Paveikslų ciklą – „Iš tamsos“ – galima būtu apibūdinti kaip savotišką pasakojimą – atskleidžiantį mano pasąmonės klodus, manyje vyraujantį pasaulį, mano jausmus ir išgyvenimus, darbai yra kupini simbolių, perkeltinių prasmių, metaforų ... Tai tarsi filosofinė pasaka, koncentruojanti dėmesį į pateikiamus personažus, judesį, kompoziciją nuotaiką, koloritą, tekstūras, toninius perejimus, verčianti gilintis į šių faktorių reikšmę bendrai darbo visumai. Savo darbų atlikimui pasirinkau šilkografijos techniką. Esminis darbų atlikimo procesas – per specialiai paruoštas klišes (šilkografiniai tinklai padengti specialia šviesai jautruma turinti emulsija),ant popieriaus dengiamas tam tikrų dažų sluoksnis. Tai ilgas ir labai kruopštus darbas, reikalaujantis daug pastangų laiko ir kantrybes, bet tuo pačiu metu suteikiantis labai turtingą meninį, grafinį vaizdą, kuris manau būtinas, kuriant išskirtinius darbus. / Main purpose of my work was to create twelve images, transpierced with symbols, codes and magic realism. In my pictures I tried to hit a creatures of my imagination ore my dreams. I hope that my imagery will turn in to a creative dialogue between me and viewer…All twelve pictures done in silkscreen technology. I think that this technology gives picture unusual feeling and unexpectedness... All my pictures done using CMYK colour palette. CMYK short for cyan, magenta, yellow, and black, and often referred to as process color or four color is a subtractive color model, used in color printing, also used to describe the printing process itself. The CMYK model works by partially or entirely masking certain colors on the typically white background (that is, absorbing particular wavelengths of light). Such a model is called subtractive because inks “subtract” brightness from white.

Submitted by Marta Toyoda (1144061@mackenzie.br) on 2018-05-02T21:51:39Z No. of bitstreams: 2 MARCELLO GUARIENTO BERTACCHI.pdf: 10727812 bytes, checksum: cdcb205e08ced81eddded18a3138a873 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Paola Damato (repositorio@mackenzie.br) on 2018-05-04T15:59:12Z (GMT) No. of bitstreams: 2 MARCELLO GUARIENTO BERTACCHI.pdf: 10727812 bytes, checksum: cdcb205e08ced81eddded18a3138a873 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-05-04T15:59:12Z (GMT). No. of bitstreams: 2 MARCELLO GUARIENTO BERTACCHI.pdf: 10727812 bytes, checksum: cdcb205e08ced81eddded18a3138a873 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-02-16 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Initially, facial feature recognition was only used intuitively, which means that one individual recognized another by certain characteristics relevant for their identification. Time passed, and with technological advancement, other methods were created for this purpose. However, the addition of artificial characteristics could have a negative influence in the process of facial recognition. Hence the choice of the cosmetic application field, with the purpose of exploring in more details both the effects in recognition as well as the process of detection of facial makeup. For this purpose, the color model CMYK was chosen due to its satisfactory performance in skin detection. The objective of this work is to emphasize the feasibility of applying the color model CMYK in Computational Vision procedures and Image Analysis, in comparisson to another model widely used, which is the HSV. For the makeup classification process, it was chosen a variant of Artificial Neural Networks known as Neural Network Convolutional, which is based on the visual cortex of cats. First, it was proved the negative influence of makeup in face recognition, through the LBP descriptor. In sequence, six neural networks were trained to detect makeup, achieving an accuracy of 97 percentage points on the eye region, 95 points percent on the face and 80 percentage points on the lips, in CMYK’s model, and 91 percentage points on the eye region, 92 points percent on the face and 73 percentage points on the lips, in HSV’s model. Consequently, CMYK was proven to be a color space that deserves attention in the fields of Makeup and Computer Vision. / Inicialmente, o reconhecimento de características faciais era apenas utilizado de forma intuitiva, ou seja, um indivíduo reconhecia outro por meio de certas características relevantes para uma própria identificação. Com o passar do tempo, e com o avanço tecnológico, outros métodos foram criados para este propósito. Porém, a adição de características artificiais pode influenciar negativamente o processo de reconhecimento facial. Por este motivo, a área de processamento e análise de imagens com aplicação de cosméticos foi escolhida, com o propósito de se explorar com mais detalhes tanto os efeitos no reconhecimento quanto também o processo de detecção de maquiagem na face. Para esta finalidade, o modelo de cor CMYK foi escolhido, devido ao seu desempenho satisfatório na detecção de pele. O objetivo deste trabalho é colocar ênfase na viabilidade da aplicação do modelo de cor CMYK em procedimentos de Visão Computacional e Análise de Imagem, em comparação a outro modelo amplamente utilizado, que é o HSV. Para o processo de classificação de maquiagem foi escolhida uma variante das Rede Neurais Artificiais, conhecida como Rede Neural Convolucional, que se baseia no córtex visual dos gatos. Primeiramente foi comprovada a influência negativa da maquiagem no reconhecimento facial, por meio do descritor LBP. Na sequência, seis redes neurais foram treinadas para detecção de maquiagem, sendo alcançada uma acurácia de 97 pontos percentuais na região dos olhos, 95 pontos percentuais na face inteira e 80 pontos percentuais nos lábios, no modelo de cor CMYK, e 91 pontos percentuais na região dos olhos, 92 pontos percentuais na face inteira e 73 pontos percentuais nos lábios, no modelo de cor HSV. Com isto, comprova-se que o CMYK é um espaço de cor que merece atenção nas áreas de Detecção de Maquiagem e Visão Computacional.

