| Abstract | Trendovi grafičkih komunikacija kontinuirano zahtijevaju nova dizajnerska rješenja koja
uključuju elemente pravilnih geometrijskih struktura kao što su npr. sustavi paralelnih linja
različitih obojenja. Dosadašnjim istraživanjima ustanovljeno je da takvi sustavi paralelnih linija
temeljeni na dvije rešetke, neovisno o tome jesu li akromatski ili kromatski, izazivaju pojavnost
niza pozadinskih, ali i adaptacijskih vizualnih efekata koji uzrokuju neželjene pomake
percipiranog tona boje kod promatrača.
Istraživačke aktivnosti u sklopu ove disertacije usmjerene su na do sada neistražene
karakteristike pozadinskog vizualnog efekta kromatske asimilacije na geometrijskom modelu
tzv. Munker-White-ove rešetke na različitim strukturiranim tiskovnim podlogama.
Za promatranje pozadinskog efekta kromatske asimilacije konstruirana je Munker-Whiteova
linijska rešetka unutar koje su lijevi i desni pravokutni elementi sa istim svjetlinama. Navedeni
dizajn je korišten upravo kako bi se definirao utjecaj geometrijskog dizajna linijske rešetke koji
se često koristi u grafičkim rješenjima u trenutku kada isti interpolira sa strukturom koja je
također geometrijski pravilno raspoređena. Rešetka ima geometrijski istovjetne linije i razmake
sa varijacijom promatrane boje (primarnog stimulusa) i pozadine koja tu boju okružuje
(sekundarnog stimulusa) u osnovnim bojama koje se koriste kod grafičke reprodukcije. Za
vizualno ocjenjivanje korišteno je simultano binokularno usuglašavanje.
Temeljem dobivenih rezultata pristupilo se izračunu srednjih vrijednosti koje opisuju i
odgovaraju percepciji pojedine testne kartice (lijevo i desno) koju vidi i promatra CIE
standardni promatrač. Odstupanje u percepciji uzrokovano manifestacijom psihofizičkog
vizualnog efekta kromatske asimilacije prikazano je putem razlike u svjetlini ΔL00,
kromatičnosti ΔC00, tonu ΔH00 te ukupnoj razlici boje ΔE00.
Na osnovi rezultata istraživanja utvrđena je i definirana ovisnost pomaka pojavnosti stimulusa
predefiniranih kombinacija parova primarnih boja aditivne i suptraktivne sinteze u varijacijama
različitih rastertonskih vrijednosti na strukturiranim površinama tiskovnih podloga. |
| Abstract (english) | Contemporary graphic communication continuously evolves, prompting a constant quest for
innovative design solutions that incorporate geometric elements. Specifically, designers often
employ parallel line systems characterized by a rich array of colorings. However, previous
research has unearthed a critical issue – whether these parallel line systems are achromatic or
chromatic in nature, they tend to induce a variety of background and adaptation visual effects.
These effects, while intriguing from a perceptual standpoint, can often lead to unintended
consequences in the way colors are perceived by observers.
This dissertation represents a pioneering effort to venture into the unexplored realm of the
background visual effects of chromatic assimilation within the context of the geometric model
known as the Munker-White grid. What makes this research particularly fascinating is its
exploration of how these effects manifest when applied to different structured printing
surfaces. The central objective here is to ascertain the intricate relationship between the
displacement of stimulus occurrence and the structured paper surfaces' various raster tone
values.
To facilitate this investigation, a meticulously crafted Munker-White linear grid served as the
linchpin. Within this grid, left and right rectangular elements, each possessing identical
luminances, were strategically positioned. This design was meticulously chosen to isolate and
elucidate the impact of the geometric layout of the linear grid, a common fixture in
contemporary graphic solutions. This influence comes into sharp focus when this geometric
layout interacts with a structure that is similarly and evenly distributed.
The grid itself boasts geometrically identical lines and intervals. What truly sets it apart,
however, is the deliberate variation in the observed color (the primary stimulus) and the
background surrounding that color (the secondary stimulus). These variations, realized
through the use of fundamental colors integral to graphic reproduction, provide the foundation
for this research's exploration of chromatic assimilation. The visual assessments conducted
employed simultaneous binocular alignment, ensuring precise observation and data collection.
As this research unfolded, it moved beyond mere observation and ventured into the realm of
quantitative analysis. The calculation of mean values emerged as a pivotal aspect of this
process, as it allowed for a more nuanced understanding of how the CIE standard observer
perceived each test card (both left and right). The deviations in perception, attributed to the
psychophysical visual effect of chromatic assimilation, were meticulously quantified. Thesedeviations were elucidated through differences in luminance (ΔL00), chromaticity (ΔC00),
hue (ΔH00), and overall color difference (ΔE00).
In essence, the research findings have offered profound insights into the intricate interplay
between geometric design elements and chromatic assimilation within the realm of
contemporary graphic communication. The dissertation has contributed significantly to the
body of knowledge in this field, shedding light on the dependencies that govern the shift in
appearance of predefined combinations of primary color pairs derived from additive and
subtractive synthesis, particularly in relation to variations in halftone values on structured
surfaces of print media. Designers and researchers alike stand to benefit from these profound
insights, which hold the potential to inform and elevate the practice of graphic design. |
