THE EFFECT OF COLOR ON EMOTIONS IN ANIMATED FILMS

Lighting color in animated films is usually chosen very carefully in order to portray a specific mood or emotion. Artists follow conventional techniques with color choices with the intention to create a greater emotional response in the viewer. This study examined the relationship between color variations in videos and emotional arousal as indicated by physiological response. Subjects wore a galvanic skin response (GSR) sensor and watched two different videos: one portraying love and one portraying sadness. The videos were watched multiple times, each with variations in the lighting color. No significant effects on emotion for either hue or saturation were observed from the GSR sensor data. It was concluded that the hue and saturation of lighting are not likely to cause a significant impact in the strength of emotions being portrayed in animated films to a degree in which it can be measured by electrodermal activity

Human Emotional Care Purposed Automatic Remote Portrait Drawing Generation and Display System Using Wearable Heart Rate Sensor and Smartphone Camera with Depth Perception

We propose a system that automatically generates portrait drawings for the purpose of human emotional care. Our system comprises two parts: a smartphone application and a server. The smartphone application enables the user to take photographs throughout the day while acquiring heart rates from the smartwatch worn by the user. The server collects the photographs and heart rates and displays portrait drawings automatically stylized from the photograph for the most exciting moment of the day. In the system, the user can recall the exciting and happy moment of the day through admiring the drawings and heal the emotion accordingly. To stylize photographs as portrait drawings, we employ nonphotorealistic rendering (NPR) methods, including a portrait etude stylization proposed in this paper. Finally, the effectiveness of our system is demonstrated through user studies

Audio style transfer

'Style transfer' among images has recently emerged as a very active research topic, fuelled by the power of convolution neural networks (CNNs), and has become fast a very popular technology in social media. This paper investigates the analogous problem in the audio domain: How to transfer the style of a reference audio signal to a target audio content? We propose a flexible framework for the task, which uses a sound texture model to extract statistics characterizing the reference audio style, followed by an optimization-based audio texture synthesis to modify the target content. In contrast to mainstream optimization-based visual transfer method, the proposed process is initialized by the target content instead of random noise and the optimized loss is only about texture, not structure. These differences proved key for audio style transfer in our experiments. In order to extract features of interest, we investigate different architectures, whether pre-trained on other tasks, as done in image style transfer, or engineered based on the human auditory system. Experimental results on different types of audio signal confirm the potential of the proposed approach.Comment: ICASSP 2018 - 2018 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP), Apr 2018, Calgary, France. IEE

Obiter dictum : [an honors thesis (HONRS 499)]

The phrase "obiter dictum" refers to a passing remark, or a cursory observation. Each piece in this series is based on an image I saw briefly in a floor tile, wood panel, or other patterned surface. The random nature of the patterns lent itself to the kind of surreal imagery I normally produce, similar to Dali's dream paintings and Miro's collage-inspired pieces. There is no specific concept for each piece, except to create a mysterious image that takes advantage of the strangeness of the original source image and the medium. Studying the compositions of other artists, such as H. R. Giger, Leonard Baskin, and Mauricio Lasansky, helped me to sort the strange images I worked with in this series into coherent artistic works.This medium is a particular combination of materials that I have spent the past four semesters exploring. It uses a collage of scrap paper and found objects with spray paint and white color pencils to create a broken and varied surface that I believe lends itself well to surrealism. The semi-random placement of different materials on the surface gives the piece many different surface qualities, which I find to be especially engaging to work with.Honors College"A senior project (AFA 387)."Thesis (B.?.

Shading with Painterly Filtered Layers: A Process to Obtain Painterly Portraits

In this thesis, I study how color data from different styles of paintings can be extracted from photography with the end result maintaining the artistic integrity of the art style and having the look and feel of skin. My inspiration for this work came from the impasto style portraitures of painters such as Rembrandt and Greg Cartmell. I analyzed and studied the important visual characteristics of both Rembrandt’s and Cartmell’s styles of painting.These include how the artist develops shadow and shading, creates the illusion of subsurface scattering, and applies color to the canvas, which will be used as references to help develop the final renders in computer graphics. I also examined how color information can be extracted from portrait photography in order to gather accurate dark, medium, and light skin shades. Based on this analysis, I have developed a process for creating portrait paintings from 3D facial models. My process consists of four stages: (1) Modeling a 3D portrait of the subject, (2) data collection by photographing the subjects, (3) Barycentric shader development using photographs, and (4) Compositing with filtered layers. My contributions has been in stages (3) and (4) as follows: Development of an impasto-style Barycentric shader by extracting color information from gathered photographic images. This shader can result in realistic looking skin rendering. Development of a compositing technique that involves filtering layers of images that correspond to different effects such as diffuse, specular and ambient. To demonstrate proof-of-concept, I have created a few animations of the impasto style portrait painting for a single subject. For these animations, I have also sculpted high polygon count 3D model of the torso and head of my subject. Using my shading and compositing techniques, I have created rigid body animations that demonstrate the power of my techniques to obtain impasto style portraiture during animation under different lighting conditions

A Midsummer Night's Dream: A Lighting Design

The purpose of this thesis is to provide a discussion and documentation of the process and results of the lighting design for the fall 2012 production of A Midsummer Night's Dream of the University of Maryland - College Park, School of Theatre, Dance, and Performance Studies in co-production with the National Academy of Chinese Theatre Arts - Beijing. The thesis contains the following: a discussion of collaboration throughout the design process; research images, renderings, and descriptions used to develop and communicate ideas about color, texture, intensity, form, composition, mood, and information to the production team; organization of desired equipment to execute the design; complete drafting plates and supplementary paperwork used to technically communicate the design to production electricians; magic sheet, cue list, and other documents used as organizational tools for the lighting designer during the technical rehearsal process; and archival production photographs used as documentation of the completed design

Capstone 2014 Art and Art History Senior Projects

It gives us great pleasure to introduce the Gettysburg College Art and Art History senior Capstone projects for 2014. These projects serve as the culmination of the Studio Art and Art History majors. They are as rich and varied as the students themselves and exemplify the commitment the Department of Art and Art History places on creativity and scholarship in a liberal arts education. [excerpt] This booklet profiles Art Senior Projects by Bailey K. Beardsley, Lisa R. Del Padre, Tobi C. Goss, Rebecca A. Grill, Anna B. Heck, Japh-O\u27Mar A. Hickson, Danielle T. Janela, Lauren E. Kauffman, Megan P. Quigg, Justin Rosa, Angela M. Schmidt, Erin E. Slattery, and Caroline E. Volz. This booklet profiles Art History Senior Projects by Niki Erdner, Emily A. Francisco, Rose C. Kell, Katherine G. Kiernan, Tara K. Lacy, Shelby A. Leeds, and Molly E. Reynolds