First, the color of the reaction color perception is a very powerful emotion in the visual process, because the visual response to color is strong and immediate. Colors can be associated, can act as a symbol, can manipulate emotions ..... all kinds of emotions can easily be triggered! Red is excited and it reveals a high degree of dignity and serious expression. Green - reminiscent of the natural freshness, comfort, absolute tranquility, dignity ..... It is the calmest of all colors. Blue - cold and watery, it feels more negative and passive, but it also conveys two conflicting emotions: stimuli and tranquility. Yellow - is a happy, gentle, charming, sunny, more active, active attitude. White - represents pure and unblemished. These visual responses to color are all products of additional explanations derived from learning. Second, the coldness and warmth in the vision, the light and the dark, the "cold" and the "warm" words have nothing to do with the pure hue! It is because the color of the natural world gives people a feeling of temperature change, so that people accumulate experience in the pure hue. "Cold" and "warm" are used to describe color. It is only in the field of temperature sense that it is the strongest and powerful! The nature of color expression can only be best described by using "cold" and "warm". Warm colors - represents the narrowness of closeness, intimacy, and humanity! Cold tone - represents the majesty of distance, deformation, and temperance! (Liang Chunsheng's Art and Appreciation) The amount of light that stimulates our eyes is more or less, causing a visual difference between light and shade, which is lightness and darkness. High-brightness colors seem to be larger and closer, called inflated colors or advancing colors. The lightness of darkness will appear to be smaller, and it will also be backwards. It will be referred to as shrinkage or retrogression. (Lai Yihui's color scheme) Bright and dark colors have a different sense of weight in people's psychological feelings. Dark colors - producing a sense of legitimacy, dignity, authority, and hardness. Bright colors - it will look light, psychological pressure, easy to get close, relaxed and happy feeling. (Lai Yihui's Color Plan) Third, visual communication Visual language is the use of visual elements "form" and "color" as the main vocabulary of visual communication. This kind of mode of transmission originated from the art form, because of the commonality of human visual perception, has become a communication method that conveys the function and communication efficiency more than language. (Wang Qimin's visual creative thinking and methods) The freedom of poster creation, content and form are more complex, and the function is biased towards persuasion and information. Its "shape" and "color" are highly visually communicateable and can bring people closer to the cognitive gap. The diversification of "shape" and "color" can also make visual communication more vivid and exciting! Differences in color and visual experience after glazing on a poster, the color difference after glazing. The most commonly used glazing methods for posters are PP glazing and UV glazing, but now they are coated with glazing and PP. Light, UV glazing to analyze the color difference. After the glazing process, the reproduction of the printed matter has a relatively large influence, and the common point is that the concentration range of the bright portion and the intermediate tone is increased, and the condensed region of the dark portion is compressed. (Study on the Color Differences between Sun & Zhiwen Prints before and after. According to Sun Yizhi's "Study on Color Differences in Pre- and Post-printing Applications," we can find:
Coating type UV coating PP matte surface effects of the full version of the printing ink concentration greater than unglazed.
Less than unglazed.
The yellow version of the printing plate was higher than the unglazed, but the blue, magenta, and black plates were larger than the unglazed plates, but did not significantly change the reproduction concentration.
Both are smaller than unglazed, but the range of change is large.
The dot enlargement situation is larger than the unglazed from 10% to 90%.
Intersections between 80% and 90% of the dots intersect unglazed dot gain curves less than unglazed.
Hue difference and non-glazing are not much different.
Better than not polished.
There is no difference between gray and unglazed.
Better than not polished.
Effectiveness is not much different from non-glazing.
Better than unglazed.
Printing ink has an increasing trend.
There is a weakening trend.
Chromatic aberration has a greater response to color patches of dots.
For color dots, the response of color patches is small.
The print contrast value of the print contrast flat screen is less than the unprinted print contrast value.
The relative printing contrast value of the flat screen is less than the unglazed printing contrast value.
The gray balance curve, regardless of color, is located on the unglazed gray balance curve.
The gray balance curve of the highlight and midtones lies above the unglazed, but in the shadow region, the curve falls below the unglazed gray balance curve.