Darbe tirtas spalvinio spausdintuvo ,,Ricoh Aficio 3006“ spalvų atgaminimo tikslumas – viena iš svarbiausių jo charakteristikų. Tyrimas atliktas analizuojant keturių spalvų (CMYK) gradacines kreives – zoninių optinių tankių atitiktį etalonui ir gradacinių skalių spausdinimo stabilumą pagal zoninių optinių tankių verčių sklaidą. Spalvų iškraipymas tirtas spektrofotometriniu metodu nustatant spalvų CIE L*a*b* koordinates ir spalvų skirtumus lyginant su etalonu ΔE. Tyrimai atlikti 8 spausdinimo režimams ir keičiant tų režimų nustatymus. Nustatyta, kad spausdintuvas „Ricoh“ spalvas reprodukuoja netiksliai, tačiau spalvų atgaminimo kokybė patenkinama spalvų reprodukavimo aukštos kokybės nereikalaujantiems darbams. Spalvų gradacijos gerokai skiriasi nuo teorinių, bet kai kurie režimai („Gamma“, „Brightness“, „CMYK simulation“) leidžia atspaudų gradacijas priartinti prie teorinių. Nepaisant didelių gradacinių visų spalvų skirtumas nuo teorinių nėra didelis galimai dėl spausdintuvo programinio spalvų koregavimo. Šios programos leidžia koreguoti atspaudų kokybę priklausomai nuo originalo pobūdžio. Išnagrinėjus eksperimentinio tyrimo rezultatus pateikiamos baigiamojo darbo išvados. Darbą sudaro 7 dalys: įvadas, literatūros apžvalga (2 dalys), darbo tikslas ir uždaviniai, tyrimo metodika, išvados ir siūlymai, literatūros sąrašas. Darbo apimtis – 73 p. teksto be priedų, 51 iliustr., 6 lent., 25 bibliografiniai šaltiniai. / It was made an investigation of the „Ricoh Aficio 3006“ color printer color reproduction accuracy - one of the most important characteristics. The study was conducted by analyzing the four-color (CMYK) gradation curves - zonal absorbance compliance with the standard references and gradation according to the stability of the control scale valuže scattering. Colors were measured spectrophotometrically determining the color CIE L*a*b* coordinates and color differences ΔE in comparison with standards. Investigation was carried out in eight printing regimes and their modes. It was found that the printer Ricoh reproduces the color grades inaccurately, but color reproduction quality is sufficient for printing data, that don ot require high accuracy of color reproduction. Color gradations significantly differs from the theoretical, but some regimes (Gamma, Brightness, CMYK simulation) allows to aproach the theoretical values. Despite the high inaccuracy of the gradation the color differences are not so high due to corrections made by software. These programs allow to adjust the print quality depending on the nature of the original. The conclusions are made of the experimental results. Thesis consists of: introduction, literature review (2 parts), research goalsand tasks, research methodology, conclusions and recommendations, references. Work volume - 73 pages of text except appendixes, 51 illustrations, 6 tables., 25 references.

