Ivana Tomić, R. Huertas, L. Gómez-Robledo, S. Dedijer, I. Jurič
Printed materials that exhibit goniochromism pose a challenge not only for colour measurement but also for estimating colour differences. A common procedure for determining perceived colour difference implies assessing colour pairs by means of a standard grey scale. This method was proven to be adequate for estimating, among others, perceived differences of low chroma goniochromatic samples found in the automotive industry, as well as for assessing colour differences of conventional prints. In this work, we were interested in the applicability of the same approach for estimating colour differences of printed samples enhanced with pearlescent pigments. Such prints are regarded as goniochromatic and depending on the type of the pigment, can exhibit very high chroma in angles close to specular reflection. This may pose a problem in evaluating colour differences because grey scale only shows a change in lightness. In addition, in some illumination/viewing geometries the differences between the two samples can be higher than those presented in the grey scale. Nine colour pairs (low-chroma digitally printed samples enhanced with three types of pearlescent pigments) were assessed in six viewing/illumination angles by a panel of ten observers. Our results show that chroma of the samples did not influence significantly interand intra-observer agreement, implying that grey scale references can be used for determining the perceived differences between chromatic samples. SDC grey scale provided sufficient range of colour differences only for the limited set of printed samples, leading to the conclusion that for assessing the differences of printed samples enhanced with pearlescent pigments it is necessary to use reference scale with higher difference range.
{"title":"APPLICABILITY OF STANDARD GREY SCALE FOR REPORTING PERCEIVED COLOR DIFFERENCE OF PRINTS ENHANCED WITH PEARLESCENT PIGMENTS","authors":"Ivana Tomić, R. Huertas, L. Gómez-Robledo, S. Dedijer, I. Jurič","doi":"10.24867/GRID-2018-P9","DOIUrl":"https://doi.org/10.24867/GRID-2018-P9","url":null,"abstract":"Printed materials that exhibit goniochromism pose a challenge not only for colour measurement but also for estimating colour differences. A common procedure for determining perceived colour difference implies assessing colour pairs by means of a standard grey scale. This method was proven to be adequate for estimating, among others, perceived differences of low chroma goniochromatic samples found in the automotive industry, as well as for assessing colour differences of conventional prints. In this work, we were interested in the applicability of the same approach for estimating colour differences of printed samples enhanced with pearlescent pigments. Such prints are regarded as goniochromatic and depending on the type of the pigment, can exhibit very high chroma in angles close to specular reflection. This may pose a problem in evaluating colour differences because grey scale only shows a change in lightness. In addition, in some illumination/viewing geometries the differences between the two samples can be higher than those presented in the grey scale. Nine colour pairs (low-chroma digitally printed samples enhanced with three types of pearlescent pigments) were assessed in six viewing/illumination angles by a panel of ten observers. Our results show that chroma of the samples did not influence significantly interand intra-observer agreement, implying that grey scale references can be used for determining the perceived differences between chromatic samples. SDC grey scale provided sufficient range of colour differences only for the limited set of printed samples, leading to the conclusion that for assessing the differences of printed samples enhanced with pearlescent pigments it is necessary to use reference scale with higher difference range.","PeriodicalId":371126,"journal":{"name":"Proceedings of 9th International Symposium on Graphic Engineering and Design","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117297767","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Tomislav Hudika, T. Tomašegović, T. Cigula, A. Poljicak
Varnishing of the printed product is often carried out by means of a photopolymer flexographic printing plate. Various types of varnishes interacting with a photopolymer material can cause chemical changes in its surface layer and affect the acceptance and transfer of varnish to the print. The aim of this paper is to describe the interactions of different types of varnishes and standard styrene-isoprene-styrene flexographic printing plate and to analyse the influence of varnishes on the surface layer of the photopolymer material. Types of varnishes used in this research are matt and gloss water-dispersive varnish, oil-based and UV varnish. Their interactions with the printing plate were analysed using different methods: contact angles of the varnishes on the printing plate were measured, and surface free energy of the printing plate was calculated before and after application of the varnishes. Experiments of the swelling of printing plate were carried out in order to assess the effect of the varnishes on the chemical changes in the photopolymer material. Microscopic images of the photopolymer exposed to varnishes and FTIR-ATR spectra were obtained in order to capture visible changes on the printing plate’s surface. The results of the research will allow for an assessment of the suitability of a specific type of varnish for flexographic printing.