The stability of the printed matter before and after polishing was greater in the midtones, and (less stable) but the variation after the darkness (instability) slowed down.
With the enlargement of outlets, there is a large variation. (more unstable)
Second, the visual sensation of the 50 students was based on the "Unglazed posters and posters on UV light and PP matte surface light. Which one gave you the best visual experience and why?" A simple survey revealed that: ) Among the 50 students, 5 prefer unglazed posters: Because they look more natural. (B) 17 out of 50 students liked the UV varnish poster: because the colors look bright, there are reflective effects, brighter and more attractive attention, the poster feels more realistic, the product (pattern) looks realistic, three-dimensional, PP The color of the light on the matte surface is suppressed, so I do not like it. (c) Of the 50 students, 28 were fond of the PP matte light poster: because the poster appeared to be more textured, comfortable, soft, natural, beautiful, advanced, delicate, non-glareous, the eyes did not feel reflective, and the visual experience was higher , posters have a sense of value. Lu, Conclusions, and Suggestions Posters for posters are a way of conveying goods and information. It is important to strengthen the poster surface effect! Whether the poster is polished or not has a great influence on visual perception. According to our survey, only 5 out of 50 people like unglazed posters, and the remaining 45 people are fond of light posters. Showing an unglazed poster seems ordinary and unattractive, it is easy to turn a blind eye and lose its effect. However, the lighted poster was just like the one that added the beauty of the one, and it also showed an exquisite visual feeling! Different types of glazing bring different visual perceptions. Visually speaking, it is obvious that the poster color of UV varnish posters is brighter and appears more saturated, which increases the color effect of posters. Brightness, high chroma, and long-wavelength hue can make people excited. (Li Changjun Art and Visual Psychology) has an attractive effect. The surface of PP fog suppresses the expression of color, and the extinction method produces a little bit of a visual experience. Although the color is not so vivid, it creates a visually soft texture effect. The choice, separation, cognition and understanding in the vision often affect the mind through the brain. In terms of color, color appeals to feelings. Color produces an immediate effect and becomes a symbol. Glossing can brighten the inherent color, but under the excessive effect it destroys the color. Too bright colors can cause people's psychological unhappiness. Troubled and disgusted. In terms of bright colors, moderate brightness evokes pleasure and excitement in human emotions. The posters with UV light added a brighter film than the non-lighted posters, resulting in an increase in color saturation and people's visual emotions. Soft colors will cause people to produce a quiet, peaceful mood. The color of posters after PP fog is excellent and meticulous. The visual influence of the mind produces a calming effect, and the emotions are soothed, which also creates a soothing function. Poster glazing is helpful for posters, but what kind of light needs to be selected should be matched with the design content of the posters. Lively, lively, pleasant and exciting design content is more suitable for bright glazing techniques. The gentle, beautiful and warm design is more suitable for soft glazing. Many glazing methods are now biased towards partial glazing, creating more refined visual enjoyment in response to changing consumers. For the public's visual experience can be more explored, in order to be able to inspire different ways of glazing performance, giving people a different visual enjoyment! References 1. Sun Yizhi, Research on Color Differences in Pre- and Post-printing Papers, 1995 Annual Report of Printing Technology, PP.140~1512. Qiu Yiming, really dazzling ~ reviewing the influence of coating types on print quality and environmental quality assessment, 1997 Printing and Design September-October , PP.32 ~ 363. Qiu Xianliang, Jing Cailiang - Add the overall aesthetic beauty of the printing process, 1996 printing and design in May PP.34 ~ 364. Chen Politics, paper coating coating technology, Huagang Journal of Print and Communication 28, PP.13~205. Cao Shuyuan, Discussion on the Variation of Dots and Colors in the Process of Color Copying, Huagang Printing and Communications Journal No. 28, pp. 56~646. Yang Fuxin, Post-printing Surface