Strategies and guidelines for the aesthetic design of QR codes in
advertising
Estrategias y directrices para la conguración estética del QR en publicidad
doxa.comunicación |
nº 39, pp. 183-202
| 183
July-December of 2024
ISSN: 1696-019X / e-ISSN: 2386-3978
How to cite this article:
Ávila-Muñoz, R.; Bonales-Daimiel, G. and Suárez-Carballo, F. (2024). Strategies and guidelines for the aesthetic design of
QR
codes in advertising.
Doxa comunicación
, 39, pp. 183-202.
https://doi.org/10.31921/doxacom.n39a2189
Raquel Ávila-Muñoz.
PhD Cum Laude in Audio-visual Communication, Advertising, and Public Relations from the
Universidad Complutense de Madrid
[Complutense University of Madrid] (
UCM
). She holds a position as Associate
Professor in the Department of Applied Communication Science, Faculty of Information Science (
UCM
), as well as on the
Ocial University Degree in Multimedia and Graphic Design at UDIT (University of Design, Innovation and Technology).
She combines her teaching duties with her work as a freelance 3D animation and motion-graphics designer. She also
teaches subjects related to graphic design and animation in audio-visual and interactive media. Her interests focus on
the dynamic aspects of creation, design, and communication, and the impact of generative articial intelligence on the
cultural and creative industries. Her main line of research focusses on animation as a design feature and integral part of the
visual communication process that mediates the interaction between users and technological devices.
University Complutense of Madrid, Spain / University of Design, Innovation, and Technology (UDIT), Spain
[email protected]
ORCID:
0000-0001-6798-6829
Gema Bonales-Daimiel.
PhD Cum Laude in Audio-visual Communication, Advertising, and Public Relations
(Extraordinary Award) from
Universidad Complutense de Madrid
[Complutense University of Madrid] (
UCM
). She also
holds a Master’s Degree in Commercial Management from ESIC Business and Marketing School, and a second M.A.
in Marketing Management from
Universidad Rey Juan Carlos
[Rey Juan Carlos University] (
URJC
). She also works as a
Marketing and Communications professional, specialising in the online realm. Currently, Professor Bonales-Daimiel is
a member of the research group known as
Arte y Ciudad
[Art and the City] at
UCM
, in addition to working as a lecturer
and researcher in the Department of Applied Communication Science at
UCM
as well. As part of her professorial duties,
she teaches subjects such as Art Direction and Creative Advertising Processes, in addition to imparting a subject on
the Master's Degree in Organisational Communication. Previously, she worked in advertising agencies, one of which
is Publicis, as well as in the media outlets COPE and RTVE, and in the communication and marketing departments
of several companies, while simultaneously working as an associate professor at the
Universidad Europea de Madrid
[European University of Madrid],
Universidad CEU San Pablo
[CEU San Pablo University], and
UCM
[
University
Complutense of Madrid
]
.
University Complutense of Madrid, Spain
[email protected]
ORCID:
0000-0003-2085-2203
is content is published under Creative Commons Attribution Non-Commercial License. International License CC BY-NC 4.0
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184 |
nº 39, pp. 183-202
|
July-December of 2024
Strategies and guidelines for the aesthetic design of
QR
codes in advertising
ISSN: 1696-019X / e-ISSN: 2386-3978
doxa.comunicación
Received: 10/01/2024 - Accepted: 01/03/2024 - Early access: 19/03/2024 - Published: 01/07/2024
Recibido: 10/01/2024 - Aceptado: 01/03/2024 - En edición: 19/03/2024 - Publicado: 01/07/2024
Abstract:
QR codes are sometimes used as a vital component of digital
marketing strategies that seek to attract consumers' attention by
converting their dull, black-and-white, checkered appearance into
attractive designs. However, as changes to their visual appearance
can lead to scanning failures, an understanding of the technical
requirements and limitations of this technology is essential in order
to develop a viable creative strategy. To this end, a semi-systematic
review of the literature was carried out for the purpose of gathering
information on possible strategies for enhancing QR codes without
compromising their functionality, and to provide guidelines for
manually customising these codes in a way that is eective. e aim
of this paper is to reveal the amount of research that has focused on
the relationship between the aesthetic characteristics of QR codes and
their advertising eectiveness. e main ndings include a scarcity
of scientic analysis regarding this issue, yet multiple opportunities
for the artistic modication of QR codes due to recent advances in
generative articial intelligence.
Keywords:
QR code; aesthetics; advertising eectiveness; mobile marketing;
generative articial intelligence.
Resumen:
Los códigos QR se presentan en ocasiones como protagonistas de estra
-
tegias de marketing digital que buscan atraer la atención de los consu
-
midores mediante la transformación de su anodino aspecto de cuadros
blancos y negros en atractivos diseños. Sin embargo, los cambios en su
apariencia pueden provocar fallos en el escaneo, por lo que conocer
los requisitos y limitaciones técnicas de esta tecnología es fundamental
para poder plantear una estrategia creativa viable. En este trabajo se
realiza una revisión semi-sistemática de la literatura con el objeto de
recopilar información sobre las posibles estrategias para afrontar su
embellecimiento sin poner en riesgo su funcionalidad y extraer unas di
-
rectrices que sirvan de guía para su personalización manual efectiva.
Así mismo, se busca conocer hasta qué punto se ha estudiado la relación
entre las características estéticas del QR y su ecacia publicitaria. Como
principal hallazgo, se pone de maniesto la ausencia de estudios cientí
-
cos que analicen esta cuestión y se revelan las múltiples oportunidades
que surgen a raíz de los recientes desarrollos que utilizan inteligencia
articial generativa para la manipulación artística del código.
Palabras clave:
Código QR; estética; ecacia publicitaria; marketing móvil; inteligencia
articial generativa.
Fernando Suárez-Carballo.
Professor of Art Direction on the Faculty of Communication at the
Universidad Ponticia
de Salamanca
, where he currently imparts various subjects related to visual communication on the Advertising and
Public Relations Degree (Art Direction and Interaction Design), and on the Journalism Degree as well (Visual Com
-
munication). Professor Suárez-Carballo is also a member of the research group known as
Innovación y creatividad em
-
presarial
[innovation and creativity in business], as well as the author of several articles and book chapters related to
graphic design, which is his main line of research from several perspectives, including aesthetics, technology, eciency,
and training. Furthermore, his scientic work has been ocially recognised. With regard to positions of management,
he has served as director of the
Ocina de Transferencia de Resultados de Investigación
[oce for the transfer of research
ndings] (
OTRI
), which is part of the Universidad Ponticia de Salamanca. He also currently holds the position of Vice-
Dean of Academic Organisation, as well as Coordinator of the Advertising and Public Relations Degree on the Faculty of
Communication at this same institution
University Ponticia of Salamanca, Spain
[email protected]
ORCID:
0000-0001-7498-6595
1. Introduction
Quick Response codes (QR) have become a regular feature of everyday life for consumers and users all over the world. e
spread of this technology has come as a surprise even to its creator, Masahiro Hara, as his invention was originally designed to
optimise inventory control in the automotive industry (DENSO, n.d.-a; Fine and Clark, 2015), yet QR codes started to be used
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from 2020 onward to keep track of restaurant customers, provide access to menus, and make contactless payments. Moreover,
this technology has even become commonly used for issuing health certicates (McCurry, 2020).
e transition from using these codes for manufacturing to the elds of advertising and marketing took place long before the
COVID-19 pandemic. However, the need to avoid physical contact boosted its use (Pratas and Oliveira, 2023; Tsai and Peng,
2023), and it spread to many users who were previously unaware of the technology, or simply ignored it.
