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.

The research focuses on the quality of colour reproduction when using different light sources, often used to illuminate scenes in a photo studio, and different types of fabrics as lighting shapers. With the latter, the light can be converted into softer and more diffuse light, but the properties of the fabrics used affect the colour impression and thus the quality of the reproduced colours. This was evaluated by analysing the colour differ¬ences which were calculated from the colorimetric values of the colour patches of the X-Rite ColorChecker Passport test chart. Test chart was photographed in a controlled environment and illuminated with different combinations of light sources and tested fabrics. The results confirmed that not all combinations of variables are suitable for use if the goal of the photograph is to achieve high quality colour reproduction.

Lighting conditions are one of the most important factors for good photographic exposure. In enclosed spaces, like a photography studio, we can control the light in several ways. We can adjust the type of light source, the shape of the light source, its intensity, and in some cases the colour temperature of the emitted light. The distance of the light source from the observed photographic scene affects the amount of light that reaches the desired target, and therefore the actual lighting conditions on the photographic scene. However, the environment surrounding the photographic scene is often overlooked. The light emitted interacts not only with the objects within the photographic scene, but also with any obstacle in the path upon which a light ray falls. Light rays can be reflected, partially reflected, absorbed, or scattered from any surface in the immediate vicinity of the scene, depending on the material properties of the objects they encounter. In the case of reflection, the observed scene is additionally illuminated by the reflected light, since the reflecting surface in the near environment acts as another light source. Lightabsorbing surfaces, on the other hand, do not affect the scene in the same way, since the light is absorbed and not multiplied by the reflection. Reflections from the surrounding environment can therefore affect the intended lighting conditions of the observed scene in ways that we did not anticipate. This study focuses on the influence of the surrounding space on the lighting conditions in an observed photographic scene by comparing the lighting situations in a scene from a photographic studio with a diverse environment and from a darkroom with minimal environmental influence. Halogen, LED, and xenon light sources are tested individually, illuminating the test scene with different intensities and colour temperatures. The illumination conditions at the observed photographic scene are described using spectrophotometric methods and image analysis to numerically describe the differences in uniform illumination of the flat scene surface. The results are analysed and compared to illustrate the influence of the surrounding space. Based on the results, guidelines for a suitable test environment in photographic research are proposed.

Using a static or animated information on a medium, such as a poster, is a common decision to be made nowadays. Advertising solutions in the form of a screen that mimics a traditional poster format offer us a way to bring to life something that has been static for more than a century. Deciding if and when it is better to use an animated rather than a static (printed) poster is not always easy. The campaign budget has to be higher, and a decision must be based on the proven effectiveness and communicativeness of the medium in question. Research is focused on whether and how animation can improve perception. The main hypothesis is that animation of some graphic elements can improve the visibility and therefore the effectiveness of a poster. The first step of the research was to prepare a test material. In cooperation with Cankarjev dom, we animated five of their posters, the original of which was prepared only for printing. Different artistic styles and compositions were chosen. The second step was to animate some of the elements, focusing on the effectiveness and communicativeness of the final result. In order to determine the difference in the perception of static and animated posters, different methods could be used. Previous research has shown that the use of eye-tracking provides useful results. Like many other areas of graphic communication, e.g. photography, copywriting, graphic design... eye-tracking has been influenced by the use of artificial intelligence as well. The use of neural networks fed with big amounts of real eye-tracking measurements gives us the ability to predict with great confidence the way the human eye looks at something. In our research, we used software called Expoze that analyses the content of an image or video and predicts heatmaps of how real observers would see the test material. The end result of the research gives us a detailed view of how we receive information from static and animated posters.

The goal of the study was to determine how close the eye-tracking results predicted by the AI model are to actual measurements and whether they can be used in scientific research or in real business cases. The study was based on a carefully prepared photo database of 30 photos of varying complexity and colour. The photos were shown to 110 participants (age and gender evenly distributed), and eye-tracking device (Tobii X120) was used to measure how the photos were viewed. In comparison, the same photos were tested using an AI-based application (Expoze.io). The final results show the comparison between the heatmaps and transparent gaze visualisations of the collected data with the two used measurement methods. Suggestions are made in which cases and how the two described methods should be used.