{"title":"ANALYSIS OF THE INTERACTIONS IN THE “VARNISH – PHOTOPOLYMER” SYSTEM","authors":"Tomislav Hudika, T. Tomašegović, T. Cigula, A. Poljicak","doi":"10.24867/GRID-2018-P18","DOIUrl":"https://doi.org/10.24867/GRID-2018-P18","url":null,"abstract":"Varnishing of the printed product is often carried out by means of a photopolymer flexographic printing plate. Various types of varnishes interacting with a photopolymer material can cause chemical changes in its surface layer and affect the acceptance and transfer of varnish to the print. The aim of this paper is to describe the interactions of different types of varnishes and standard styrene-isoprene-styrene flexographic printing plate and to analyse the influence of varnishes on the surface layer of the photopolymer material. Types of varnishes used in this research are matt and gloss water-dispersive varnish, oil-based and UV varnish. Their interactions with the printing plate were analysed using different methods: contact angles of the varnishes on the printing plate were measured, and surface free energy of the printing plate was calculated before and after application of the varnishes. Experiments of the swelling of printing plate were carried out in order to assess the effect of the varnishes on the chemical changes in the photopolymer material. Microscopic images of the photopolymer exposed to varnishes and FTIR-ATR spectra were obtained in order to capture visible changes on the printing plate’s surface. The results of the research will allow for an assessment of the suitability of a specific type of varnish for flexographic printing.","PeriodicalId":371126,"journal":{"name":"Proceedings of 9th International Symposium on Graphic Engineering and Design","volume":"37 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127756366","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Today's technology and innovations, which have a power in representing society's cultural values and emotions, offer new possibilities to the most important expression tools of social life. In fact, it is stated that with this power of representation, it shapes the cultures and societies as well. In this representation, art is stated to play an important role in shaping the expression of social emotions and life by being embedded in them and taking the support of technology (Schiuma, 2011). As a necessity for the age, humans now communicate through art, strengthening the individual expression in social life with advantages offered by technological production and incorporate new expression tools into their lives. Continuing to explore the conveniences offered by technological life, humans continue their development in their social life through communication and interaction in the virtual world. Thanks to this interaction, digital communication channels have spread rapidly and the desire to access information easily has also created the technological infrastructure requirements that are able to provide, economical, high quality and personalized designs for demands changing consumer habits as requirement of this era, decreasing printing circulation due to this, and personalized designs taking center stage have accelerated the spread of digital inkjet printers with toner cartridges. Digital printing systems that have emerged since the year 2000 offer a new laboratory environment that today's artists can experience as a means of expression, beside their technological developments. Fine-Art print, with a view that acknowledges the importance of digital art in the technological life of our era, is a new expression tool worth mentioning its role and importance in contemporary art. Fine art print, as a term, defines the prints made by high-quality inkjet systems of images transmitted from digital files to the special production underprint materials under the supervision of the artist himself/herself. In this research, fine art print technique which presents the artistic expression to the viewer with today's technology will be discussed. It is aimed to examine the values it adds to contemporary art and technological advantages as a production material that supports artistic expression and its effects on artists' material preferences.
