多目标灰色决策在采矿方法选择中的应用

提出了采矿方法优劣评判的灰色决策法．对多评价指标的方案决策，提供了一个简单可行的方法．     

PI决策技术分析原理及其应用

根据注水井试井公式,演化、推导出注水井压力据数PI（Pressure Index）计算公式,并表明PI值与流量成正比;与渗透率具有双曲线关系;与注入截面面积相关。对PI决策技术在调剖堵水方面的进一步研究证明,通过PI决策整体调剖,能有效地封堵高渗透层或条带,使油藏在平面和纵向上压力指数值基本接近,力求达到储集层在平面和纵向上均质化,改善中、低渗透层（或条带）的吸水状况,提高注入水波及体积和注入水利用率,遏制油田含水上升速度,提高水驱采收率,延长油田稳产期。对广利油田莱38区块的PI决策整体调剖分析和评价,证明无论在各个方面都有较大的改善,油田开发水平明显提高。     

Progression of color decision making in introductory design education

Color comprises both subjective and objective aspects within its contextual nature. Research on color design tends to explore this seemingly contradictory concerns from theoretical point of view, as well as architectural and design practice. The aim of this study was to observe subjective, intuitive or heuristic and objective, knowledge‐based or analytical attitudes toward color in design education. In the study 84 introductory design students were surveyed progressively to understand their color decision criteria after completion of three 2‐dimensional colored exercises, specific in terms of color education. Students' responses to open‐ended questions were coded according to the 5 categories, under 2 decision making processes derived from the literature; heuristic approach: preferential and symbolic criteria, and analytic reasoning: formal, thematic, and systematic criteria. A distinction between associative and emotional aspects of symbolic criteria was also revealed by the data analysis. The findings showed a shift from heuristic responses to analytic reasoning, as expected. Additionally, it is also investigated that students not only used heuristic approaches but also analytical components (formal and systematic) of color decision making in varying degrees as well, even before any color subjects covered. Thematic color decisions became a major part of the students' design considerations upon completion of color subjects. The observed increase in the number of color criteria interrelated by the students' among almost all categories explicated a complex decision making process particularly in color design and education. These findings were expected to lead to some further understanding in color decision making in design.     

Psychophysical models of consumer expectations and colour harmony in the context of juice packaging

The aim of this study was to develop psychophysical models that predict the influence of pack colours on consumers' psychological responses of fruit juices, such as visually perceived expectations of freshness, quality, liking, and colour harmony. Two existing colour harmony models derived from experiments involving only uniform colour plaques were tested using the juice packaging experimental data. Both models failed to predict the visual results obtained. Nevertheless, two parameters relevant to chromatic difference and hue difference were somewhat associated with the visual results. This suggested that, among all colour harmony principles for uniform colours, only the equal‐hue and the equal‐chroma principles can be adopted to describe colour harmony of packaging used for juice. This has the implication that the principles of colour harmony may vary according to the context in which the colours are used. A new colour harmony model was developed for juice packaging, and a predictive model of freshness was derived. Both models adopted CIELAB colour attributes of the package colour and the fruit image colour to predict viewers' responses. Expected liking and juice quality can be predicted using the colour harmony model while expected freshness can be predicted using the predictive model of freshness. © 2013 Wiley Periodicals, Inc. Col Res Appl, 40, 157–168, 2015     

A study of colour emotion and colour preference. Part III: Colour preference modeling

In this study three colour preference models for single colours were developed. The first model was developed on the basis of the colour emotions, clean–dirty, tense–relaxed, and heavy–light. In this model colour preference was found affected most by the emotional feeling “clean.” The second model was developed on the basis of the three colour‐emotion factors identified in Part I, colour activity, colour weight, and colour heat. By combining this model with the colour‐science‐based formulae of these three factors, which have been developed in Part I, one can predict colour preference of a test colour from its colour‐appearance attributes. The third colour preference model was directly developed from colour‐appearance attributes. In this model colour preference is determined by the colour difference between a test colour and the reference colour (L*, a*, b*) = (50, ?8, 30). The above approaches to modeling single‐colour preference were also adopted in modeling colour preference for colour combinations. The results show that it was difficult to predict colour‐combination preference by colour emotions only. This study also clarifies the relationship between colour preference and colour harmony. The results show that although colour preference is strongly correlated with colour harmony, there are still colours of which the two scales disagree with each other. © 2004 Wiley Periodicals, Inc. Col Res Appl, 29, 381–389, 2004; Published online in Wiley InterScience (www.interscience.wiley.com). DOI 10.1002/col.20047     