Based on current statistics (eMarketer, 2020), the use of QR codes seems to be on the rise three decades after its invention. A
survey of advertising professionals around the world shows that these codes can play an important role in marketing strategies
(Al, 2022). Approximately 99% of the respondents feel that advertisers who want to successfully target Generation Z should
use QR codes, and 98% see potential for their use in outdoor digital marketing campaigns. Moreover, 92% of the respondents
agree that greater use of these codes in digital outdoor advertising provides brands and marketers with useful data to design
personalised and engaging content for consumers.
In addition to outdoor advertising, small QR codes are frequently found in many print advertisements as a link between the
physical world and online content (Pena-Pena, et al., 2022; Yang et al., 2021). ese codes are often the key players in the
communicative process, either because they dominate the layout, or because the ultimate aim of the advertisement itself is to
induce the consumer to scan the code (Ávila Muñoz and Bonales Daimiel, 2023).
Considering that one of the main objectives of any advertising strategy is to attract the attention of the target audience, when
a QR is used as an advertising lure it should stimulate curiosity. However, the bland appearance of the black and white matrix
does not seem to have any appeal. Initially designed for fast data reading comprehensible only to a machine, their appearance
has no meaning for humans, which might limit the interest of potential consumers (Ma et al., 2023).
Bringing visual qualities to the basic two-colour grid can be a way to spark curiosity, trigger sensory responses to advertisements,
and even aect user and consumer behaviour by inuencing the intention to scan (W.-E. Ho et al., 2022; Liu et al., 2022;
Vorobchuk and Skliarenko, 2022). One interesting example of a QR being used as the main focus of an advert is in the 2011
SEAT Ibiza campaign (Figure 1), in which the advertisement revolves around a code made up of road signs and graphics
representing small stretches of road, among other features (Chen, 2011). Another example appeared on the December 2020
cover of AdNews, which featured a QR code in the form of a graphic collage that symbolised everything that happened in the
pandemic year (Murphy, 2020). e advert used in the Feel it For Yourself campaign focussed on a set of codes that consisted
only of words (Ads of the World, n. d.). In these three examples, the QR code was modied manually and creatively, making
the codes highly attractive.
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codes in advertising
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Figure 1: QR codes in the SEAT advertising campaign
construido por señales de tráfico y grafismos que representan pequeños tramos de carretera,
entre otros elementos (Chen, 2011). La portada del número de diciembre de 2020 de
AdNews,
presenta un QR compuesto por elementos gráficos que simbolizan y sintetizan lo
ocurrido en el año de la pandemia (Murphy, 2020). La creatividad de la campaña
Feel it For
Yourself
se centró en un conjunto de códigos compuestos únicamente por palabras (Ads of
the World, s. f.). En estos tres ejemplos, el QR se ha modificado de forma manual y creativa,
haciendo que el código resulte altamente atractivo.
Figura 1: Códigos QR en la campaña publicitaria de SEAT
Fuente: Chen (2011)
La motivación del presente trabajo surge a raíz de los problemas encontrados al definir la
estrategia creativa para un lanzamiento discográfico en donde se buscaba despertar la
curiosidad de los viandantes mediante una composición que crease un vínculo entre la
apariencia del QR y el título de la canción a la que daría acceso. La Figura 2 muestra un
primer boceto elaborado para desarrollar la idea, que pronto tuvo que ser descartada al ser
inviable por cuestiones intrínsecas a la propia tecnología. Esta situación pone de manifiesto
la importancia de conocer las limitaciones técnicas que presenta cada medio para poder
proponer una estrategia creativa viable.
Source: Chen (2011)
e motivation to carry out this research emerged from the problems encountered when trying to dene a creative strategy for
a musical release. e aim was to spark the interest of passers-by through a graphic display that would create a link between
the look of the QR code and the title of the song to which it would give access. Figure 2 shows the rst sketch to develop
the idea, which was discarded soon after, as it was unfeasible due to issues inherent to the technology itself. is situation
highlights the importance of knowing the technical limitations of each resource in order to propose a suitable creative strategy.
Figure 2. e sketch of a discarded QR code considered technically unfeasible
Figura 2. Boceto de QR descartado por ser técnicamente inviable
Fuente: elaboración propia
La problemática descrita entronca con el objeto de estudio de la estética publicitaria, un
campo de teoría y práctica que se ocupa de las cualidades artísticas y sensoriales en la
publicidad, según la definición de Dagalp y Södergren (2023), quienes señalan que se trata
de un área de investigación digna de mayor atención. Este argumento enlaza con el objetivo
principal de este artículo, que busca recopilar la información existente sobre las posibilidades
de manipulación estética del QR y sus implicaciones en el ámbito publicitario. Se trata de
conocer cómo podemos configurar un QR de manera que no solo identifiquemos que se trata
de un código escaneable, sino que pueda despertar la curiosidad y el interés de los usuarios,
introduciendo pistas visuales que inviten a acceder a la información de destino.
A partir de este objetivo general, se concretan cuatro objetivos específicos. En primer lugar,
es necesario entender el funcionamiento del QR y los requisitos técnicos que limitan y
condicionan las posibilidades de modificar su configuración visual. En segundo lugar, se
busca conocer las distintas estrategias posibles para la personalización y el embellecimiento
del QR. El tercer objetivo busca conocer hasta qué punto se ha estudiado si existe una
relación entre las características estéticas del QR y su eficacia publicitaria. Por último, con
un objetivo claramente centrado en la transferencia del conocimiento científico hacia la
práctica profesional y la docencia, se pretende establecer unas directrices que permitan
afrontar la personalización manual del QR de forma efectiva.
2.