Tryckeribranschen är en ekonomiskt pressad bransch som söker nya besparingsmetoder. En av metoderna är att minska insatsvaran tryckfärg med färgreduceringsprogramvara. Rapporten undersöker möjligheterna med färgreduceringssystem. Detta genom att studera hur man använder sig av färgreducering och hur det påverkar trycket. Studien avser besvara: • Hur stor färgminskning kan man använda sig av utan negativa konsekvenser på bildkvalitén? • Hur går man tillväga för att skapa den färgminskningen? • Överensstämmer total färgförändring och visuell bedömning av tryck? För att få svar på dessa frågor togs en testform fram med nödvändiga bilder och färgfält som sedan genomgick en rad färgreduktioner. Testformen utvärderades digitalt med avseende på TAC och total färgförändring. Därefter trycktes testformen och utvärderades visuellt av en testgrupp och uppmättes för att visa färgförändring efter tryck. Resultatet av undersökningen visar att det går att färgreducera tryck utan avsevärda negativa konsekvenser på bildkvalitén. En reducering från 300 % TAC till en TAC mellan 240 % och 210 % är fullt möjlig för att få en besparing och vara inom standard för total färgförändring. Detta går att göra väldigt lätt med en programvara som Alwan CMYK Optimizer ECO, med enbart förvalda inställningar och en inställd Total Ink Limit mellan 240 % och 210 %. Resultatet visade även en stark korrelation mellan den visuella bedömningen och den totala färgförändring, som tyder att både metoder är lämpliga för bedömning av tryck.

This thesis deals with automatic computer generation of crosswords with filled-in clue algorithm design and related problems. Beside basic definitions and information about crosswords, the state space analysis and description of some tested methods of generation is performed in this thesis. Designed and implemented method removes inadequacies of tested methods. Remarkable part of text is designated to solve crossword rendering problems. Results of rendering process should be suitable for DTP without any additional touches, which includes also CMYK color space support. Fully functional implementation of crossword generator and tool for computer aided crossword design is part of this thesis.

Accompanied by the fast development of technology and channels in the advertisement industry, many traditional incumbents felt pressure and were seeking ways to change or better their own position within the industry. The Nordic Association of Heatset Printer (NAHP), where this thesis was carried out, is largely associated with these traditional channels for advertising, such like newspapers, brochures and magazines. They are taking their initiative to prepare and face the challenge coming from new entrants within the advertising industry. I have identified that to fulfill the responsibilities to their customers at a very high standard could enable themselves to continuingly remain a competitive position in the advertisement industry, and among these responsibilities, the printing quality is definitely an important one. By checking whether all the printers conform to the error tolerances set by the ISO standard, I could offer the members of the organization useful information and suggestion, and eventually give them directions on where they might need to improve, and where they need to maintain. I have also identified 3 determinants regarding printing and they are print density, dot gain and the ΔE of L*a*b*. Checking whether those three primaries have met the industry standard has become the main job of this thesis work. To finish this thesis work, I have gathered samples from printers within NAHP, tested the color control strips on each samples, input the data into statistical Excel files, programmed to analyze the data, and finally conducted evaluations. The test results have revealed that most presses from the printing houses within my thesis work are able to offer high quality prints. However, certain problems have also been identified. Some presses definitely need to change and improve their printing setting in order to reach ISO standard and achieve audience satisfaction. In addition, the results have also double confirmed that all three investigated properties, print density, dot gain and ΔE of L*a*b*, correlate intensely and influence one and another.

This work focuses on the description and characteristics of common problems which graphic designers face daily when working for advertising agencies. This work describes tasks and organises them according to the type of graphic being processed and the types of output. In addition, this work describes the ways these common tasks can be completed using modern graphics editing software. It also provides a practical definition of a graphic designer and graphic agency. The aim of this work is to map out the fundamental tasks with raster graphics which graphic designers must perform most frequently during their work and to suggest an optimal workflow. As a result, after collating all of the proposed solutions, a manual should take form. It should help to facilitate early stages of work for students who may hold the position of junior graphic designer within advertising agencies.

The diploma thesis is dividend into four parts. The first part describes basic terms in video technology (luminance, hue, diagrams CIE). The second part includes types of colour spaces RGB, HSV, CMY(K), YUV, YCbCr, YIQ. In the third and fourth part, these theoretical findings are used to propound laboratory observations. The laboratory observation processes the colour rendition of the colours in video technology. In the Matlab software, a user system environment was developed for operations with measured values. The software is capable of recalculating chromaticity coordinates between different colour spaces, to screen colours into diagrams CIE and to show the vectors of colours. The device used for measuring was Chromametr Konica Minolta CS-100A. A manual for the device was created. The laboratory observation was measured and processed in the form of a laboratory protocol.