A study of colour emotion and colour preference. Part II: Colour emotions for two‐colour combinations

Eleven colour‐emotion scales, warm–cool, heavy–light, modern–classical, clean–dirty, active–passive, hard–soft, harmonious–disharmonious, tense–relaxed, fresh–stale, masculine–feminine, and like–dislike, were investigated on 190 colour pairs with British and Chinese observers. Experimental results show that gender difference existed in masculine–feminine, whereas no significant cultural difference was found between British and Chinese observers. Three colour‐emotion factors were identified by the method of factor analysis and were labeled “colour activity,” “colour weight,” and “colour heat.” These factors were found similar to those extracted from the single colour emotions developed in Part I. This indicates a coherent framework of colour emotion factors for single colours and two‐colour combinations. An additivity relationship was found between single‐colour and colour‐combination emotions. This relationship predicts colour emotions for a colour pair by averaging the colour emotions of individual colours that generate the pair. However, it cannot be applied to colour preference prediction. By combining the additivity relationship with a single‐colour emotion model, such as those developed in Part I, a colour‐appearance‐based model was established for colour‐combination emotions. With this model one can predict colour emotions for a colour pair if colour‐appearance attributes of the component colours in that pair are known. © 2004 Wiley Periodicals, Inc. Col Res Appl, 29, 292–298, 2004; Published online in Wiley InterScience (www.interscience.wiley.com). DOI 10.1002/col.20024     

Packaging design elements and consumers' decision to buy from the Web: A cause and effect decision‐making model

Recent advances in e‐commerce have resulted in significant progress being made toward strategies, requirements, and the development of various mechanisms aimed at influencing consumers' decisions to purchase online. The relationship between different packaging design elements and their effect on consumers' online buying decisions has been less researched, due in part to the lack of statistical power to detect cause and effect relationships between these elements. This study examines the feasibility of multiple‐criteria decision‐making in order to identify and analyze the causal relationships between the different packaging design elements that are required to stimulate consumers' decision to buy products online. Consumers' direct, indirect, and interdependent behaviors in relation to PDEs and purchase decisions were studied for this paper. A total of 142 students (89 males and 53 females, aged 22‐37 years) participated in this study. The results identified several associations between design elements. The four most important PDEs found to influence consumers' decision to buy via the internet were graphics, colours, label information, and country of origin. This study provides the necessary insights into the design of product packaging by targeting aspects related to the appearance of the products' characteristics. Correlations between the various PDEs obtained from this study can be used to increase consumers' interactions with products in e‐commerce environments.     

Technology evaluation and decision making for sustainability enhancement of industrial systems under uncertainty

Technology‐based sustainability enhancement is a key approach for industrial sustainability realization. However, identification of effective technologies for any industrial system could be very challenging. If the available data and information about the industrial system and technologies are incomplete, imprecise, and uncertain, then technology identification could be very difficult. In this article, the authors introduce a simple, yet systematic interval‐parameter‐based methodology for identifying quickly superior solutions under uncertainty for sustainability performance improvement. The methodology is general enough for the study of sustainability enhancement problems of any size and scope. A case study on sustainable development of biodiesel manufacturing demonstrates methodological efficacy. © 2012 American Institute of Chemical Engineers AIChE J, 58: 1841–1852, 2012     

A study of colour emotion and colour preference. Part I: Colour emotions for single colours

This article classifies colour emotions for single colours and develops colour‐science‐based colour emotion models. In a psychophysical experiment, 31 observers, including 14 British and 17 Chinese subjects assessed 20 colours on 10 colour‐emotion scales: warm–cool, heavy–light, modern–classical, clean–dirty, active–passive, hard–soft, tense–relaxed, fresh–stale, masculine–feminine, and like–dislike. Experimental results show no significant difference between male and female data, whereas different results were found between British and Chinese observers for the tense–relaxed and like–dislike scales. The factor analysis identified three colour‐emotion factors: colour activity, colour weight, and colour heat. The three factors agreed well with those found by Kobayashi and Sato et al. Four colour‐emotion models were developed, including warm–cool, heavy–light, active–passive, and hard–soft. These models were compared with those developed by Sato et al. and Xin and Cheng. The results show that for each colour emotion the models of the three studies agreed with each other, suggesting that the four colour emotions are culture‐independent across countries. © 2004 Wiley Periodicals, Inc. Col Res Appl, 29, 232–240, 2004; Published online in Wiley InterScience (www.interscience.wiley.com). DOI 10.1002/col.20010     