Finishing Technology-- Light, Printing Technology March 1999, PP.73~797. Li Peifen, good show behind the combination of advanced technology and technology to promote upgrading, 1998 printing and design from September to October, PP.38 ~ 398. Wang Xiaojin, structural assessment method Application to Advertising Design Works - Taking Magazine Advertising Jobs as an Example, Yunlin University of Science and Technology Visual Communication Design Institute Master's Thesis, PP.44~509. Wang Qimin, Visual Creative Thinking and Methodology, Zhongzhong Book Bureau, April, 86 PP. 08~1110. Zhang Guoxian, image meaning Research on the meaning of communication, Master's thesis of Institute of Visual Communication Design, Yunlin University of Science and Technology, PP.11~2111. Zou Yongsheng, Application and discussion of visual rhetoric skills in graphic design, Master's thesis, Institute of Applied Arts, Jiaotong University, PP.18~2112 Ou Xiu-Ming, Applied Color Science, Lion Book Company, August 83, P.12913. Lin Shu-Yi, Color Science, Sanmin Book Bureau, September 78, PP.18~1914. Li Changjun, Art and Visual Psychology, Xiong Lion Book Company, Sep. 70, PP.335~34315. Du Ruozhou, Visual Experience, Lion & Books Company, December 67, PP.38~4616. Liang Chunsheng, Art & Appreciation, Yuanliu Publishing House, 1993 May, PP.25~3217. Lai Yihui, Color Planning, Beixing Book Company, July 82, P.42 P.93 â– Department of Print Communication, Chinese Culture University, Taiwan He Yuping (End)
Coating type UV coating PP matte surface effects of the full version of the printing ink concentration greater than unglazed.
Less than unglazed.
The yellow version of the printing plate was higher than the unglazed, but the blue, magenta, and black plates were larger than the unglazed plates, but did not significantly change the reproduction concentration.
Both are smaller than unglazed, but the range of change is large.
The dot enlargement situation is larger than the unglazed from 10% to 90%.
Intersections between 80% and 90% of the dots intersect unglazed dot gain curves less than unglazed.
Hue difference and non-glazing are not much different.
Better than not polished.
There is no difference between gray and unglazed.
Better than not polished.
Effectiveness is not much different from non-glazing.
Better than unglazed.
Printing ink has an increasing trend.
There is a weakening trend.
Chromatic aberration has a greater response to color patches of dots.
For color dots, the response of color patches is small.
The print contrast value of the print contrast flat screen is less than the unprinted print contrast value.
The relative printing contrast value of the flat screen is less than the unglazed printing contrast value.
The gray balance curve, regardless of color, is located on the unglazed gray balance curve.
The gray balance curve of the highlight and midtones lies above the unglazed, but in the shadow region, the curve falls below the unglazed gray balance curve.
The stability of the printed matter before and after polishing was greater in the midtones, and (less stable) but the variation after the darkness (instability) slowed down.
With the enlargement of outlets, there is a large variation. (more unstable)
Second, the visual sensation of the 50 students was based on the "Unglazed posters and posters on UV light and PP matte surface light. Which one gave you the best visual experience and why?" A simple survey revealed that: ) Among the 50 students, 5 prefer unglazed posters: Because they look more natural. (B) 17 out of 50 students liked the UV varnish poster: because the colors look bright, there are reflective effects, brighter and more attractive attention, the poster feels more realistic, the product (pattern) looks realistic, three-dimensional, PP The color of the light on the matte surface is suppressed, so I do not like it. (c) Of the 50 students, 28 were fond of the PP matte light poster: because the poster appeared to be more textured, comfortable, soft, natural, beautiful, advanced, delicate, non-glareous, the eyes did not feel reflective, and the visual experience was higher , posters have a sense of value. Lu, Conclusions, and Suggestions Posters for posters are a way of conveying goods and information. It is important to strengthen the poster surface effect! Whether the poster is polished or not has a great influence on visual perception. According to our survey, only 5 out of 50 people like unglazed posters, and the remaining 45 people are fond of light posters. Showing an unglazed poster seems ordinary and unattractive, it is easy to turn a blind eye and lose its effect. However, the