Aesthetic Research on Blurred Fear Face Artwork Based on Low Spatial Frequency - A Case Study of Francis Bacon's Portrait -

초록

Background As a means of conveying non-verbal information, facial expression is very important in all aspects of life. Humans can quickly obtain information from facial expressions, especially sensitive to blurred fear faces. Francis Bacon, a British painter, is good at portraying the feelings of fear in rough brush strokes, especially the facial expressions of fear, but his work also gives viewers a heavy sense of repression and horror. Studies have shown that the ability to read blurred fear faces is an inherent trait not only in humans but also in many animals, which is related to the brain's special processing mechanism for low spatial frequency (LSF) fear expression information and is independent of regional culture. Many artists or designers have used their keen sense of blurred fear faces as a medium to express emotions in various fields. Methods The symmetry between artistic expression and visual design creation and brain emotion processing structure is explored in this study. First, the painter Bacon's representative paintings depicting blurred fear faces and other visual design works were sorted out through the Internet; second, a design experiment was carried out, that is, blurred fear faces were made withPhotoshopCS6 and a questionnaire survey was conducted; finally, from the perspective of cognitive neuroscience, previous studies and experimental results were summarized, the significance and process of rapid recognition of fear faces at low spatial frequency (LSF) were sorted out, and the corresponding neural structures of fear facial expressions were processed. Result Through the analysis and experimental results of the existing paintings and designs of fuzzy fear facial expressions, it is found that they are in line with the neural structure of the brain to deal with low spatial frequency ( LSF ) fear faces, that is, there is symmetry between artistic expression and brain emotional structure. Conclusion In this study, starting from the discovery of the phenomenon in which blurred fear faces are used as artists or designers to convey fear, bacon was taken as an example and previous studies in cognitive neuroscience were used to find that the brain has special neural structures corresponding to the rapid recognition of facial expressions of fuzzy fear. In this paper, the author tries to explain the phenomenon of design aesthetics from a scientific perspective so as to get a visual artistic creation method that reflects this facial expression. This neurological study of the art of fear seems to be more effective than previous empirical designs.

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