Logo colour and differentiation: A new application of environmental colour mapping

Creating a logo design is an important task for a new company wishing to gain entry in a particular industry sector. It requires an initial situation analysis that examines existing logos within the sector, and this information is then used to inform creation of a new logo design. Colour, one of a number of design elements used to create a new logo, is a key element in creating a unique logo and in terms of enabling a logo achieve differentiation in a competitive environment. This article discusses the application of the environmental colour mapping process during the initial situation analysis phase of logo design. The process, which has been applied in urban design studies in Japan, America, France, England, and Norway has recently been augmented with the addition of digital technology. Using a case study approach, the ‘environment’ for the purpose of this study represented the logo designs of organizations within a specific industry sector. The main outcome from the process (colour data presented in the form of a colour map) was examined for patterns of similarity and dissimilarity and an attempt was made to identify new options for logo colours within the sector based on colour differentiation. This study represents a new application of the environmental colour mapping process and a number of limitations and benefits are discussed. © 2010 Wiley Periodicals, Inc. Col Res Appl, 2011     

Some psychological aspects of colour blindness at school: A field study in Calabria and Basilicata (Southern Italy)

Red‐green colour blindness, an inherited X‐linked anomaly, was analyzed both in its biological aspects (genetic frequency) and its pedagogical and psychological implications (only the latter are the exhaustive subject of this analysis). A mass screening was carried out by means of the Ishihara test between 1998 and 2000 in Calabria and Basilicata (South of Italy). A total of 63,933 male and female schoolchildren were investigated, belonging to 351 towns and 655 secondary schools (age range 11–14 years). Then, a psychological questionnaire was administered to the entire sample, while the psychological statistical analysis was made on the answers given by two sub‐samples composed of 34,309 orthochromatic subjects of both sexes and 831 colour‐blind subjects of both sexes. Their answers strengthen the hypothesis that dyschromatopsia could affect the human relations of its recipients starting from their childhood, forcing them to manage their diversity in order to adapt to rules, tools and didactic media and, generally, that dyschromates carry a common feeling which presupposes and takes for granted the univocality of the visual experience. Additionally, 3,082 teachers of different subjects have been submitted to a pedagogical questionnaire, consisting of 13 closed‐open questions, in order to analyze the behavior of the school toward the colour‐blind subject. © 2003 Wiley Periodicals, Inc. Col Res Appl, 28, 216–220, 2003; Published online in Wiley InterScience (www.interscience.wiley.com). DOI 10.1002/col.10148     

Colour and ergonomics: On the selection of a “colour of the year”

The key role of colour in ergonomics has been emphasized by a number of researchers and design professionals. Although several research studies have been published regarding the use of colour in ergonomics, there are still some areas that need to be considered. The issue of deciding a “colour of the year” is an example, which represents a new challenge for researchers in the field of ergonomics. This is of particular interest considering the fact that the nature of research on the selection of a “colour of the year” is generally based on user experience. This paper argues that ergonomics should play a more prominent role in this field to ensure better user experience and performance. This paper highlights specific areas that need further study and development.     

The british building colour standards: Conversion to the notations of munsell,NCS, din,coloroid, colorcurve,and OSA-UCS

This article provides Munsell (aim and actual), NCS (aim and actual), DIN (aim and actual), Coloroid (aim), Colorcurve (aim and actual), and OSA-UCS (aim and actual) notations for the 237 colour samples that comprise BS5252. These notations were obtained from recent spectrophotometric measurement of the standard, using a new version of the colour notation conversion program initially developed at the University of Teesside. © 1995 John Wiley & Sons. Inc.     

造纸专用碳酸钙的制备及其影响因素

通过加入特定的晶形控制剂,制得了适合造纸填料及颜料使用的菱形轻质碳酸钙.并对碳化过程中的一系列影响因素,如碳化温度、石灰乳质量浓度、二氧化碳体积分数、晶形控制剂用量、分散剂用量,进行了研究,确定了制备菱形碳酸钙的最佳工艺条件.     