Metodología
Para alcanzar los objetivos descritos, este trabajo acude a la revisión de la literatura, un
método de investigación que permite recopilar y sintetizar investigaciones previas y que
puede ser útil para desarrollar directrices para la práctica (Snyder, 2019), además de
proporcionar una visión general de áreas en las que la investigación es dispar e
interdisciplinaria (Wong et al., 2013). En el caso del presente trabajo, centrado en la faceta
estética de un elemento tecnológico utilizado en campañas de comunicación publicitaria, la
información útil para el diseñador o el director creativo se encontrará dispersa en
investigaciones pertenecientes al campo de la ingeniería y diversas áreas de las ciencias
sociales y las artes. Es por ello que un enfoque semi
-
sistemático o narrativo se plantea como
Source: prepared by the authors
e problem described above is related to the object of study in this paper, which is advertising aesthetics. is eld of both
theory and application deals with the artistic and sensory qualities in advertising, as dened by Dagalp and Södergren (2023),
who point out that this area of research is worthy of further study. is argument is associated with the main objective of the
present article, which is to gather the existing information on the possibility of aesthetically modifying QR codes, as well as its
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implication for the eld of advertising. e issue is to discover how to design a QR code that goes beyond simply identifying
the code as something to be scanned, but which also arouses curiosity and interest by introducing visual features that invite
users to access the target information.
From this general objective, four specic objectives have been established as follows: e rst is to understand how QR codes
work, as well as the technical requirements that limit and inuence the potential for modifying their visual design; e second
specic objective is to reveal the dierent possible strategies for customisation and embellishment of the codes; e third
SO is to discover the extent of research related to whether there is a connection between the aesthetics of QR codes and their
advertising eectiveness; and the fourth SO is clearly focussed on the transfer of scientic knowledge to professional practice
and teaching, the aim of which is to establish a set of guidelines that will enable the manual customisation of QR codes to be
carried out eectively.
2 . Methodology
To achieve the objectives described above, the authors carried out a literature review as a research method to compile and
synthesise previous studies. is can be useful in developing guidelines for practical applications (Snyder, 2019), as well as
providing an overview of areas where research is disparate and interdisciplinary (Wong et al., 2013). In the present study,
which focusses on the aesthetic side of a technological resource used in advertising campaigns, useful information for the
designer or creative director can be found scattered among various research studies pertaining to the elds of engineering,
social science, and the arts. For this reason, a semi-systematic or narrative approach is an appropriate methodological option
due to its suitability for elucidating heterogeneous thematic areas (Snyder, 2019; Wong et al., 2013).
Following the steps outlined by Snyder (2019), a strategy for locating the relevant literature has been developed, starting with
the choice of search terms and databases to be consulted.
2.1. Criteria for the corpus selection
An initial enquiry was made in the Web Of Science database (WoS), using “QR” as the search term in the keyword eld, while
at the same time the term “aesthetic” was placed in the title. is search yielded only 12 results. By examining the bibliography
cited in the most relevant articles, other terms used to refer to aesthetics were observed, such as “stylised”, “artistic”, and
references to images embedded in the codes themselves. From this analysis, a list of similar terms was established, including
“design”, “style”, “art”, “embellishment” and “customisation”, along with variants such as “beauty” and “beautication”. In this
way, a wide spectrum of terms related to aesthetic features was obtained, both in Spanish and English. Boolean operators were
used to locate articles that contained any of the search terms in the title. Moreover, advertising terms such as “marketing”,
“advertising”, “advert” and “brand” were added to the list, as well as “articial intelligence” and its acronym, anticipating the
possibility that image-generative articial intelligence is being used to create stylised codes.
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e same search strategy was used in three databases in total: WoS, Scopus, and the ACM Digital Library (ACM)
1
. In the latter,
the catalogue entitled, “e ACM Guide to Computing Literature”, was accessed due to the fact that it contains a larger number
of references and includes all the references in “e ACM Full-Text collection”.
Next, a second search was carried out. On this occasion, the aim was to nd articles in the eld of advertising that might have
contained information on QR aesthetics without this being the main subject of the research, which is why this term, or one of its
synonyms, might not have appeared in the title. is would be the case, for example, of a study regarding the factors that aect
the intention to scan, using the aesthetic design of the QR code as one of the possible variables. us, a search for references
was conducted in the three databases that met the following criteria: occurrence of the term “QR” among the keywords and in
the title, in addition to terms such as “advertising”, “marketing”, and “advert”, also in the title, once again taking into account
the English and Spanish variants. e result of this second search yielded 55 results: 20 in WoS; 34 in Scopus; and one in ACM.
Table 1. Literature search process
WoSScopusACM
SEARCH 1: “QR” in keywords AND “aes
-
thetics” (or variants) OR terms related to
advertising and marketing OR articial
intelligence in the title.
21732053
SEARCH 2: “QR” in keywords AND “QR”
AND advertising and marketing terms in
the title.
20341
Source: prepared by the authors
e total of the two searches yielded 645 records, many of which were predictably repeated, due to the high number of
communication journals indexed in both WoS and Scopus (Codina et al. 2020), or because they appeared in both searches.
With the help of Zotero, which is a reference management software, duplicates were eliminated, reducing the selection to 430
records.
Among the results of the rst search, we nd a good number of studies in the eld of engineering in which the term “design”
appears, but not as a reference to the visual design of QR codes. ese works are focussed on the design and implementation
of logistics, warehousing, and access control systems, to oer a few examples. To select the most relevant articles within this
group, texts published between 2020 and 2023, inclusive, were selected rst, and all the articles that did not contain terms in
the title directly related to aesthetics, QR embellishment, customisation, or the use of embedded images, were eliminated from
the articles published before those dates.
Among the ndings of the second search, there are also numerous articles that deal exclusively with the functional variant of
the use of QR codes, which are of no interest to the present study, as this paper focusses on the aesthetic potential of the codes.
is is the case, for example, in marketing studies that analyse the acceptance of payment systems that use QR codes.
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After this selection process, the sample was reduced to 217 articles, which were analysed in even greater depth by reviewing
the title and abstract in order to continue with the process of discarding texts. A considerable number of references that
addressed the development of security systems based on visual cryptography using images embedded in a QR code, or those
that focussed on creating image protection and security algorithms, were also discarded. Finally, 68 potentially relevant
articles were selected, which required further analysis to assess whether or not their content was relevant to the objectives of
this study. Of these 68 articles, 39 focus on the research eld of engineering and computer science, and 28 address advertising
and marketing. Finally, it bears mentioning the work of Vorobchuk and Skliarenko (2022), who have approached the study of
QR codes from the eld of visual arts, analysing how the aesthetic enhancement of the codes makes them an important factor
in visual communication.
