Neuroscience for Human Development, Rua Dr Homem de Melo, 697/5154, Sao Paulo 05007-001, Brazil.
Experimental Psychology Department, University of Sao Paulo, Sao Paulo 05508-220, Brazil.
Sensors (Basel). 2020 Apr 29;20(9):2531. doi: 10.3390/s20092531.
Graffiti is a general term that describes inscriptions on a wall, a practice with ancient origins, ranging from simple drawings and writings to elaborate pictorial representations. Nowadays, the term graffiti commonly describes the street art dedicated to wall paintings, which raises complex questions, including sociological, legal, political and aesthetic issues. Here we examine the aesthetics of graffiti colors by quantitatively characterizing and comparing their chromatic structure to that of traditional paintings in museums and natural scenes obtained by hyperspectral imaging. Two hundred twenty-eight photos of graffiti were taken in the city of São Paulo, Brazil. The colors of graffiti were represented in a color space and characterized by several statistical parameters. We found that graffiti have chromatic structures similar to those of traditional paintings, namely their preferred colors, distribution, and balance. In particular, they have color gamuts with the same degree of elongation, revealing a tendency for combining similar colors in the same proportions. Like more traditional artists, the preferred colors are close to the yellow-blue axis of color space, suggesting that graffiti artists' color choices also mimic those of the natural world. Even so, graffiti tend to have larger color gamuts due to the availability of a new generation of synthetic pigments, resulting in a greater freedom in color choice. A complementary analysis of graffiti from other countries supports the global generalization of these findings. By sharing their color structures with those of paintings, graffiti contribute to bringing art to the cities.
涂鸦是一个广义的术语，描述了在墙上的涂鸦，这一做法起源于古代，从简单的绘画和文字到精心绘制的图像。如今，涂鸦通常指的是专门用于墙面绘画的街头艺术，它引发了一系列复杂的问题，包括社会学、法律、政治和美学等方面的问题。在这里，我们通过定量描述和比较其色度结构与博物馆中的传统绘画以及通过高光谱成像获得的自然场景，来研究涂鸦颜色的美学。我们在巴西圣保罗市拍摄了 228 张涂鸦照片，并用颜色空间表示涂鸦的颜色，并通过几个统计参数来描述其特征。我们发现，涂鸦的色度结构与传统绘画相似，包括它们的偏好颜色、分布和平衡。特别是，它们的色域具有相同程度的延伸，显示出在相同比例下组合相似颜色的趋势。与更传统的艺术家一样，偏好的颜色接近颜色空间的黄-蓝轴，这表明涂鸦艺术家的颜色选择也模仿了自然界。即便如此，由于新一代合成颜料的可用性，涂鸦的色域往往更大，从而在颜色选择上有更大的自由度。对来自其他国家的涂鸦的补充分析支持了这些发现的全球化推广。通过与绘画分享其颜色结构，涂鸦有助于将艺术带到城市中。