Munsell and Ostwald colour spaces: A comparison in the field of hair colouring

Colour science has had a very long history, dotted over the millennia with many contributions from the most diverse fields of human knowledge. At the beginning of the 20th century, Albert Henry Munsell, an artist formally trained in academia, and Friedrich Wilhelm Ostwald, Nobel prize for chemistry in 1909 and amateur painter, each envisioned and developed a colour system with a related colour atlas. Both authors recognized the importance of the visual relationship between colours, which they conceived as sensations stemming from, but not merely confined to, pigments and light. We hereby describe the salient features of these colour spaces, their strengths and weaknesses, the authors' analogy of intents and divergence in execution. The contribution of this paper is a discussion on how these are employed both in Italian educational facilities, and salon practice, as well as a suggestion about their use within the industry of human hair cosmetics.     

Different shades of red: The complexity of mineralogical and physico-chemical factors influencing the colour of ceramics

Different techniques (X-ray diffraction, field emission scanning electron microscope, colorimetry, visible-near infrared reflectance spectroscopy) were carried out to investigate the cause of colour changes of traditional ceramic materials. Two clayey materials of different composition, collected in the Bay of Naples, were fired in oxidising atmosphere at different temperatures resulting in different shades of red colour.Hematite is responsible of the reddish hue of ceramics and its nucleation is strictly related to firing temperature and chemical composition of the raw materials. A low CaO concentration allowed hematite to form in higher amounts providing a more intense reddish hue at high firing temperatures (over 950 °C). At the highest temperature (1100 °C) all samples showed darker colour due to increased size of iron oxide particles. Black core developed in Ca-rich ceramics fired at low temperatures as the short time of firing is insufficient to complete iron oxidation within the matrix, except in those containing high temper amounts. Indeed, microstructural modification occurs due to the presence of discontinuities among temper grains and matrix, which improves the circulation of oxygen in the core of ceramics.     

Unique hue data for colour appearance models. Part I: Loci of unique hues and hue uniformity

Psychophysical experiments were conducted to assess unique hues on a CRT display for a large sample of colour‐normal observers (n = 185). These data were then used to evaluate the most commonly used colour appearance model, CIECAM02, by transforming the CIEXYZ tristimulus values of the unique hues to the CIECAM02 colour appearance attributes, lightness, chroma and hue angle. We report two findings: (1) the hue angles derived from our unique hue data are inconsistent with the commonly used Natural Color System hues that are incorporated in the CIECAM02 model. We argue that our predicted unique hue angles (derived from our large dataset) provide a more reliable standard for colour management applications when the precise specification of these salient colours is important. (2) We test hue uniformity for CIECAM02 in all four unique hues and show significant disagreements for all hues, except for unique red which seems to be invariant under lightness changes. Our dataset is useful to improve the CIECAM02 model as it provides reliable data for benchmarking. © 2010 Wiley Periodicals, Inc. Col Res Appl, 2011     

The influence of Ca2+ and Zn2+ doping on the development of sustainable pigments based on GdFeO3 perovskite: From a reddish colour towards a pure black

Black pigments are very commonly used and arouse widespread interest in the ceramic industry. Nevertheless, these pigments contain toxic elements that are detrimental to human health. In view of this, the present work is focused on the development of sustainable black pigments prepared by a coprecipitation method at 1200 °C. Samples with the nominal formula (Gd_1–xCa_x)(Fe_0.95Zn_0.05)O_2.975–x/2 (x = 0.00, 0.05, 0.10) showed single-phase orthorhombic perovskite. The presence of dopants played an important role in the reduction of Fe³⁺ to Fe²⁺ and caused different local distortions in the structure which explained the final black colouration of these pigments in comparison with the red GdFeO₃ sample. The loss of symmetry and the increase in the number of d-d transitions of iron may explain the aforementioned changes. Co-doped pigments reached low C* values, improving on the purest black colour obtained in a commercial black ceramic pigment, which contains toxic elements. In addition to presenting good NIR solar reflectance values of up to 8%, the final colours of these pigments were also stable after their application in a commercial transparent glaze at 1080 °C that could be used for tiles.