{"title":"EFFECTS OF DIGITAL PRINTING APPLICATIONS ON CONTEMPORARY ART","authors":"Yeter Beris","doi":"10.24867/GRID-2018-P60","DOIUrl":"https://doi.org/10.24867/GRID-2018-P60","url":null,"abstract":"Today's technology and innovations, which have a power in representing society's cultural values and emotions, offer new possibilities to the most important expression tools of social life. In fact, it is stated that with this power of representation, it shapes the cultures and societies as well. In this representation, art is stated to play an important role in shaping the expression of social emotions and life by being embedded in them and taking the support of technology (Schiuma, 2011). As a necessity for the age, humans now communicate through art, strengthening the individual expression in social life with advantages offered by technological production and incorporate new expression tools into their lives. Continuing to explore the conveniences offered by technological life, humans continue their development in their social life through communication and interaction in the virtual world. Thanks to this interaction, digital communication channels have spread rapidly and the desire to access information easily has also created the technological infrastructure requirements that are able to provide, economical, high quality and personalized designs for demands changing consumer habits as requirement of this era, decreasing printing circulation due to this, and personalized designs taking center stage have accelerated the spread of digital inkjet printers with toner cartridges. Digital printing systems that have emerged since the year 2000 offer a new laboratory environment that today's artists can experience as a means of expression, beside their technological developments. Fine-Art print, with a view that acknowledges the importance of digital art in the technological life of our era, is a new expression tool worth mentioning its role and importance in contemporary art. Fine art print, as a term, defines the prints made by high-quality inkjet systems of images transmitted from digital files to the special production underprint materials under the supervision of the artist himself/herself. In this research, fine art print technique which presents the artistic expression to the viewer with today's technology will be discussed. It is aimed to examine the values it adds to contemporary art and technological advantages as a production material that supports artistic expression and its effects on artists' material preferences.","PeriodicalId":371126,"journal":{"name":"Proceedings of 9th International Symposium on Graphic Engineering and Design","volume":"64 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115899281","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Working as educators for future graphic communications experts we have to have two things in mind: how to prepare students for the real market opportunities and how to make their portfolios better. Scientific pedagogical approach was taken to do so and it is based on simulating a real-world environment: working with real world companies on real life examples, organizing students into advertising agencies where everybody has its predefined role, working in steps and competing with others. First step in our process is to divide all participants into teams of five. Each member of a team can choose his or her role: leader, designer, copywriter, speaker or technician. These roles were determined by studying different types of modern creative environments. Next step is team-building. Team has to begin working together and the final results of this cooperation is team's identity (name, logo). First real life assignment is done with a help of real advertising agency. We invite an art director to present a brief of a real order which every group will be working on for six weeks. Each week teams get live feedback from the agency. The assignment that follows in the next six weeks is done directly for the customer. This is possible because of the experience students get when working for/with advertising agency. The final step is organizing an event, a public exhibition of work that was done in the semester. The developed process prepares our students for the job hunting. In the paper, we explain which are the most important steps and approaches a modern educator should take to prepare their students for the real life. Results are presented as an analysis of final works, employees, co-operators and other experts in the process.
{"title":"A NOVEL APPROACH TO GRAPHIC COMMUNICATION EDUCATION","authors":"Jure Ahtik, Tanja Nuša Kočevar","doi":"10.24867/GRID-2018-P45","DOIUrl":"https://doi.org/10.24867/GRID-2018-P45","url":null,"abstract":"Working as educators for future graphic communications experts we have to have two things in mind: how to prepare students for the real market opportunities and how to make their portfolios better. Scientific pedagogical approach was taken to do so and it is based on simulating a real-world environment: working with real world companies on real life examples, organizing students into advertising agencies where everybody has its predefined role, working in steps and competing with others. First step in our process is to divide all participants into teams of five. Each member of a team can choose his or her role: leader, designer, copywriter, speaker or technician. These roles were determined by studying different types of modern creative environments. Next step is team-building. Team has to begin working together and the final results of this cooperation is team's identity (name, logo). First real life assignment is done with a help of real advertising agency. We invite an art director to present a brief of a real order which every group will be working on for six weeks. Each week teams get live feedback from the agency. The assignment that follows in the next six weeks is done directly for the customer. This is possible because of the experience students get when working for/with advertising agency. The final step is organizing an event, a public exhibition of work that was done in the semester. The developed process prepares our students for the job hunting. In the paper, we explain which are the most important steps and approaches a modern educator should take to prepare their students for the real life. Results are presented as an analysis of final works, employees, co-operators and other experts in the process.","PeriodicalId":371126,"journal":{"name":"Proceedings of 9th International Symposium on Graphic Engineering and Design","volume":"81 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126269396","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Anja Škerjanc, Tadej Abram, Aja Knific Košir, R. Brajkovič, Žiga Fon, P. Žvab Rožič, Helena Gabrijelčič Tomc
Applications presenting the content of a specific professional field are more frequently used for educational purposes. Not only that the interactive solutions including multimedia can more effectively transfer knowledge due to their property to offer a content on a demand, but they are also very attractive, they augment user experience, are able to present more spatial and time dependent data and they usually involve multisensory approaches including senses of vision, hearing and touching. In the research the work frame and a design process of the educative app solution for geological purposes is presented. The aim of the app is to interactively determine stones by means to implement geological stone key. The experimental part presents the strategy phase, in which the target groups were defined, their needs were analysed and touching points for the successful networking, sharing and promotion were introduced. Next, app's functionalities and content types were created, based on the specification of professional field of geology. The content was categorised and labelled so that in the context of the whole app’s structure required hierarchy and organisation of the content categories were introduced. User interface design began with simple layout sketches and with iterative approach that followed, more interactive prototypes were designed, developed and tested using the wireframes. In the results the final prototype and its design are presented with the evaluation of user-centred design approach that was implemented in the work frame.
