírica que aborda els possibles factors moduladors de l’efecte. A How universal is preference for visual curvature? A systematic review and meta-analysis, mostrem que la preferència per la curvatura consisteix en un efecte fiable i moderat a la literatura. Tot i això, també mostrem que aquesta preferència coexisteix amb una substancial variabilitat i heterogeneïtat entre estudis. Aquesta variabilitat és consistent amb els efectes moderadors de factors com ara la tasca, el tipus d’estímul, el temps de presentació i l’experiència dels participants. En conjunt, aquestes troballes donen suport a la idea que la preferència per la curvatura està influenciada per factors més enllà de la informació perceptiva. A Circles are detected faster than downward-pointing triangles in a speeded response task, proposem que els contorns corbats capten l’ atenció i es processen més ràpid que els contorns angulosos. Aquesta troballa proporciona un escenari plausible per a l’enllaç entre la sensibilitat perceptiva i la preferència associada a la curvatura. A When symmetric and curved visual contour meet instructions instructions: Hedonic value and preference, mostrem que mentre els contorns corbats i simètrics són característiques de valència positiva, els contorns angulosos i asimètrics són característiques de valència negativa. Aquestes troballes destaquen la naturalesa multidimensional dels estímuls i que la interacció entre les característiques de l’estímul modula les preferències generals de les persones. A Shape familiarity modulates preference for curvature in drawings de common-use objects, mostrem que la familiaritat és un fort predictor de la preferència visual per la curvatura. Tot i això, els nostres resultats també revelen que la familiaritat no és l’únic factor que explica aquesta preferència, atès que l’efecte també és present quan els objectes corbats i angulosos es perceben com igualment familiars. En conjunt, concloem que la familiaritat amb la forma dels objectes modula la preferència per la curvatura. A Humans prefer to see and imagine drawing curved objects, trobem una relació positiva entre el gust i la preferència de producció de dibuixos corbats. Les nostres troballes també donen suport a la idea d’una influència inconsistent de les diferències individuals en la preferència per la curvatura. En resum, aquest treball aporta nova evidència empírica de la preferència per la curvatura visual i proporciona una síntesi quantitativa de la literatura sobre aquest efecte. Destaquem que l’efecte de curvatura és fiable i moderat, i discutim alguns factors que expliquen la variabilitat i heterogeneïtat que coexisteix amb l’efecte. També discutim que les bases neurofisiològiques de la sensibilitat a la curvatura poden emmarcar les bases neurals de la preferència per la curvatura. Per últim, proposem reptes rellevants i adreces futures a la llum de l’augment de l’interès de les humanitats, les ciències ambientals i la neurociència en la preferència per la curvatura visual.[spa] El contorno visual afecta las interacciones entre el ser humano y el medio ambiente. Confiamos en las características del contorno para categorizar, manipular y evaluar objetos. Preferimos objetos con contornos curvos y asociamos la curvatura con sensaciones más positivas que los contornos de ángulos agudos. Esta preferencia se conoce como el efecto de curvatura y ha sido demostrada con diferentes edades, culturas e incluso especies. Sin embargo, la literatura también ha mostrado que el efecto podría ser modulado por varios factores contextuales y de diferencias individuales. Esta disertación sintetiza la literatura científica sobre la preferencia por la curvatura visual y arroja nueva evidencia empírica que aborda los posibles factores moduladores del efecto. En How universal is preference for visual curvature? A systematic review and meta-analysis, mostramos que la preferencia por la curvatura consiste en un efecto fiable y moderado en la literatura. Sin embargo, también mostramos que esta preferencia coexiste con una sustancial variación y hetero- geneidad entre estudios. Esta variación es consistente con los efectos moderadores de factores como la tarea, el tipo de estímulo, el tiempo de presentación y la experiencia. En conjunto, estos hallazgos respaldan la idea de que la preferencia por la curvatura está influenciada por factores más allá de la información perceptiva. En Circles are detected faster than downward-pointing triangles in a speeded response task, proponemos que los contornos curvos captan la atención y se procesan más rápido que los contornos angulosos. Este hallazgo proporciona un escenario plausible para el vínculo entre la sensibilidad perceptiva y la preferencia asociada con la curvatura. En When symmetric and curved visual contour meet intentional instructions: Hedonic value and preference, mostramos que mientras los contornos curvos y simétricos son características de valencia positiva, los contornos angulosos y asimétricos son características de valencia negativa. Estos hallazgos destacan la naturaleza multidimensional