3. Results
e articles devoted to studying the use of QR codes in marketing and advertising focus on consumer motivation and attitudes
toward using these codes in dierent media, and on packaging as well, by analysing their impact on the intention to scan
and/or purchase. Pratas and Oliveira (2023) have carried out a bibliometric study and content analysis aimed at pinpointing
the main research topics related to the use of QR codes in marketing and their evolution over time. e most common topics
revolve around the following issues: the willingness to use QR codes, and the intention to purchase through the codes in the
retail industry, communication and collaborative supply chains; risk and privacy issues with QR codes and customer loyalty
programmes; mobile payments with QR codes; and other specic aspects related to the industry. e issue of QR aesthetics
was not addressed in their study.
e lack of research on the visual design of QR codes for advertising and marketing has been conrmed by an in-depth
examination of the 28 texts selected for this study. e interest of researchers is focussed mainly on the following issues:
whether or not consumers scan the QR codes printed on packaging to access product information (Kim and Woo, 2016; Li and
Messer, 2019; Tallapragada and Hallman, 2018; Yang et al., 2022); consumer behaviour and QR eectiveness based on customer
lifestyles (Kang and Choi, 2019) or backgrounds (Demir et al., 2015; Meydanoğlu et al., 2018; Meydano
ğ
lu et al., 2015; Santos,
2015); the impact on the intention to purchase and customer satisfaction based on the perceived ow (Hossain et al., 2018); its
inuence on consumer choice among product assortments in online shops (Hattula et al., 2015); its use as a communication
tool in the context of corporate marketing activities (Aydin et al., 2019); as a strategy in political marketing (Ballesteros-López
et al., 2023); and to enhance the sustainable gastronomic experience (Albuquerque et al., 2020). Some articles have been
found that evaluate the following: publication of location-based advertisements using QR codes (Virulkar and Bhute, 2016);
the feasibility of advertising business products (Silva Ordonez et al., 2016); the potential use of the codes in various media
or business domains (Berndt-Morris and Chrenka, 2014; Kim and Yu, 2013); the development of digital marketing support
applications based on QR codes (Park et al., 2012); and QR label printing systems for department stores that allow visually
impaired customers to identify purchased products (Haraikawa et al., 2013). Less recent articles have analysed QR codes as the
latest phenomenon in mobile marketing (Patel and Cata, 2013; Sang Ryu and Murdock, 2013), and general factors that might
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aect its use (Ozkaya et al., 2015). All the studies listed above were based on QR codes that did not have any changes to their
visual design, and hardly any references have been found that include the potential for making aesthetic changes to the codes.
Regarding the publications analysed that are related to the elds of engineering and computer science, the research focusses
mainly on the development of algorithms and programmes for creating aesthetic QR codes. ese texts are highly technical
and aimed at developing dierent methods for generating codes or modifying their appearance in an automated way. Some
of the most recent studies use AI-based methods, such as Deep Learning, to optimise processes (Haisheng et al., 2021; Pena-
Pena, et al., 2022; Tsai and Peng, 2023; Yang et al., 2021).
In recent years, increased attention has been paid to the aesthetic embellishment of QR codes (W.-E. Ho et al., 2022). e
number of articles found indicates an active interest among the research community, especially if one considers that the texts
focussing on visual cryptography, in which similar methods are developed, have been left out of this study.
It is common to nd arguments that allude to the potential usefulness of QR codes for social events, advertising in dierent
media, and as an integral part of packaging, yet it has been observed that the codes currently being used on the market still
have the standard black and white checkered appearance (Bao et al., 2017; W.-E. Ho et al., 2022; Y.-H. Ho et al., 2022; Huang et
al., 2020; Tsai et al., 2023; Tsai and Peng, 2023).
Ma et al. (2023) point out that the binary aspect of these codes may limit the interest of potential consumers, and that many
ideas have been proposed to solve this problem, with the embedding of images being the most promising approach. ese
authors point out that even the most advanced designs still have room for improvement, as many of today’s systems still
require maintaining some of the structural components of the QR code, such as position detection patterns (see Figure 3). In
their proposal, they have developed a scheme that allows codes to be created without these patterns.
As the aim of this article is not to determine which algorithm for automated code generation is more or less ecient or robust
when scanning, this line of thought will not be pursued further. However, the texts reviewed provide valuable information on
the problems associated with the visual modication of QR codes and possible customisation strategies. e most relevant
ndings from the two searches are presented below, organised according to the four specic objectives.
3.1. Structure and operation of a QR code
e aim of this section is to oer a synthesis to the designer or creative director that will provide the basic information needed
to understand the characteristics and limitations of this technology, without discussing technically complex issues. For those
who would like more complete information regarding technical specications, the following sources can be consulted: the
ocial website known as
qrcode.com
(DENSO, n.d.-b); the ISO standards; and the training manual of the
Asociación de
Autores Cientíco-Técnicos y Académicos
[association of scientic-technical and academic authors] (Luque Ordóñez, 2012).
Quick Response codes are a matrix of black and white squares arranged in a two-dimensional way (horizontally and vertically),
which store information in a binary language, in which white equals 1 and black equals 0, representing 1 bit of information
(Tsai and Peng, 2023). e apparently random distribution of the modules actually involves a specic coding of letters and
numbers (Pratas and Oliveira, 2023). ere are dierent models and versions, which may contain more or less information,
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| 191
depending on their characteristics and number of modules. Version 1 consists of a matrix of 21x21 modules. Each version
incorporates 4 modules on each side, reaching 177x177 in version 40 (Tsai et al., 2023).
It is important to note that not all modules contain coded information. Some areas contain information that is essential for
scanning and decoding, while others contain redundant and therefore unnecessary information. is feature allows codes
to be readable in the event of being torn or damaged. Moreover, this is essential for inventory systems in the manufacturing
industry, for which they were originally intended (Tsai and Peng, 2023). anks to this feature, the appearance of the code can
be partially modied without jeopardising its readability (Li et al., 2016). e area that can tolerate damage varies depending
on the QR version, but it can reach up to 30% of the codewords, which are the units that construct the QR data area in groups
of 8 bits of information.
Figure 3. Structural elements of a QR Code
being torn or damaged. Moreover, this is essential for inventory systems in the
manufacturing industry, for which they were originally intended (Tsai and Peng, 2023).
Thanks to this feature, the appearance of the code can be partially modified without
jeopardising
its readability (Li et al., 2016). The area that can tolerate damage varies
depending on the QR version
,
but
it can reach up to 30% of the codewords, which are the
units that
construct
the QR data area in groups of 8 bits of information.
Figure 3. Structural
elements
of a QR
Code
Source: Bobmath (2013)
The basic structure of
a
QR code consists of a number of areas intended to contain version
information, the format
,
and various function patterns which, to offer an example, allow the
scanner to interpret the orientation of the code (Figure 3). In addition, there is a frame
surrounding the matrix called the quiet zone
,
which must be preserved in order to avoid
problems in scanning
(W.-
E. Ho et al., 2022; Tsai et al., 2023; Tsai and Peng, 2023).
According to Bao et al. (2017), it is recommended to avoid the graphical information area
of the function and the QR code version when inserting an icon in the matrix, and to be sure
not to occupy an area of more than 30% of the coding
space.