{"title":"DESIGNING THE EDUCATIVE APP FOR THE DETERMINATION OF TYPICAL SLOVENIA ROCKS","authors":"Anja Škerjanc, Tadej Abram, Aja Knific Košir, R. Brajkovič, Žiga Fon, P. Žvab Rožič, Helena Gabrijelčič Tomc","doi":"10.24867/GRID-2018-P57","DOIUrl":"https://doi.org/10.24867/GRID-2018-P57","url":null,"abstract":"Applications presenting the content of a specific professional field are more frequently used for educational purposes. Not only that the interactive solutions including multimedia can more effectively transfer knowledge due to their property to offer a content on a demand, but they are also very attractive, they augment user experience, are able to present more spatial and time dependent data and they usually involve multisensory approaches including senses of vision, hearing and touching. In the research the work frame and a design process of the educative app solution for geological purposes is presented. The aim of the app is to interactively determine stones by means to implement geological stone key. The experimental part presents the strategy phase, in which the target groups were defined, their needs were analysed and touching points for the successful networking, sharing and promotion were introduced. Next, app's functionalities and content types were created, based on the specification of professional field of geology. The content was categorised and labelled so that in the context of the whole app’s structure required hierarchy and organisation of the content categories were introduced. User interface design began with simple layout sketches and with iterative approach that followed, more interactive prototypes were designed, developed and tested using the wireframes. In the results the final prototype and its design are presented with the evaluation of user-centred design approach that was implemented in the work frame.","PeriodicalId":371126,"journal":{"name":"Proceedings of 9th International Symposium on Graphic Engineering and Design","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129018567","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract: We live in a digital media-overloaded world. An enormous number of images, sound and video files are continuously being created and either transmitted over the internet or stored on hard drives or portable storage devices. During their transmission or storage, however, such digital files are almost without an exception subjected to a process of discarding most of their original information, since e.g. fast opening of a web site image or a small audio file size are today of utmost importance. Loss in redundant or imperceptible information is therefore inevitable and incorporated in lossy compression algorithms such as JPEG, MPEG or MP3, but to record raw video or audio data only to be, in large part, soon discarded during the process of sending it to a receiver is obviously not an optimum approach. Compressed sensing is a signal processing technique that provides one solution to the above problem. Rather than performing acquisition followed by compression of a signal, it combines both steps in a single sensing – or sampling – operation. In other words, compressed sensing allows acquiring signals while taking only a few samples. One of the underlying assumptions of the signal is that it is sparse, i.e. it should be possible to represent it with a matrix, consisting of a large number of zero – or close to zero – coefficients. Images, when represented in a non-spatial domain, such as discrete cosineor wavelet-domain, often comply with such a requirement. Theory behind the compressed sensing will be presented briefly together with several examples of successful implementation of this method in the field of signal – mainly image – processing.
