| Abstract | Da bi publika vizualno percipirala poslanu joj poruku, treba razumjeti procese koji se događaju
kod percepcije te poruke. Mnoštvo elemenata utječe na vidljivost i pravilno prihvaćanje te
poruke. Oblici kojima komuniciramo imaju vrlo važnu, a često ignoriranu zadaću. Ova
doktorska disertacija upravo ima cilj dokazati koji su oblici u grafičkim komunikacijama
prihvatljiviji publici. U teorijskom dijelu detaljno je objašnjena vizualna percepcija i utjecaj
amigdale na vizualnu percepciju oblika i detaljno su objašnjena procesuiranja tih signala u
ljudskom mozgu. Izrađen je testni upitnik iz kojeg se može iščitati preferencija ispitanika prema
vrsti oblika. Provedeno je istraživanje pomoću uređaja za praćenje zjenice oka „eye-tracker“ na
63 ispitanika koji su pratili organske i poligonalne oblike u okviru osam sekundi. Iz programa
za praćenje oka dobiven je velik broj brojčanih podataka i vizualnih prikaza. Podacima iz tog
programa koji se automatski pohranjuju u tablicama u Excelu, i to po svakom ispitaniku,
statističkom obradom u programu Matlab dokazane su iznesene hipoteze ovog doktorskog rada.
Upotrijebljene su dvije besplatne skripte i jedna napisana za potrebe ove doktorske disertacije
na osnovi kojih su u sklopu programa Matlab prikazani vizualni rezultati samog istraživanja.
Hipoteze su dokazivane pomoću dvaju testova, i to ttestom za dva vektora i Wilcoxonovim
testom sume rangova.
Intenzitet pogleda samih ispitanika prikazan je vizualno na samim objektima koji su promatrani
s pripadajućim grafovima na kojima je razvidno da su hipoteze potvrđene. Sami testni oblici
bili su promatrani po dva na ekranu i to redoslijedom dokazivanja hipoteza, s time da su istim
oblicima zamijenjena mjesta i ispitanici su promatrali iste objekte kako bi se izbjegla konotacija
u smislu s koje strane prvo gledamo.
Na temelju dobivenih rezultata i statistički potvrđenih hipoteza napisane su smjernice za daljnja
istraživanja i preporuke za primjenu organskih i poligonalnih oblika u grafičkim i vizualnim
komunikacijama. |
| Abstract (english) | In order for the audience to visually perceive the message sent to them, it is necessary that they
understand the processes that take place in the perception of that message. Many elements affect
the visibility and proper acceptance of that message. The forms we communicate with have a
very important and often ignored task. This doctoral dissertation aims to prove which forms in
graphic communications are more acceptable to the audience. The theoretical part explains in
detail the visual perception and the influence of the amygdala on the visual perception of shapes,
and it also explains in detail the processing of those signals in the human brain.
The research was conducted in five phases.
First phase: Creating visual templates for the research.
Second phase: In the second phase, the research was carried out via a visual questionnaire,
Figure 3.2.1, which was presented to the respondents without any prior explanations about the
research. The questionnaire consisted of a textual and visual part, and was designed in a
minimalist way in order for the respondents to concentrate more easily on the offered forms.
In the textual part of the questionnaire, mandatory questions were asked: the number of the
respondents and the age of the respondents. Below the offered forms, the following question
was asked: "Which form attracted your attention the most and is the most visually acceptable
to you?"
In the questionnaire, there was intentionally no field for marking the choice of the form, but
the respondents had to mark the form they chose in their own way, on the basis of which it
could be concluded how much each respondent expressed his or her creativity.
The next task in the questionnaire was the following: "In a few words, describe why you chose
this form."
The next question (statement) asked was: "Polygonal shapes evoke in me: emotion, fear,
threat, happiness, discomfort."
An empty field was also offered in order for the respondents to write their statement on their
own.
The last question (statement) was the following: “Organic forms evoke in me: emotion, fear,
threat, happiness, discomfort.” This question also offered an empty field in which the
respondents could write their emotion on their own.
Third phase: After completing the questionnaire, each respondent was given a number
assigned to the same number in the next research.In the third phase of the research, compliant with the ISO 3664:2009 Graphic technology and
photography – Viewing conditions norm, the method of monitoring eye movements via an eye
tracking device Gazepoint GP3 Desktop and the following configuration (Figure 3.1.2):
Samsung LCD, model S22A350H, 21.5'' monitor screen, display ratio of 16:9, and the
viewing angle of 170°/160°, and the accompanying Gazepoint Analysis software monitored
the view of the respondents, who were presented with a series of test samples.
Fourth phase: In the fourth phase, an analysis of the results obtained via a visual physical
questionnaire was carried out (Figure 3.2.1)
Fifth phase:
In the fifth phase, an analysis and statistical processing of the data obtained by measuring the
pupil of the eye were performed.
The research was performed by using an eye-tracker on 63 respondents who followed organic
and polygonal shapes for eight seconds. A large amount of numerical data and visual
representations were obtained from the eye tracking program. The data from this program,
which are automatically stored in Excel tables for each respondent, were statistically processed
in the Matlab program and the hypotheses of this doctoral thesis were proved. Two free scripts
were used and one was written for the purposes of this doctoral dissertation, on the basis of
which the visual results of the research were presented within the Matlab program. The
hypotheses were proved by two tests, the two-vector t-test (returns the decision for the null
hypothesis that the data in the vectors x and y come from independent random samples with
normal distributions with equal mean values and equal, but unknown variances. An alternative
hypothesis is that the data in the vectors x and y come from populations with unequal mean
values. The result of the hypothesis is 1 if the test rejects the null hypothesis at the 5%
significance level, i.e., if the program used a 5% significance level for the two-sided test), and
0 otherwise. Namely, 1 means that according to this test, statistically they do not have equal
mean values) and Wilcoxon's rank-sum test (tests the null hypothesis that the data in the
vectors x and y are samples from continuous distributions with equal medians, as opposed to
the alternative that claims the opposite. The test assumes that the vectors x and y are
independent. The result of the hypothesis is 1 if the test rejects the null hypothesis at the level
of 5% significance, i.e. if the program used a 5% significance level for the two-sided test, and
0 otherwise. Namely, 1 means that according to this test, statistically they do not have equal
medians).The intensity of the view of the respondents is shown visually on the objects, which were
observed with the corresponding graphs that clearly show that the hypotheses were confirmed.
The test forms were observed in pairs on the screen in the order of proving the hypotheses, with
the same forms replacing the places and the respondents observing the same objects to avoid
the connotation of the sense from which side we first look.
Based on the obtained results and the statistically confirmed hypotheses, guidelines for further
research and recommendations for the application of organic and polygonal shapes in graphic
and visual communications were written. |