Changes in the appearance of QR codes can lead to scanning failures. It is therefore a major
challenge to maintain the
robustness
of the
codes
if they are
modified
using colours and
textures (Su et al., 2021). It also bears mentioning that code
s
must be resistant to variations
in lighting (Xu et al., 2021). For example, in low light conditions, white modules may appear
grey. A scanner will not be able to assign
a
value 0 or 1 to a grey module at 50% brightness.
Moreover, if the module area is not clearly covered by a certain colour, the scanner will not
be able to determine which value to assign (Figure 4).
Source: Bobmath (2013)
e basic structure of a QR code consists of a number of areas intended to contain version information, the format, and various
function patterns which, to oer an example, allow the scanner to interpret the orientation of the code (Figure 3). In addition,
there is a frame surrounding the matrix called the quiet zone, which must be preserved in order to avoid problems in scanning
(W.-E. Ho et al., 2022; Tsai et al., 2023; Tsai and Peng, 2023). According to Bao et al. (2017), it is recommended to avoid the
graphical information area of the function and the QR code version when inserting an icon in the matrix, and to be sure not to
occupy an area of more than 30% of the coding space.
Changes in the appearance of QR codes can lead to scanning failures. It is therefore a major challenge to maintain the
robustness of the codes if they are modied using colours and textures (Su et al., 2021). It also bears mentioning that codes
must be resistant to variations in lighting (Xu et al., 2021). For example, in low light conditions, white modules may appear
grey. A scanner will not be able to assign a value 0 or 1 to a grey module at 50% brightness. Moreover, if the module area is not
clearly covered by a certain colour, the scanner will not be able to determine which value to assign (Figure 4).
Figure 4. Depiction of the binary interpretation of the module during the scanning process as a
function of contrast level and occupied area
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doxa.comunicación
condiciones de baja luminosidad, los módulos blancos pueden parecer grises. Un escáner no
será capaz de asignar el valor 0 o 1 a un módulo gris con un 50% de luminosidad. Por otra
parte, si el área del módulo no está claramente cubierta por un determinado color, el escáner
tampoco podrá determinar qué valor debe asignar (Figura 4).
Figura
4
. Representación de la interpretación binaria del módulo durante el proceso de
escaneo en función del nivel de contraste y área ocupada
Fuente:
e
laboración propia
Discernir qué valor asignar a un módulo de datos es una cuestión crítica para determinar la
capacidad de descodificación y, al mismo tiempo, es el factor que más ruido genera a la hora
de visualizar una imagen mezclada con la matriz. W.
-
E. Ho et al. (2022) proponen un
algoritmo que da más peso a los píxeles que están más cerca de la región central de cada
módulo, consiguiendo resultados robustos al escaneo y mejorando así la visibilidad de la
imagen insertada en el código.
En medios impresos, la información contenida en el código puede verse deteriorada debido
a la calidad del propio proceso de impresión o al tamaño en que se imprime, lo que afectará
al proceso de reconocimiento y decodificación (Y.
-
H. Ho et al., 2022; Xu et al., 2021). En
el estudio desarrollado por Y.
-
H. Ho et al. (2022) imprimen los códigos a un tamaño de 2,1
centímetros y 600 puntos por pulgada, obteniendo resultados satisfactorios.
3.2.
Estrategias de personalización y embellecimiento
Vorobchuk y Skliarenko (2022) estudian la evolución del aspecto de la información
codificada en códigos de barras y QR. Sitúan a principios del siglo XXI la etapa en la que se
comienza a incorporar elementos artísticos que mejoran su aspecto, dando lugar a un
lenguaje artístico cuyos elementos estructurales serían la imagen, la estructura y el contexto.
La combinación de estos elementos siguiendo los principios asociativo, variable y adaptativo
sentaría las bases para la creación de obras de arte armoniosas que atraerán la atención de
los consumidores, generando interés por el contenido comunicativo codificado. Algunos de
los ejemplos que aportan para ilustrar cómo la mejora del aspecto estético de los códigos
puede convertirlos en un elemento importante de la comunicación visual son: convertir un
QR básico en un símbolo que recuerde a un paquete regalo, añadiendo un lazo y una etiqueta
a la matriz; modelar un QR tridimensional mediante la unión de objetos físicos; un código
que se construye mediante las sombras generadas por la luz solar en un determinado
momento del día; un código perceptible al observar un conjunto de estructuras desde un
determinado punto de vista; o el código que se hace visible al llenar con un líquido oscuro
Source: prepared by the authors
e decision of which value to assign to a data module is a critical issue in determining decoding capability and, at the same
time, is the factor that creates the most noise in displaying an image blended with the matrix. W.-E. Ho et al. (2022) propose
an algorithm that gives more weight to pixels that are closer to the central region of each module, thereby achieving robust
scanning and improving the visibility of the embedded image in the code.
In the print media, information contained in the code might be eroded due to the quality of the printing process itself, or as
a result of the print size, which can aect the recognition and decoding process as well (Y.-H. Ho et al., 2022; Xu et al., 2021).
In a study developed by Y.-H. Ho et al. (2022), the authors printed the codes to a size of 2.1 centimetres and 600 dots per inch,
obtaining satisfactory results.
3.2. Customisation and embellishment strategies
Vorobchuk and Skliarenko (2022) have studied the evolutionary stages of barcodes and QR codes. ey consider the early 21st
century to be the period in which artistic attributes started to appear in QR codes to improve their appearance, giving rise to
an artistic language. e foundational elements of code design are image, structure, and context. e combination of these
elements, which adhered to associative, variable and adaptive principles, provided the foundation for creating harmonious
works of art that attracted the attention of consumers by generating interest in the encoded communicative content. In order
to illustrate how improving the aesthetic appearance of codes can make them an important feature of visual communication,
these authors have provided the following examples: turning a basic QR code into a symbol that resembles a gift package
by adding a ribbon and label to the matrix; modelling a three-dimensional QR code by joining together physical objects;
constructing a code by using the shadows generated from sunlight at a certain time of the day; making a code perceptible when
observing a set of structures from a certain point of view; and giving visibility to a code by lling a glass with a dark liquid in
which the white modules have been printed, which are dicult to see when the glass is empty.
Xu et al. (2019) have identied four possible strategies for modifying the visual style of QR codes. Firstly, there is the embedded
approach, which uses the error-correction capabilities of QR codes to insert small icons into the code matrix. e second strategy
is to modify the shape and colour of the modules. irdly, there is the manual approach, in which the visual conguration of
the code is not generated automatically by an algorithm, but by the creative work of an artist or designer. Fourthly, there is the
blended approach, which merges a large image with the QR matrix. e authors consider the latter to be the most promising
strategy, which is the approach taken by the most recent studies. Figure 5 shows examples of codes generated on the
qrbtf.