{"title":"COMPRESSED SENSING AND SOME IMAGE PROCESSING APPLICATIONS","authors":"A. Hladnik, Pavle Saksida","doi":"10.24867/GRID-2018-P68","DOIUrl":"https://doi.org/10.24867/GRID-2018-P68","url":null,"abstract":"Abstract: We live in a digital media-overloaded world. An enormous number of images, sound and video files are continuously being created and either transmitted over the internet or stored on hard drives or portable storage devices. During their transmission or storage, however, such digital files are almost without an exception subjected to a process of discarding most of their original information, since e.g. fast opening of a web site image or a small audio file size are today of utmost importance. Loss in redundant or imperceptible information is therefore inevitable and incorporated in lossy compression algorithms such as JPEG, MPEG or MP3, but to record raw video or audio data only to be, in large part, soon discarded during the process of sending it to a receiver is obviously not an optimum approach. Compressed sensing is a signal processing technique that provides one solution to the above problem. Rather than performing acquisition followed by compression of a signal, it combines both steps in a single sensing – or sampling – operation. In other words, compressed sensing allows acquiring signals while taking only a few samples. One of the underlying assumptions of the signal is that it is sparse, i.e. it should be possible to represent it with a matrix, consisting of a large number of zero – or close to zero – coefficients. Images, when represented in a non-spatial domain, such as discrete cosineor wavelet-domain, often comply with such a requirement. Theory behind the compressed sensing will be presented briefly together with several examples of successful implementation of this method in the field of signal – mainly image – processing.","PeriodicalId":371126,"journal":{"name":"Proceedings of 9th International Symposium on Graphic Engineering and Design","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134348260","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper deals with the characterization of a Pentax K 10 digital camera in order to be used in colorimetric measurements in a custom built setup employing a LED light source. The experiment focuses on colour characterization using several polynomial transformation models in comparison to ICC based colour characterisation. Altogether 5 polynomial models are applied and evaluated by capturing set of uniform colour patches. Preliminary results indicate, that the complexity of the model does not markedly improve the prediction of CIELAB values.
{"title":"COMPARISON OF COLOUR REPRODUCTION BY PENTAX K10D DIGITAL CAMERA EMPLOYING POLYNOMIAL MODELS AND ICC BASED COLOUR MANAGEMENT TOOLS","authors":"Ondrej Panák, Natálie Kailová, Markéta Drzková","doi":"10.24867/GRID-2018-P7","DOIUrl":"https://doi.org/10.24867/GRID-2018-P7","url":null,"abstract":"This paper deals with the characterization of a Pentax K 10 digital camera in order to be used in colorimetric measurements in a custom built setup employing a LED light source. The experiment focuses on colour characterization using several polynomial transformation models in comparison to ICC based colour characterisation. Altogether 5 polynomial models are applied and evaluated by capturing set of uniform colour patches. Preliminary results indicate, that the complexity of the model does not markedly improve the prediction of CIELAB values.","PeriodicalId":371126,"journal":{"name":"Proceedings of 9th International Symposium on Graphic Engineering and Design","volume":"41 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122764614","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The properties of typefaces are a prominent element in graphic communication. Over time, distinctive features of letterforms have evolved, influenced by the technological advancements. Today, letterforms are part of typeface units which serve as means of communication and are available in various styles. Research studies regarding the typeface legibility and the effects of semantic properties of typefaces have given a considerable insight into the effects of the distinctive features of typefaces. However, the construction of typographic stimuli design in previous research was unsystematic leading to inconsistent results and understanding of the typeface distinctive features effects. Therefore, the aim of this paper is to propose a systematic method for manipulation of the typographic stimuli in research studies. The design of the typographic test samples involved detection of the universal letterform structure and manipulation of the formal attributes of typefaces. The method of perimetric complexity was used to measure the complexity of the letterforms’ formal attributes, as well as the complexity of the complete letterform. Due to diverse letterform properties, two metric systems for measuring perimetric complexity (Pelli’s algorithm and morphological components function) were chosen. The analysis of the obtained results confirmed that particular formal attributes, singular or combined, are more complex than others, that is a gradient of letterform complexity was revealed. Also, the results of the letterform characterization using the second method provide slightly more conclusive results making it possible to infer which groups of formal attributes contribute to the increase of letterforms’ complexity.
