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Research on the interactive perception of color paper-cutting culture rendering based on AR

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To address the digital medium preference of the millennial generation, this study utilizes augmented reality (AR) technology for rendering color paper cuttings by developing a mobile terminal based on Unity 3D and 3ds Max to demonstrate digital works scanned by paper-cutting entities. Three subjective scaling experiments are conducted to evaluate the aesthetics, viewership, and impression of four genres of digital color paper cutting. The results show that observers have more preference for warm background with the maximum scaling value at the 7.5 mm/s playback speed and a specific superimposed order. Importantly, current experimental design and interactive evaluation provide a reference for AR display parameters.

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Data availability

Data underlying the results presented in this paper are not publicly available at this time but may be obtained from the authors upon reasonable request.

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Figures (13)

Fig. 1.
Fig. 1. Digital flow of key features in color paper cutting: (a) using a wand or lasso to sketch the contours in Photoshop software; (b) using a pen tool to incorporate details in Photoshop software; (c) exporting AI format; (d) extruding the models in 3ds Max software; (e) importing Procreate software to paint; (f) modifying 3ds Max software model; (g) generating test animation in 3ds Max software; (h) importing Unity 3D software to adjust; (i) generating AR end product.
Fig. 2.
Fig. 2. Four genres of test digital cases of color paper cutting: (a) color-dotting; (b) color-matching; (c) color-pasting; (d) color-sketching.
Fig. 3.
Fig. 3. RGB values of digital model of the color-dotting paper cutting shown in (b): (a) flower; (c) bird.
Fig. 4.
Fig. 4. Flow chart of animation generation of color paper-cutting cases.
Fig. 5.
Fig. 5. Developing the proposed application for AR rendering of color paper-cutting models.
Fig. 6.
Fig. 6. Evaluation criterion of three experiments.
Fig. 7.
Fig. 7. Generation flow of test samples with modified light and hue attributes.
Fig. 8.
Fig. 8. Perception assessment of the hue and light of test background color: MOS values for (a) aesthetics, (b) viewership, (c) impression, and (d) comprehensive perception.
Fig. 9.
Fig. 9. Summary of different light and hue for (a) color-dotting, (b) color-matching, (c) color-pasting, and (d) color-sketching paper cutting.
Fig. 10.
Fig. 10. Perception assessment of test playback speeds of AR cases: MID values for (a) aesthetics, (b) viewership, (c) impression, and (d) comprehensive perception.
Fig. 11.
Fig. 11. Summary of different superimposed orders for (a) color-dotting, (b) color-matching, (c) color-pasting, and (d) color-sketching paper cutting.
Fig. 12.
Fig. 12. Perception assessment of test superimposed orders of AR cases: MOS values for (a) aesthetics, (b) viewership, (c) impression, and (d) comprehensive perception.
Fig. 13.
Fig. 13. Color-dotting paper cutting’s superimposed orders of (a) SMB and (b) MSB.

Tables (2)

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Table 1. MOS Value Corresponding to the Scaling Grade of Aesthetics, Viewership, and Impression

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Table 2. Full Name Corresponding to the Abbreviation

Equations (2)

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X ¯ = 1 n × i = 1 n x i ,
Y ¯ = 1 n × ( i = 1 n 0.5 m i + i = 1 n 0.2 n i + i = 1 n 0.3 l i ) ,
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