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com
website by automated systems. From left to right: (1) basic code; (2) embedded type; (3) change of colour; (4) change of
module shape; (5) change of colour and module shape; (6) image blended with the matrix.
Figure 5. Examples of QR codes generated by algorithms
un vaso en el que se han impreso los módulos blancos, difícilmente apreciables cuando el
vaso está vacío.
Xu et al. (2019) recogen cuatro posibles estrategias para afrontar la estilización visual del
QR. En primer lugar, los de tipo incrustado, que utilizan la capacidad de corrección de
errores de los códigos QR para insertar pequeños iconos en la matriz del código. En segundo
lugar, los que modifican la forma y el color de los módulos. Por otra parte, estarían los de
tipo manual, en donde la configuración visual del código no se genera automáticamente
mediante un algoritmo, sino mediante la elaboración personal por parte de un artista o
diseñador. Por último, los de tipo fusión (
blended-type
), que mezclan una imagen grande con
la matriz del QR. Los autores consideran que este último es el acercamiento más prometedor
y es, de hecho, la línea que siguen los estudios recientes. La Figura 5 muestra ejemplos de
códigos generados en la web
qrbtf.com
mediante sistemas automatizados. De izquierda a
derecha: (1) código básico; (2) de tipo incrustado; (3) cambio de color; (4) cambio de forma
de los módulos; (5) modificación de color y forma de los módulos; (6) imagen fusionada con
la matriz.
Figura 5. Ejemplos de códigos QR generados mediante algoritmos
Fuente:
c
ódigos generados a través de la web qrbtf.com Fotografía tomada por Alba Robles
Dentro de los sistemas de personalización basados en algoritmos, Xu et al. (2021) describen,
además de la incrustación de iconos y el cambio del color o la forma de los módulos, otro
procedimiento basado en el ajuste de los
codewords
, señalando que los resultados obtenidos
mediante este método presentan una calidad visual pobre y a menudo inconsistente. El
procedimiento genera una configuración de la matriz en la que puede identificarse un
elemento gráfico con un aspecto que mantiene la apariencia bicolor y cuadrangular de los
módulos. Este mismo resultado podría conseguirse mediante la reasignación de los colores
blanco o negro de los puntos de la matriz, pero este método estaría limitado por la tasa de
corrección de errores, mientras que el ajuste de los
codewords
presenta imágenes sin errores
inherentes. La Figura 6 muestra dos ejemplos generados a través de este método en los que
se aprecia la imagen de una campana y de un rostro.
Figura 6. Ejemplo de códigos creados mediante el ajuste de
codewords
Source: codes generated by the authors using the
qrbtf.com
website; photo by Alba Robles
Among the algorithm-based customisation systems, in addition to embedding icons and changing the colour or shape of
modules, Xu et al. (2021) describe another procedure based on the adjustment of codewords, yet they point out that the results
obtained from this method have poor and often inconsistent visual quality. is procedure generates a matrix conguration
in which a graphic element can be identied with an appearance that maintains the two-colour, quadrangular aspect of the
modules. e same result can be achieved by reassigning the black and white colours of the matrix points, yet this method is
limited by the error correction rate, whereas the codeword adjustment shows images without inherent errors. Figure 6 shows
two examples generated by this method, showing the images of both a bell and a face.
Figure 6. Example of codes created by adjusting codewords
un vaso en el que se han impreso los módulos blancos, difícilmente apreciables cuando el
vaso está vacío.
Xu et al. (2019) recogen cuatro posibles estrategias para afrontar la estilización visual del
QR. En primer lugar, los de tipo incrustado, que utilizan la capacidad de corrección de
errores de los códigos QR para insertar pequeños iconos en la matriz del código. En segundo
lugar, los que modifican la forma y el color de los módulos. Por otra parte, estarían los de
tipo manual, en donde la configuración visual del código no se genera automáticamente
mediante un algoritmo, sino mediante la elaboración personal por parte de un artista o
diseñador. Por último, los de tipo fusión (
blended-type
), que mezclan una imagen grande con
la matriz del QR. Los autores consideran que este último es el acercamiento más prometedor
y es, de hecho, la línea que siguen los estudios recientes. La Figura 5 muestra ejemplos de
códigos generados en la web
qrbtf.com
mediante sistemas automatizados. De izquierda a
derecha: (1) código básico; (2) de tipo incrustado; (3) cambio de color; (4) cambio de forma
de los módulos; (5) modificación de color y forma de los módulos; (6) imagen fusionada con
la matriz.
Figura 5. Ejemplos de códigos QR generados mediante algoritmos
Fuente:
c
ódigos generados a través de la web qrbtf.com Fotografía tomada por Alba Robles
Dentro de los sistemas de personalización basados en algoritmos, Xu et al. (2021) describen,
además de la incrustación de iconos y el cambio del color o la forma de los módulos, otro
procedimiento basado en el ajuste de los
codewords
, señalando que los resultados obtenidos
mediante este método presentan una calidad visual pobre y a menudo inconsistente. El
procedimiento genera una configuración de la matriz en la que puede identificarse un
elemento gráfico con un aspecto que mantiene la apariencia bicolor y cuadrangular de los
módulos. Este mismo resultado podría conseguirse mediante la reasignación de los colores
blanco o negro de los puntos de la matriz, pero este método estaría limitado por la tasa de
corrección de errores, mientras que el ajuste de los
codewords
presenta imágenes sin errores
inherentes. La Figura 6 muestra dos ejemplos generados a través de este método en los que
se aprecia la imagen de una campana y de un rostro.
Figura 6. Ejemplo de códigos creados mediante el ajuste de
codewords
Source: examples borrowed from Cox (2012)
On the social network Reddit (5 June 2023), a developer known as
nhciao
posted some artistic QR codes created by using
ControlNet, which is an extension of the Stable Diusion generative articial intelligence model (nhciao, 2023a). His creations
integrated the code modules into complex illustrations (Figure 7).
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Figure 7. Selection of codes generated by ControlNet
Figura 7. Selección de códigos generados con ControlNet
Fuente:
c
aptura de pantalla de la publicación de nhciao (2023a) en Reddit
Tres semanas después publica otros ejemplos, algunos de los cuales solo son válidos para
ser escaneados mediante la aplicación WeChat, en los que consigue ocultar con éxito los
patrones de posicionamiento (nhciao, 2023b). Los resultados son tan atractivos y
visualmente complejos que en ocasiones resulta difícil apreciar que se trata de un código QR
(ver Figura 8).
