In digital image capture, the camera signals produced by the D65 illuminant, once translated into tristimulus values of the CIE 1931 standard colorimetric observer (assuming the Maxwell‐Ives‐Luther criterion is satisfied), are considered good to produce accurate color rendering. An image obtained under any illuminant other than D65 does not appear realistic and the tristimulus values of the camera must be transformed into the corresponding ones produced by the D65 illuminant. This transformation must satisfy color constancy. In this work, the transformation is obtained by a color‐vision model based on the Optical Society of America‐Uniform Color Scales system [Color Res Appl 2005; 30: 31–41] and is represented by a matrix dependent on the adaptation illuminant. This matrix is obtained by minimizing the distance between the pairs of the uniform scale chromatic responses related to the tristimulus values of the 99 different color samples of the SG Gretag‐Macbeth ColorChecker measured under a pair of different illuminants, one of which is the D65. Then any picture captured under a given light source can be translated into the picture of the same scene under the D65 illuminant. Metameric reason allows only approximate solutions. The transformations from Daylight and Planckian illuminants to the D65 illuminant have a very regular dependence on the color temperature, that appears to be the typical parameter for the color conversion. © 2012 Wiley Periodicals, Inc. Col Res Appl, 38, 412–422, 2013

The paper presents an interdisciplinary approach to the treatment of the FormaViva collection of wooden sculptures exhibited outdoors in a natural environment near the Božidar Jakac Art Museum in Kostanjevica na Krki in Slovenia. The study focuses on 3D graphic representations of sculptures created with photogrammetry and 3D modelling. The results are photorealistic renderings, interactive presentations, 3D printed reproductions, jewellery, and interpretive animations. The research results show that graphic documentation techniques on 3D models allow for a more detailed investigation of the original structural identity of the sculpture. By incorporating 3D and interactive technologies, we are expanding the usability of cultural heritage objects. By using interpretive techniques that have led to jewellery and interpretive animations in our research, we not only breathe new life into the sculptures, but also enrich the stories of the sculptures with our own experiences of the sculptural work.

No abstract

Mobile technology offers new opportunities to enhance the visitor experience in museums. Mobile serious games can support experiential learning with authentic exhibits in an authentic museum environment based on the contextual learning model with the interaction between the personal, socio-cultural and physical context. In developing the game, we wondered whether it could appropriately motivate and engage different age groups in the museum experience with its challenges of different difficulty levels; whether a mobile game could, through its challenges interacting with the museum environment, prevent the “head-down” behaviour; and whether museum exhibits could be better recalled by visitors participating in a tour with a mobile game than in two other traditional tours (i.e. guided tours, tours with museum brochures). The results of the study showed that a tour with a mobile serious game with challenges of different difficulty levels is suitable for visitors of two target groups (i.e. families and students). Since each challenge encourages interaction with the museum environment, it could largely prevent the “head-down” behaviour. The results also show that a tour with appropriately planned multisensory challenges motivates visitors to actively engage with the museum environment, resulting in slightly better recall of exhibits compared to other tour types. The results of this study can help bring museums and the history they represent closer to digital generations, and popularise modern informal learning methods associated with incidental and experiential lifelong learning that can take place anytime, anywhere, and help achieve higher taxonomic knowledge levels.

In recent decades, linear communication has largely been replaced by visual depictions that contain not only moving images but also sound, text and other (visible or invisible) data. It is therefore not surprising that video has become so popular, especially among young people. So-called multimedia communication is transmitted via a variety of media. Since there are many ways and means of transmission, we wanted to investigate how the type of encoding that allows efficient file reduction affects the characteristics of the video format. For this purpose, we encoded selected videos using the three most common encoding mechanisms H.264/AVC, MPEG-2 and H.265/HEVC at high and medium bitrate. The newly created video files were then uploaded to three popular platforms – Instagram, YouTube and Gmail. Changes in file size, colour gamut, frame and bitrate, resolution and other visually recognizable details are presented in the paper.