de los estímulos y que la interacción entre las características del estímulo modula las preferencias generales de las personas. En Shape familiarity modulates preference for curvature in drawings of common-use objects, mostramos que la familiaridad es un fuerte predictor de la preferencia visual por la curvatura. Sin embargo, nuestros resultados también revelan que la familiaridad no es el único factor que explica esta preferencia, porque el efecto también está presente cuando los objetos curvos y angulosos se perciben como igualmente familiares. En conjunto, concluimos que la familiaridad con la forma de los objetos modula la preferencia por la curvatura. En Humans prefer to see and imagine drawing curved objects, encontramos una relación positiva entre el gusto y la preferencia de producción de dibujos curvos. Nuestros hallazgos también respaldan la idea de una influencia inconsistente de las diferencias individuales en la preferencia por la curvatura. En resumen, este trabajo aporta nueva evidencia empírica de la preferencia por la curvatura visual y proporciona una síntesis cuantitativa de la literatura sobre este efecto. Destacamos que el efecto de curvatura es confiable y moderado, y discutimos algunos factores que explican la varianza y heterogeneidad que coexiste con el efecto. También, discutimos que las bases neurofisiológicas de la sensibilidad a la curvatura pueden enmarcar las bases neurales de la preferencia por la curvatura. Por último, proponemos desafíos relevantes y direcciones futuras a la luz del aumento del interés de las humanidades, las ciencias ambientales y la neurociencia en la preferencia por la curvatura visual.[eng] Visual contour affects human-environment interactions. We rely on contour features to categorize, manipulate, and evaluate objects. We prefer objects with curved contours and associate curvature with more positive feelings than sharp-angled contours. This preference is known as the curvature effect, and has been demonstrated between different ages, cultures, and even species. However, the literature has also shown that the effect could be modulated by various contextual and individual difference factors. This dissertation synthesizes the scientific literature on preference for visual curvature and yields new empirical evidence addressing the possible modulator factors of the effect. In How universal is preference for visual curvature? A systematic review and meta-analysis, we show that preference for curvature consists of a reliable and moderate effect in the literature. However, we also show that this preference coexists with substantial heterogeneity variance between studies. This variance is consistent with the moderating effects of factors such as task, stimulus type, presentation time, and expertise. Together, these findings support the idea that the preference for curvature is influenced by factors other than perceptual information. In Circles are detected faster than downward-pointing triangles in a speeded response task, we propose that curved contours capture attention and are processed faster than angular contours. This finding provides a plausible scenario for the link between perceptual sensitivity and preference associated with curvature. In When symmetric and curved visual contour meet intentional instructions: Hedonic value and preference, we show that while curved and symmetric contours are positive-valenced features, angular and asymmetric contours are negative-valenced features. These findings highlight the multidimensional nature of stimuli, and how the interaction between stimulus features could modulate people’s general preferences. In Shape familiarity modulates preference for curvature in drawings of common-use objects, we show that familiarity is a strong predictor of visual preference for curvature. However, our results also reveal that familiarity is not the only factor explaining this preference, because the effect is also present when curved and angular objects are perceived as equally familiar. Together, we conclude that familiarity with the shape of objects modulates preference for curvature. In Humans prefer to see and imagine drawing curved objects, we find a positive relationship between liking and drawing production preference using curved drawings. Our findings also support the idea of an inconsistent influence of individual differences in preference for curvature. To summarize, this work yields new empirical evidence of preference for visual curvature and provides a quantitative synthesis of the literature on this effect. We highlight the existence of a reliable and moderate effect of preference for curvature, and some factors that could explain the substantial heterogeneity variance that coexists with the effect. We discuss that the neurophysiological bases of curvature sensitivity may frame the neural bases of preference for curvature. Last, we propose relevant challenges and future directions in light of the upsurge of interest from the humanities, environmental science, and neuroscience in preference for visual curvature