lighted poster was just like the one that added the beauty of the one, and it also showed an exquisite visual feeling! Different types of glazing bring different visual perceptions. Visually speaking, it is obvious that the poster color of UV varnish posters is brighter and appears more saturated, which increases the color effect of posters. Brightness, high chroma, and long-wavelength hue can make people excited. (Li Changjun Art and Visual Psychology) has an attractive effect. The surface of PP fog suppresses the expression of color, and the extinction method produces a little bit of a visual experience. Although the color is not so vivid, it creates a visually soft texture effect. The choice, separation, cognition and understanding in the vision often affect the mind through the brain. In terms of color, color appeals to feelings. Color produces an immediate effect and becomes a symbol. Glossing can brighten the inherent color, but under the excessive effect it destroys the color. Too bright colors can cause people's psychological unhappiness. Troubled and disgusted. In terms of bright colors, moderate brightness evokes pleasure and excitement in human emotions. The posters with UV light added a brighter film than the non-lighted posters, resulting in an increase in color saturation and people's visual emotions. Soft colors will cause people to produce a quiet, peaceful mood. The color of posters after PP fog is excellent and meticulous. The visual influence of the mind produces a calming effect, and the emotions are soothed, which also creates a soothing function. Poster glazing is helpful for posters, but what kind of light needs to be selected should be matched with the design content of the posters. Lively, lively, pleasant and exciting design content is more suitable for bright glazing techniques. The gentle, beautiful and warm design is more suitable for soft glazing. Many glazing methods are now biased towards partial glazing, creating more refined visual enjoyment in response to changing consumers. For the public's visual experience can be more explored, in order to be able to inspire different ways of glazing performance, giving people a different visual enjoyment! References 1. Sun Yizhi, Research on Color Differences in Pre- and Post-printing Papers, 1995 Annual Report of Printing Technology, PP.140~1512. Qiu Yiming, really dazzling ~ reviewing the influence of coating types on print quality and environmental quality assessment, 1997 Printing and Design September-October , PP.32 ~ 363. Qiu Xianliang, Jing Cailiang - Add the overall aesthetic beauty of the printing process, 1996 printing and design in May PP.34 ~ 364. Chen Politics, paper coating coating technology, Huagang Journal of Print and Communication 28, PP.13~205. Cao Shuyuan, Discussion on the Variation of Dots and Colors in the Process of Color Copying, Huagang Printing and Communications Journal No. 28, pp. 56~646. Yang Fuxin, Post-printing Surface Finishing Technology-- Light, Printing Technology March 1999, PP.73~797. Li Peifen, good show behind the combination of advanced technology and technology to promote upgrading, 1998 printing and design from September to October, PP.38 ~ 398. Wang Xiaojin, structural assessment method Application to Advertising Design Works - Taking Magazine Advertising Jobs as an Example, Yunlin University of Science and Technology Visual Communication Design Institute Master's Thesis, PP.44~509. Wang Qimin, Visual Creative Thinking and Methodology, Zhongzhong Book Bureau, April, 86 PP. 08~1110. Zhang Guoxian, image meaning Research on the meaning of communication, Master's thesis of Institute of Visual Communication Design, Yunlin University of Science and Technology, PP.11~2111. Zou Yongsheng, Application and discussion of visual rhetoric skills in graphic design, Master's thesis, Institute of Applied Arts, Jiaotong University, PP.18~2112 Ou Xiu-Ming, Applied Color Science, Lion Book Company, August 83, P.12913. Lin Shu-Yi, Color Science, Sanmin Book Bureau, September 78, PP.18~1914. Li Changjun, Art and Visual Psychology, Xiong Lion Book Company, Sep. 70, PP.335~34315. Du Ruozhou, Visual Experience, Lion & Books Company, December 67, PP.38~4616. Liang Chunsheng, Art & Appreciation, Yuanliu Publishing House, 1993 May, PP.25~3217. Lai Yihui, Color Planning, Beixing Book Company, July 82, P.42 P.93 â– Department of Print Communication, Chinese Culture University, Taiwan He Yuping (End)
Lifting Column,Lifting Column For Furniture,Lifting Desk Column,Height Adjustable Desk Legs
Ningbo Yinzhou Beilian Machinery And Equipment Co., Ltd. , https://www.astandingdesk.com