{"title":"CHARACTERIZATION OF LETTERFORM COMPLEXITY","authors":"Irma Puškarević, Uroš Nedeljković, Nace Pušnik","doi":"10.24867/GRID-2018-P73","DOIUrl":"https://doi.org/10.24867/GRID-2018-P73","url":null,"abstract":"The properties of typefaces are a prominent element in graphic communication. Over time, distinctive features of letterforms have evolved, influenced by the technological advancements. Today, letterforms are part of typeface units which serve as means of communication and are available in various styles. Research studies regarding the typeface legibility and the effects of semantic properties of typefaces have given a considerable insight into the effects of the distinctive features of typefaces. However, the construction of typographic stimuli design in previous research was unsystematic leading to inconsistent results and understanding of the typeface distinctive features effects. Therefore, the aim of this paper is to propose a systematic method for manipulation of the typographic stimuli in research studies. The design of the typographic test samples involved detection of the universal letterform structure and manipulation of the formal attributes of typefaces. The method of perimetric complexity was used to measure the complexity of the letterforms’ formal attributes, as well as the complexity of the complete letterform. Due to diverse letterform properties, two metric systems for measuring perimetric complexity (Pelli’s algorithm and morphological components function) were chosen. The analysis of the obtained results confirmed that particular formal attributes, singular or combined, are more complex than others, that is a gradient of letterform complexity was revealed. Also, the results of the letterform characterization using the second method provide slightly more conclusive results making it possible to infer which groups of formal attributes contribute to the increase of letterforms’ complexity.","PeriodicalId":371126,"journal":{"name":"Proceedings of 9th International Symposium on Graphic Engineering and Design","volume":"70 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115813547","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
R. Szentgyörgyvölgyi, Erszébet Novotny, Milán Weimert
{"title":"DETERMINING AND SELECTING SCREEN PRINTING FORM PARAMETERS FOR PRINTING ON PAPER AND TEXTILE","authors":"R. Szentgyörgyvölgyi, Erszébet Novotny, Milán Weimert","doi":"10.24867/GRID-2018-P42","DOIUrl":"https://doi.org/10.24867/GRID-2018-P42","url":null,"abstract":"","PeriodicalId":371126,"journal":{"name":"Proceedings of 9th International Symposium on Graphic Engineering and Design","volume":"124 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122198163","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
T. Cigula, T. Tomašegović, Tomislav Hudika, D. Donevski
There are many parameters influencing transfer of the printing ink onto the printing substrates. Beside printing press characteristic one of most influential parameters is interface interactions in the offset blanket-printing ink-printing substrate system. The aim of this paper is to determine printing ink and substrate properties as an influential parameter to the printing ink transfer, i.e. properties of the imprint. To achieve this goal, this research will be conducted in three steps. First, characterization of the printing substrates (coated and uncoated samples) and printing ink will be performed. The printing substrates will be characterized by determining smoothness of paper according to Bekk and surface free energy, while to printing ink’s tack will be determined to detect property of the printing ink influencing the ink transfer. In the second stage a multipurpose printability testing machine will be used to produce laboratory prints. Finally, the prints will be characterized by conducting optical measurements (spectrophotometric and densitometric measurements) and determination of physical properties of the ink film (mass of the dried ink film). The results of the research have proven that characteristics of the printing substrate and tack of the printing ink influence transfer of the printing ink onto the printing substrate, i. e. print quality.
{"title":"INFLUENCE OF THE INK AND SUBSTRATE PROPERTIES ON THE INK TRANSFER IN LITHOGRAPHY","authors":"T. Cigula, T. Tomašegović, Tomislav Hudika, D. Donevski","doi":"10.24867/GRID-2018-P4","DOIUrl":"https://doi.org/10.24867/GRID-2018-P4","url":null,"abstract":"There are many parameters influencing transfer of the printing ink onto the printing substrates. Beside printing press characteristic one of most influential parameters is interface interactions in the offset blanket-printing ink-printing substrate system. The aim of this paper is to determine printing ink and substrate properties as an influential parameter to the printing ink transfer, i.e. properties of the imprint. To achieve this goal, this research will be conducted in three steps. First, characterization of the printing substrates (coated and uncoated samples) and printing ink will be performed. The printing substrates will be characterized by determining smoothness of paper according to Bekk and surface free energy, while to printing ink’s tack will be determined to detect property of the printing ink influencing the ink transfer. In the second stage a multipurpose printability testing machine will be used to produce laboratory prints. Finally, the prints will be characterized by conducting optical measurements (spectrophotometric and densitometric measurements) and determination of physical properties of the ink film (mass of the dried ink film). The results of the research have proven that characteristics of the printing substrate and tack of the printing ink influence transfer of the printing ink onto the printing substrate, i. e. print quality.","PeriodicalId":371126,"journal":{"name":"Proceedings of 9th International Symposium on Graphic Engineering and Design","volume":"61 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127221921","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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