Figura 8. Selección de códigos con los patrones de posición ocultos
Fuente: captura de pantalla de la publicación de nhciao (2023b) en Reddit
De manera inmediata, las redes sociales y diversas publicaciones divulgativas en línea
comienzan a hacerse eco de la novedad. La publicación de un usuario en la red social
LinkedIn (Beliūnas, 2023), mostrando varios ejemplos de los QR generados por nhciao,
recibe decenas de miles de reacciones y miles de comentarios en pocos días. Surgen
interesantes argumentos respecto a las posibilidades que se abren con esta combinación de
arte y tecnología, que algunos consideran puede cambiar el futuro del marketing. Hay quien
se pregunta qué utilidad pueden tener estos códigos artísticos e incluso cuestionan la utilidad
de los QR en general. Otros expresan la sorpresa que les genera leer estos comentarios y
aluden a la ubicuidad de los QR en toda Asia y especialmente en China, señalando cómo los
QR artísticos podrían utilizarse como una extensión de la marca, incorporar elementos de la
identidad corporativa en los códigos o integrando el QR en los anuncios de forma creativa e
innovadora, en lugar del clásico cuadradito en la zona inferior de la composición. Surge
tambié
n la cuestión de que el hecho de que algo sea ubicuo no supone que sea útil o
beneficioso, y se señala la importancia de validar la efectividad de estos códigos altamente
estilizados. Por último, destacar el comentario que cuestiona el problema que plantean estos
códigos artísticos: cómo hacer que las personas se den cuenta de que se trata de códigos
escaneables.
Source: screenshot of a Reddit post by nhciao (2023a)
ree weeks later he published more samples, some of which can only be scanned using the WeChat application, in which he
successfully hides the positioning patterns (nhciao, 2023b). e results have been so attractive and visually complex that it is
sometimes dicult to see the QR code in the image (see Figure 8).
Figure 8. Selection of codes with hidden position patterns
Figura 7. Selección de códigos generados con ControlNet
Fuente:
c
aptura de pantalla de la publicación de nhciao (2023a) en Reddit
Tres semanas después publica otros ejemplos, algunos de los cuales solo son válidos para
ser escaneados mediante la aplicación WeChat, en los que consigue ocultar con éxito los
patrones de posicionamiento (nhciao, 2023b). Los resultados son tan atractivos y
visualmente complejos que en ocasiones resulta difícil apreciar que se trata de un código QR
(ver Figura 8).
Figura 8. Selección de códigos con los patrones de posición ocultos
Fuente: captura de pantalla de la publicación de nhciao (2023b) en Reddit
De manera inmediata, las redes sociales y diversas publicaciones divulgativas en línea
comienzan a hacerse eco de la novedad. La publicación de un usuario en la red social
LinkedIn (Beliūnas, 2023), mostrando varios ejemplos de los QR generados por nhciao,
recibe decenas de miles de reacciones y miles de comentarios en pocos días. Surgen
interesantes argumentos respecto a las posibilidades que se abren con esta combinación de
arte y tecnología, que algunos consideran puede cambiar el futuro del marketing. Hay quien
se pregunta qué utilidad pueden tener estos códigos artísticos e incluso cuestionan la utilidad
de los QR en general. Otros expresan la sorpresa que les genera leer estos comentarios y
aluden a la ubicuidad de los QR en toda Asia y especialmente en China, señalando cómo los
QR artísticos podrían utilizarse como una extensión de la marca, incorporar elementos de la
identidad corporativa en los códigos o integrando el QR en los anuncios de forma creativa e
innovadora, en lugar del clásico cuadradito en la zona inferior de la composición. Surge
tambié
n la cuestión de que el hecho de que algo sea ubicuo no supone que sea útil o
beneficioso, y se señala la importancia de validar la efectividad de estos códigos altamente
estilizados. Por último, destacar el comentario que cuestiona el problema que plantean estos
códigos artísticos: cómo hacer que las personas se den cuenta de que se trata de códigos
escaneables.
Source: screenshot of a Reddit post by nhciao (2023b)
Almost immediately, social media and various online publications started to echo the novelty. One post made by a user on
LinkedIn (Beli
ū
nas, 2023) shows several examples of QR codes generated by nhciao, which received tens of thousands of
reactions and thousands of comments within a few days. Interesting debates have emerged regarding the potential of this
combination of art and technology, which some believe could change the future of marketing. Some observers question the
usefulness of these artistic codes and even cast doubt on the utility of QR codes in general. Others express surprise at reading
these comments and point to the prevalence of QR codes in all parts of Asia, especially in China, noting that artistic codes
could be used to enhance branding by incorporating features of corporate identity into the codes, or by integrating QR codes
into advertisements in creative and innovative ways, rather than simply placing the classic square design at the bottom of an
advert. Another issue is that simply because something is ubiquitous does not imply that it is useful or benecial, and the
importance of validating the eectiveness of these highly stylised codes has been pointed out as well. Finally, another key
point is the problem posed by these artistic codes: How can people be made aware that these QR codes are capable of being
scanned?
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| 195
On 13 July, the above-mentioned creator,
nhciao,
announced on his Discord channel the rst version of
QRBTF.AI
, an
application for the creation of generative QR codes accessible from the
qrbtf.com
website. Along the same lines, QR Diusion
was also developing a model whose beta version was announced in the same month of July 2023, and on their website it is
possible to test the pre-alpha version (
QR Diusion
, n.d.) and to start experimenting with this technology through tutorials that
explain the process step by step.
3.3. Aesthetics and advertising eectiveness
Discussions regarding the importance of attracting the user’s attention and awakening the consumer’s curiosity through the
aesthetic design of QR codes are common in articles found in the eld of engineering. However, no reference has been found
that provides empirical data on the actual eectiveness of this variable. In this regard, the work of W.-E. Ho et al. (2022) stands
out, as these authors conducted an online survey with 40 participants to assess their perception of the visual attractiveness of
the codes generated with their algorithm. Although they mention the importance of the visual appeal of adverts in maximising
their persuasive eect, the study actually focusses on comparing the results obtained with their system and other generators.
However, due to the number of participants and the approach of the study, the research ndings were not deemed to be
representative of the general population.
e studies in the selected sample that refer to aesthetic issues do not refer to the appearance of the QR code itself, but rather
to the visual characteristics of the advertisement in which the code is inserted. Covic et al. (2016) pose the challenge of making
QR codes that attract people’s attention. ese authors question whether it might be enough to simply display the code without
any additional information, or whether the code will be more eective if accompanied by a slogan, company logo, or both, yet
the same authors have not examined the variable of embedding or blending these elements into the QR matrix. Instead, they
have focussed on the composition of the advertisement using a basic code alongside the logo or slogan. According to Trivedi et
al. (2020), traditional codes can be replaced by codes printed in multiple colours, or those that include brand names or logos,
yet this factor has not been taken into account in their study on the eectiveness of pull-based print advertising using QR
codes. Kjeldsen et al. (2023) have analysed the way in which customisation of the information provided by a QR code can aect
the buying process, an example of which is an oer of personalised prices for a technological product, yet these authors have
not considered the way in which customisation of the visual design of the code can aect the purchasing process. Okazaki et
al. (2019) have focussed on how curiosity, the complexity of the visual design of the advertisement, and the perception of a link
between the QR code and the advertised brand jointly aect the consumers’ intention to scan the code. e designs employed
in their experimental study use only basic QR codes, so factors such as product image integration or the inclusion of graphic
brand features within the QR code itself have not been analysed.
