Three‐dimensional color prediction modeling of single‐ and double‐layered woven fabrics

In this research, the three‐dimensional structural and colorimetric modeling of three‐dimensional woven fabrics was conducted for accurate color predictions. One‐hundred forty single‐ and double‐layered woven samples in a wide range of colors were produced. With the consideration of their three‐dimensional structural parameters, three‐dimensional color prediction models, K/S‐, R‐, and L*a*b*‐based models, were developed through the optimization of previous two‐dimensional models which have been reported to be the three most accurate models for single‐layered woven structures. The accuracy of the new three‐dimensional models was evaluated by calculating the color differences ΔL*, ΔC*, Δh°, and ΔE_CMC(2:1) between the measured and the predicted colors of the samples, and then the error values were compared to those of the two‐dimensional models. As a result, there has been an overall improvement in color predictions of all models with a decrease in ΔE_CMC(2:1) from 10.30 to 5.25 units on average after the three‐dimensional modeling.     

Gender difference in color preference across cultures: An archetypal pattern modulated by a female cultural stereotype

A gender difference in color preference among British participants has been repeatedly reported, in which both males and females show a preference for blue‐green colors, while females express an additional preference for pink‐purple colors. To investigate the robustness of gender difference in color preference in a different culture, we tested 81 young adult Indians from a school of design and compared them to 80 young British students in Psychology. The 35‐item International Personality Item Pool (IPIP) and Bem Sex Role Inventory (BSRI) questionnaires were also administered to explore possible links between personality traits, gender schemata, and color preferences. Results confirmed a gender difference in both cultures; participants collectively expressed a preference for cool over warm colors, while in addition females showed a preference for pink colors, with a warm bias for Indian females and a cool bias for British females. While these results extend gender difference to Indian culture and support the universality of an underlying pattern they also reveal a culture‐specific contribution essentially observed in females. In British participants, color preference was correlated exclusively with BSRI scores in females and overwhelmingly with IPIP scores in males; this gender‐specific pattern of correlation was not replicated in the Indian sample. Results point to an archetypal pattern of gender difference in color preference with a remarkable cross‐cultural similarity in men and a subtle but significant cultural difference in women whose origin is yet to be explained.     

Computational color analysis of paintings for different artists of the XVI and XVII centuries

We have performed a computational color analysis of images of paintings for six master painters: Titian, Rubens, El Greco, Velázquez, Rembrandt, and Vermeer. These painters show the evolution from the renaissance to the baroque style. Different first and second‐order statistical parameters have been obtained and analyzed in order to fix which of them can be common for the different artists and which of them can be representative of a certain period of time or the evolution of the art. The firsts include the orientation and semi‐axes ratio of the ellipses that define the gamut in the chromaticity diagram and the dependencies with the frequency of the power of the Fourier transforms. Most differences among artists can be found in the volume and area of the gamut, the number of discernible colors which is greater for Titian, El Greco and Rubens, compared to Velázquez, Rembrandt and Vermeer, the average value of L* and the number of dark pixels.     

Visual customization: Diversity in color preferences in the automotive interior and implications for interior design

Evolving multimodal mobility needs influences established human–product relationships and requires a deeper insight into color preferences for car interiors. Hence, a study was conducted in which 204 members of a web contest created 1,265 designs. After a peer‐evaluation process, 53 most‐appreciated and 34 least‐preferred interior color compositions were identified and compared to identify patterns in color choices. Besides, visual lightweight design by layering of large interior components such as the seat, a modest use of color and patterns accompanied by repetition and the framing of the entire interior to create a feeling of spaciousness were found. Additionally, differences in the type of color between most and least favored color designs were found. Brown and beige occur more frequently among the top‐ than the worst‐rated designs. Larger surfaces are favored in lighter hues and smaller components in darker hues.     

