Geček, Robert (2021) Determinacija vizualne percepcije organskih i poligonalnih oblika u procesima grafičkih komunikacija = Determination of visual perception of organic and polygonal shapes in the processes of graphic communications. Dissertation (PhD) thesis. Grafički fakultet. [Mentor: Mrvac, Nikola].
|
PDF
Doktorski rad Geček Robert.pdf Download (10MB) | Preview |
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.
| Item Type: | Dissertation (PhD) thesis |
|---|---|
| Mentor name: | Mrvac, Nikola |
| Other mentors: | Vusić, Damir |
| Thesis Committee: | Pap, Klaudio and Mikota, Miroslav and Tomiša, Mario |
| Defence date: | 10 June 2021 |
| Abstract in 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. |
| Uncontrolled Keywords: | organski oblici, poligonalni oblici, vizualna percepcija, amigdala, grafička komunikacija |
| Keywords in english: | organic forms, polygonal forms, visual perception, amygdala, graphic communication |
| Subjects: | TECHNICAL SCIENCES > Graphic Technology |
| Institution: | Grafički fakultet |
| City: | Zagreb |
| Number of Pages: | 150 |
| Callnumber: | 655:612.843.7 GEČ d |
| Inventory number: | 10373 |
| Depositing User: | Nina Jelača |
| Status: | Unpublished |
| Date Deposited: | 31 Aug 2021 07:49 |
| Last Modified: | 31 Aug 2021 07:49 |
| URI: | http://eprints.grf.unizg.hr/id/eprint/3351 |
Actions (login required)
 |
View Item |