Visual preference for abstract curvature and for interior spaces: beyond undergraduate student samples

Smoothly curved objects elicit feelings of pleasantness, and tend to be preferred over angular objects. Furthermore, individual differences (i.e., art expertise, openness to experience, holistic thinking), and the complexity of the stimuli are known to moderate the effect. We extended the study of individual differences to two theoretically-relevant groups. Study 1 compared liking for curvature in individuals with autism and a matched neurotypical control group (for age, gender and IQ). Because preference for curvature depends on both sensory (visuospatial) and affective input, for which individuals with autism exhibit anomalies, we hypothesized a difference in preference for curved stimuli between the two groups. Study 2 examined preference for curvature in a group of quasi-expert students of design. Because working architects and designers tend to regard curved interior spaces as beautiful, we hypothesized to replicate this effect within quasi-experts as well, thereby extending the effect across levels of expertise. Using an identical methodology across both studies, we administered abstract stimuli consisting of irregular polygons (angular vs. curved) and patterns of coloured lines (angular vs. curved), as well as concrete stimuli consisting of images of interior spaces. Preference for curvature was confirmed with abstract stimuli in all three groups. For interior design, the curvature effect diminished in magnitude, and this was especially evident in individuals with autism. Interestingly, quasi-experts preferred rectilinear over curvilinear interiors. We discuss the results in relation to the impact of individual differences and expertise on preference for curvature, and their implication for design studies in ecologically valid settings

Do observers like curvature or do they dislike angularity?

Humans have a preference for curved over angular shapes, an effect noted by artists as well as scientists. It may be that people like smooth curves or that people dislike angles, or both. We investigated this phenomenon in four experiments. Using abstract shapes differing in type of contour (angular vs. curved) and complexity, Experiment 1 confirmed a preference for curvature not linked to perceived complexity. Experiment 2 tested whether the effect was modulated by distance. If angular shapes are associated with a threat, the effect may be stronger when they are presented within peripersonal space. This hypothesis was not supported. Experiment 3 tested whether preference for curves occurs when curved lines are compared to straight lines without angles. Sets of coloured lines (angular vs. curved vs. straight) were seen through a circular or square aperture. Curved lines were liked more than either angular or straight lines. Therefore, angles are not necessary to generate a preference for curved shapes. Finally, Experiment 4 used an implicit measure of preference, the manikin task, to measure approach/avoidance behaviour. Results did not confirm a pattern of avoidance for angularity but only a pattern of approach for curvature. Our experiments suggest that the threat association hypothesis cannot fully explain the curvature effect and that curved shapes are, per se, visually pleasant

Visual Anxiolytics: developing theory and design guidelines for abstract affective visualizations aimed at alleviating episodes of anxiety

Visual Anxiolytics is a novel term proposed to describe affective visualizations of which affective quality is predetermined and designed to alleviate anxiety and anxious pathology. This thesis presents ground theory and visual guidelines to inform the design of screen-based interfaces to give users aspects of a restorative and anxiolytic environment at a time when attention restoration is least likely and anxiety highly probable; during sedentary screen-time. Visual Anxiolytics are introduced as an affective layer of the interface capable of communicating affect through aesthetic, abstract, ambient emotion visualizations existing in the periphery of the screen and users’ vision. Their theory is brought into the field of Visual Communication Design from a number of disciplines; primarily Affective Computing, Human-Computer Interaction, Psychology, and Neuroscience. Visual Anxiolytics attempt to alleviate anxiety through restoration of attentional cognitive resources by rendering the digital environment restorative and by elicitation of positive emotions through affect communication. Design guidelines analyse and describe properties of anxiolytic affective visual attributes color, shape, motion, and visual depth, as well as compositional characteristics of Visual Anxiolytics. Potential implications for future research in emotion visualization and affect communication are discussed

The computer synthesis of expressive three-dimensional facial character animation.

