The objectives of this research were (1) to develop scales of preferred image sharpness for thermal dye transfer prints and (2) to relate these scales to an objective measurement of image quality. Interval scales were developed using two different indirect scaling techniques, paired comparison and rank ordering, for three groups of participants (novice photographers, advanced amateur photographers, and Kodak image quality experts). Differences between scales developed through the separate scaling procedures were minor, suggesting that either procedure would produce a reliable and valid interval scale. Given the time required to perform the method of paired comparisons, the method of rank ordering would likely be the preferred procedure. The results from multiple range tests of the interval scales found that higher levels of image sharpening (filter levels 1.5x to 2.5x) were generally preferred. However, for some conditions, particularly the portrait, lower levels of sharpening were generally preferred. While it appears that the preferred level of image sharpness may be somewhat dependent upon scene content, participants always preferred a small amount of sharpening to none at all. For all conditions examined, stimuli that received no sharpening were the least preferred. In relating interval scales to an objective measure of image quality, scale values developed from within a level of addressability were highly correlated with values of modified MTFA for all participant groups. These correlations show that a strong relationship exists between preferred levels of image sharpness and increasing levels of luminance modulation for edges in thermal prints. However, values of modified MTFA were not well correlated with interval scale values developed from experts participants for the between levels of addressability portion of the experiment. Values of MTFA were considered modified due to limits that were imposed on the bounds of integration. These results suggest that the preferences of experts may not represent those of the average consumer for desired levels of thermal print sharpness. / Ph. D.

Idén till arbetet föddes när vi var inne i en av Gina Tricots butiker, då en kund frågade personalen hur mycket ett par jeans som hon skulle prova kunde töja sig. Kunden kunde inte få något fullständigt svar på sin fråga, utan den anställde svarade ”lite”. Utöver detta har vi även fått uppfattningen av att personalen är mindre kunnig om bland annat de olika material som företaget använder sig av. Vi anser då att en materialhandbok kan vara lösningen på detta problem. Vi vill att Gina Tricots personal ska bli mer kunnig inom textil och därmed kunna hjälpa kunderna på ett korrekt och professionellt sätt.I nära samarbete med vår externa, samt interna handledare har vi kommit fram till de delar som materialhandboken består av. Dessa är väv, trikå och grovstickat, de olika naturfibrer, konstfibrer samt blandmaterial som företaget använder sig av, obehandlad och behandlad denim, samt färgning och tryckning. Utöver dessa punkter har vi även valt att ha med påmonterade detaljer, tvättsymboler, frågor och svar, såväl som en skötselöversikt. Under de olika fibrerna finns även underrubriker, såsom egenskaper och skötselråd, för att lättare kunna finna den information man söker.Det har varit viktigt att hitta en balans för att få med så mycket information som möjligt, utan att det blir för tungt för personalen. Likaså var det med språket, det vill säga att få fram en så innehållsrik text som möjligt, men utan för svåra ord, då alla i personalen ska förstå innebörden av texten utan några tveksamheter. Materialhandboken är även gjord på så sätt att man inte behöver läsa från pärm till pärm för att förstå innehållet. Allt för att den ska vara så användarvänlig som möjligt. / <p>The idea was born when we were at Gina Tricot, and a customer asked one of the staff how much a pair of jeans will stretch that she wanted to try on. The customer could not get a complete answer to her question, but the employee said "a bit". In addition, we also had the perception that the staff are untaught of, inter alia, the various materials the company uses. We thought a handbook of textiles was the best idea as a solution for this problem. We want Gina Tricots staff to become more knowledgeable in the textiles and thus be able to help customers in an accurate and professional manner.Working closely with our external and internal trainers, we have figured out what the handbook of textiles consists of. These are fabric, knitted and rough knits, the different natural fibers, artificial fibers and mixed fibers that the company uses, untreated and treated denim, as well as dyeing and printing. Beyond these points, we have also chosen details, laundry symbols, questions and answers, as well as a maintenance overview. Below the different fibers are their characteristics and care, to more easily find the information you seek.It has been important to find a balance in order to get as much information as possible in the handbook of textiles, without making it too complicated for the staff. It was similarly with the language, that is, to produce a text as rich as possible, but without the difficult words, when all of the staff should understand the meaning of the text without any doubt. The handbook of textiles is also designed so that it is not necessary to read from cover to cover to understand the content, to make it as user friendly as possible.</p><p>Program: Textilingenjörsutbildningen</p>

This thesis deals with improvement of 3D-manipulator which is currently used for 3D printing. The improvement involves adding a new printer head which will be able to acquire various colors by mixing up to three materials. Furthermore, device is extended with milling as a finishing process responsible for better surface quality of printed object.