Investigation of metallic color perception using real‐world materials

Metallic colors have a unique appearance of glossiness with features such as highlights, contrast, and reflections on their surface, and therefore, metallic objects are very attractive to humans. Especially, gold, silver, and copper colors are familiar metals used as decorative materials, coins, and other furnishings. However, the mechanism and condition of metallic perception have not been fully investigated. There are a few studies for investigating metallic perception using rendered patches or images, but there is no study using real‐world objects. In our previous study, we developed a simple representation technique that made real objects appear to be made of gold by projecting a solid color onto a target nonmetallic object. By using the representation technique, in this study, we have further investigated the perception of metallic appearance such as gold, silver, and copper using real‐world materials, and analyzed the difference between these metallic perceptions. Our results indicate that the perception of the metallic object is different for gold, silver, and copper. Our new findings are as follows: the glitter required for the perception of gold and silver becomes an obstacle to the perception of copper; the metallic perception reveals that learning experience might be strongly affecting; and luminance adjustment is sensitive to the perception of metallic objects.     

基于亲生物理论的医疗空间色彩设计研究

人类在漫长的进化过程中形成了对自然的本能需求,亲生物设计从生物进化的角度以更系统和更合理的方法将自然重新融入现代建筑环境,构建人与场所之间的积极交互。源于光、水、风、植物、动物等自然元素的亲生物色彩设计具有令人愉悦的艺术感染力,动态的视觉效果暗示着蓬勃的生命力,能够系统、清晰地传递复杂的环境信息,引发观者的情感共鸣和情感依恋。从环境疗愈的角度看,具有亲生物特征的色彩设计对改善患者在医疗空间中的体验,激发患者的自我康复能力具有重要意义。亲生物设计是可持续发展设计中不可或缺的一环,两者的结合有助于创造兼具低环境影响和高情感联系的设计,以实现真正和持久的可持续性发展。     

基于光刀图像的机器人示教纠偏方法

为了解决机器人辅助在线检测系统示教过程中效率低、人为干预多的问题,针对孔类特征,提出一种通过处理光刀图像获取机器人位姿纠正参数的方法。在该方法中,纠偏过程按照将图像光刀线调整为水平方向、将被测特征调整至图像中央、根据不同特征调整最优扫描方向3个步骤进行。根据光刀图像可以求出测量坐标系与被测特征的位姿关系,并得到该位姿与理想测量位姿的偏差。经过坐标变换即可得到在机器人基坐标系下的调整参数。另外,可利用电脑控制机器人运动,从而实现了纠偏过程的自动化。实验结果表明,该方法可将初始的示教位姿修正为理想位姿,且比传统方式效率更高。     

基于蛋白质组学技术研究秦川牛肉宰后贮藏过程中肌红蛋白含量及其衍生物转化

本实验采用4D-非标记蛋白质组学技术研究秦川牛肉贮藏过程中（0～8 d）肌红蛋白含量及其衍生物的转化情况，阐释冷却秦川牛肉中肌红蛋白含量及其衍生物转化的分子机制。结果表明：贮藏过程中，肌红蛋白表达量在宰后0～4 d上升、4～8 d下降，利用非标记蛋白质组学技术鉴定出与肌红蛋白及其衍生物相关的差异蛋白14 种，具体包括代谢酶、氧化还原酶、过氧化物酶、伴侣蛋白4 类，这4 类蛋白的表达共同调控贮藏过程中肌红蛋白含量的变化及其3 种衍生物之间的转化，具体表现为贮藏过程中肌红蛋白表达量整体呈下降趋势，氧合肌红蛋白相对含量持续下降，脱氧肌红蛋白、高铁肌红蛋白相对含量逐渐增加，导致肉色发生褐变。本研究结果有利于理解秦川牛肉贮藏过程肉类变色的复杂生化变化机制。     

智能光电选矿预选抛废技术研究及应用

随着国家对矿产资源开采的不断深入,富矿石、易选矿石逐渐枯竭,入选的贫矿石和难选矿石比例不断上升,导致生产处理成本增加。人工智能、智能光电选矿技术,可以甄别和分拣矿石,实现提前抛废,对矿石进行预富集,提高矿石的入选品位,提升矿石综合利用率,成为解决经济增长中矿产资源短缺重要手段,确保矿产资源安全和矿业经济稳定发展的研究方向。