This present research is concerned with the design, development and implementation of three-dimensional computer-generated facial images capable of expression gesture and speech. A review of previous work in chapter one shows that to date the model of computer-generated faces has been one in which construction and animation were not separated and which therefore possessed only a limited expressive range. It is argued in chapter two that the physical description of the face cannot be seen as originating from a single generic mould. Chapter three therefore describes data acquisition techniques employed in the computer generation of free-form surfaces which are applicable to three-dimensional faces. Expressions are the result of the distortion of the surface of the skin by the complex interactions of bone, muscle and skin. Chapter four demonstrates with static images and short animation sequences in video that a muscle model process algorithm can simulate the primary characteristics of the facial muscles. Three-dimensional speech synchronization was the most complex problem to achieve effectively. Chapter five describes two successful approaches: the direct mapping of mouth shapes in two dimensions to the model in three dimensions, and geometric distortions of the mouth created by the contraction of specified muscle combinations. Chapter six describes the implementation of software for this research and argues the case for a parametric approach. Chapter seven is concerned with the control of facial articulations and discusses a more biological approach to these. Finally chapter eight draws conclusions from the present research and suggests further extensions

Drawing from motion capture : developing visual languages of animation

The work presented in this thesis aims to explore novel approaches of combining motion capture with drawing and 3D animation. As the art form of animation matures, possibilities of hybrid techniques become more feasible, and crosses between traditional and digital media provide new opportunities for artistic expression. 3D computer animation is used for its keyframing and rendering advancements, that result in complex pipelines where different areas of technical and artistic specialists contribute to the end result. Motion capture is mostly used for realistic animation, more often than not for live-action filmmaking, as a visual effect. Realistic animated films depend on retargeting techniques, designed to preserve actors performances with a high degree of accuracy. In this thesis, we investigate alternative production methods that do not depend on retargeting, and provide animators with greater options for experimentation and expressivity. As motion capture data is a great source for naturalistic movements, we aim to combine it with interactive methods such as digital sculpting and 3D drawing. As drawing is predominately used in preproduction, in both the case of realistic animation and visual effects, we embed it instead to alternative production methods, where artists can benefit from improvisation and expression, while emerging in a three-dimensional environment. Additionally, we apply these alternative methods for the visual development of animation, where they become relevant for the creation of specific visual languages that can be used to articulate concrete ideas for storytelling in animation

On the Nature of Students\u27 Digital Mathematical Performances

In this study I investigate the nature of digital mathematical performances (DMPs) produced by elementary school students (Grades 4-6). A DMP is a multimodal text/narrative (e.g., a video) in which one uses the performance arts to communicate mathematical ideas. I analyze twenty-two DMPs available at the Math + Science Performance Festival in 2008. Assuming a sociocultural/postmodern perspective with emphasis on multimodality, my focus is on the role of the arts and technology in shaping students’ mathematical communication and thinking. Methodologically, I employ qualitative case studies, along with video analysis. I conduct a descriptive analysis of each DMP using Boorstin’s (1990) categories of what makes good films, focusing on surprises, sense-making, emotions, and visceral sensations. I also conduct a cross-case analysis using Boorstin’s categories and the mathematical processes and strands of the Ontario Curriculum. The multimodal nature of DMP is one of its most significant pedagogic attributes. Mathematics is traditionally communicated through print-based texts, but the production of DMPs is an alternative that engages students in conceiving multimodal narratives. The playfulness offers scenarios for students’ collaboration, creativity, and imagination. By making DMPs available online, students share their ideas in a public and social environment, beyond the classrooms. Most of the DMPs only explore Geometry and offer opportunities to experience some surprises, sense-making, emotions, and visceral sensations. The lack of focus on other strands (e.g., Algebra) may be seen as a reflection on what (and how) students are (or not) learning in their classes. The production of conceptual DMPs is a rare event, although I acknowledge that I analyzed only DMPs of the first year of the Festival, that is, students did not have examples or references to produce their DMPs. Some DMPs potentially explore conceptual mathematical surprises, but they appear to have gaps in terms of sense-making. The use of the arts and technologies does not guarantee the mathematical conceptuality of DMPs. This study contributes to mathematics education with an exploratory discussion about how mathematical ideas can be (a) communicated and represented as multimodal texts at the elementary school level and (b) seen through a performance arts lens. The study also points out directions about the pedagogic components for conceiving conceptual DMPs in terms of the performance arts and the components of the Ontario Curriculum