3.4. Guidelines for manual customisation
Until automated systems were developed, most aesthetic codes were designed manually by artists who modied the modules
by changing their colours, softening the edges, or adding graphic aspects. e nal step in the process was to conrm that the
code could be recognised by scanners (Li et al., 2016). Manual changes to the appearance of QR codes is costly and dicult to
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achieve due to being labour and resource intensive, and there is the added problem of not being able to ensure decoding (Xu
et al., 2021).
ere are currently many online applications that enable the generation of a somewhat stylised code. However, despite the
signicant developments reported in the literature with regard to automated methods, in some cases such as those presented
in the introduction, or others described by Vorobchuk and Skliarenko (2022), they could be developed using algorithm-based
systems including generative articial intelligence, yet this would involve a more tedious developmental process. To obtain
specic results in line with a given creative idea, it could be more ecient for the designer to directly manipulate the matrix
modules in the code. However, in doing so they must take into account the characteristics and limitations of the technology.
In response to the fourth objective of this paper, the following are recommendations drawn from the information found in the
literature review for the purpose of embellishing and styling a basic code:
1.
Pay attention to the number of modules contained in the initial QR code when generating a new design. For example, if the
QR code links to a website, the number of characters in the address will inuence the number of bits of information needed
and, consequently, the number of modules necessary to encode the data, so it may be advisable to use a URL shortener.
2.
When modifying colours, ensure that there is black and white equivalence with the new colour palette, while keeping a
good level of contrast.
3.
Cover most of the square area of each module, especially regarding its central area.
4.
In cases of removing or hiding modules, do not exceed the error correction rate, which should be a maximum of 30% of the
data area, yet this rate could be lower depending on the QR version used.
5.
Avoid altering the function patterns and areas intended to house the version and format information of the QR code.
6.
Preserve the quiet zone around the QR code.
7.
Consider the size at which the code will be displayed, both on physical and digital media, taking into account the distance
at which the user will be positioned, so that they can scan the code comfortably. e size of the code will also depend on
the number of modules and the visual complexity of the modication carried out.
8.
In the case of printed codes, use the best possible print quality and avoid materials that may change the appearance of the
colour or generate visual noise, such as reective, recycled, or textured paper.
9.
Keep in mind the ambient lighting conditions in which the code will be displayed. For example, if the code is displayed in
a dimly lit space, a higher level of colour contrast or a larger print size may be necessary.
10.
Check that the nal result is recognisable by scanning it with various devices in its context.
Many factors beyond the control of the designer can aect the readability of a QR code, such as lighting conditions, the quality
of the consumer’s phone camera used for the scanning, and the potential for QR deterioration due to exposure to adverse
weather conditions. As such, these general recommendations are intended to serve as a basic guide for decision-making
during the creative process, which cannot be taken as a guarantee of success for the creation of a robust QR code for scanning.
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ISSN: 1696-019X / e-ISSN: 2386-3978
| 197
4. Conclusions
is research has emerged from a real case study in which the creative strategy proposed was unfeasible, as it was not
compatible with the attributes and functioning of Quick Response Codes. Based on a literature review, an exploratory study
has been carried out, which has allowed the authors to address several of the specic objectives set forth, as well as to reveal
the shortcomings of the study, and to identify opportunities for future lines of research.
Regarding the rst objective, the technical information required for understanding the structure of a QR code, as well as the
factors that limit its aesthetic modication, have been compiled.
Concerning the second objective, the authors have identied the two most common ways of customising the visual design of a
QR code: by using algorithms; or by manually modifying the code. Regarding the former, various systems have been developed
over the years in order to achieve greater attractiveness and more freedom in the use of aesthetics, while maintaining robust
scanning results. Recent developments using generative articial intelligence have made it possible to attain highly stylistic
results in which the distinctive features of the QR code are dicult for the human eye to perceive, yet not for the scanner. While
new developments in highly stylized AI-generated codes might open up new directions in the eld of advertising, there is no
guarantee that this will be the case. Certain issues, such as identifying which visual features are essential for allowing users and
consumers to recognise whether a certain design can be scanned or not, are fundamental in dening strategies for creating
artistic QR codes.
Regarding the third objective, it was not possible to determine whether there is a relationship between the aesthetic features
of a QR and its advertising eectiveness, due to a lack of empirical studies in this area in the literature reviewed. One of
the contributions of the present study is the fact that it highlights the research opportunities that have emerged from the
shortcomings revealed. ere is a clear need to provide empirical support to engineering researchers who are trying to achieve
improved algorithms by referring to the potential ecacy of using embellished codes for advertising appeal.
In response to the fourth and nal objective, a set of recommendations has been provided to help designers and creative
professionals accept the challenge of manual customisation of QR codes when it is not possible to achieve the desired aesthetic
design through automated systems. is will allow them to develop a strategy that will be as eective as possible given the
variables over which they have control.
Despite having carried out a methodical review of the literature, the use of only three reference databases is one limitation
to this study. e reason is, texts published in many other scientic databases, as well as everything that can be found in the
so-called
grey literature
, the latter of which includes references that provide relevant data yet are outside the conventional
channels of scientic distribution, have been left out of this study. Nevertheless, due to the scarcity of information regarding
the creation of artistic QR codes using generative articial intelligence models revealed in the literature review of this study,
the need to broaden the origin of sources when looking for research opportunities has been put in the spotlight.
198 |
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|
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Strategies and guidelines for the aesthetic design of
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codes in advertising
ISSN: 1696-019X / e-ISSN: 2386-3978
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5. Acknowledgements
is article has been translated into English by Charles E. Arthur, to whom we are grateful for his diligent work.
is study has been partly funded by the
Universidad de Diseño, Innovación y Tecnología
[the university of design, innovation,
and technology] (
UDIT
), as part of the INC-UDIT-2024-JCR17 grants.
6. Specic contributions of each author
Name and surname
Conception and design of the workRaquel Ávila-Muñoz
Methodology
Raquel Ávila-Muñoz
Data collection and analysisRaquel Ávila-Muñoz
Discussion and conclusions
Raquel
Ávila
-Muñoz, Gema Bonales-Daimiel,
and Fernando Suárez-Carballo
Drafting, formatting, version review and approval
Raquel Ávila-Muñoz, Gema Bonales-Daimiel,
and Fernando Suárez-Carballo
7. Conict of interest
e authors declare that there is no conict of interest contained in this article.
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, 1-5.
https://doi.org/10.1109/VCIP53242.2021.9675327
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