Color Research and Application最新文献

{"title":"Chanel's Lipsticks Color Trend Evolution From 1960 Until Today","authors":"Hélène de Clermont-Gallerande,&nbsp;Julie Deydier","doi":"10.1002/col.70139","DOIUrl":"https://doi.org/10.1002/col.70139","url":null,"abstract":"<div>\u0000 \u0000 <p>This study characterizes the evolution of CHANEL lipstick colors from 1960 to 2020 using complete archival color charts. Because some early lipstick specimens are no longer preserved, the suitability of the charts as proxies was evaluated by comparing 146 surviving lipstick samples with their corresponding printed representations. Measurements were acquired in CIELAB using an X-Rite VS450 noncontact spectrophotometer under 45°:0° geometry, with a 6-mm measurement area, CIE standard illuminant D65, and the 10° standard observer. The mean CIEDE2000 color difference was 3.12 ± 2.63 (median 2.38; interquartile range 1.54–3.79; range 0.35–15.33); 64.4% and 85.6% of pairs had ΔE00 values ≤ 3 and ≤ 5, respectively. The complete set of 513 chart colors was then assigned Natural Color System (NCS) notations and analyzed by hue, blackness, and chromaticness. The results reveal a persistent predominance of yellowish-red colors, recurrent highly chromatic reds, and comparatively few bluish-reds. NCS blackness generally increased after 1972, with near-black colors becoming prominent between 1995 and 2010. The number of colors expanded from 12 in 1960 to 55 in 2005 before subsequently contracting. Over time, several ranges occupied increasingly dense regions of the selected NCS representation, while differences in pearlescence, opacity, and finish provided additional lipsticks differentiation not captured by the present color-charts analysis. These findings establish a CHANEL specific Color Time Line and demonstrate the value, as well as the limitations, of archival commercial color charts for longitudinal color research.</p>\u0000 </div>","PeriodicalId":10459,"journal":{"name":"Color Research and Application","volume":"51 6","pages":""},"PeriodicalIF":2.0,"publicationDate":"2026-10-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"149205905","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"工程技术","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Yellow in Color Naming and Matching: Lexical Concentration and Local Convergence in Delayed Matching","authors":"Samo Kreft,&nbsp;Marko Kreft","doi":"10.1002/col.70135","DOIUrl":"https://doi.org/10.1002/col.70135","url":null,"abstract":"<p>Yellow is an established color category despite being generated by a mixture of primaries on RGB displays. We examined its lexical accessibility, representative-color selections, and matching accuracy using two complementary tasks. A web-based survey asked participants to list 10 color terms and select their best representatives from a 64-field RGB grid. Analyses included English, German, Latvian, and Slovenian samples, comprising 396 participants. Yellow was frequently listed and showed concentrated selections in all four samples, although red was similarly concentrated in some samples and had higher cognitive salience. In a separate experiment, 32 participants matched 40 positions along a display-generated color sequence, either after a 10-s delay or while the target remained visible. Spectroradiometric characterization confirmed strongly non-uniform color spacing. Expressing target–response differences in CIEDE2000 units showed that direct matching and delayed reproduction remained accurate around target where the red and green RGB channels were both maximal [RGB (1,1,0); Target 26, yellow], and a central tendency toward yellow was observed for neighboring targets. Yellow therefore combined lexical accessibility and concentrated exemplar selection with accurate simultaneous matching, and a central tendency in delayed reproduction.</p>","PeriodicalId":10459,"journal":{"name":"Color Research and Application","volume":"51 6","pages":""},"PeriodicalIF":2.0,"publicationDate":"2026-10-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://onlinelibrary.wiley.com/doi/epdf/10.1002/col.70135","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"149205940","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"工程技术","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Color Matching and Observer Metamerism Across Displays With Narrow-Band Primaries and Color Gamuts Approaching Rec. 2020","authors":"Yuetong Shen,&nbsp;Minchen Wei","doi":"10.1002/col.70136","DOIUrl":"https://doi.org/10.1002/col.70136","url":null,"abstract":"<p>Color matching functions (CMFs) serve as the fundamental basis for deriving tristimulus values and chromaticities, which are essential for color specification, calibration, and reproduction. With the rapid advancement of display technologies, modern commercial devices increasingly adopt displays with narrower primary spectra and larger color gamut areas approaching Rec. 2020. In this study, ten observers performed color matching using five displays selected to cover color gamuts from sRGB to those approaching Rec. 2020, with the stimuli having a field of view of 20.2°. The results showed that displays with wider color gamuts and narrower-band primaries generally introduced greater observer metamerism and reduced the accuracy of the standard CIE CMFs in characterizing the average color matches. None of the four CIE CMFs provided accurate characterization across all displays. The CIE 2006 10° CMFs performed best for the neutral stimulus, while the CIE 1931 2° CMFs performed better for the blue and violet stimuli. For the laser projector with the narrowest primaries, all the four CIE CMFs failed to characterize color matches with average chromaticity differences greater than 0.008 <i>Δu</i>′<i>v</i>′, and the observer metamerism was substantially greater than the other displays.</p>","PeriodicalId":10459,"journal":{"name":"Color Research and Application","volume":"51 6","pages":""},"PeriodicalIF":2.0,"publicationDate":"2026-10-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://onlinelibrary.wiley.com/doi/epdf/10.1002/col.70136","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"149205941","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"工程技术","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Impact of Material Aging and Time-Dependent Factors on the Color Stability of Dental Shade Guides: A Spectrophotometric Assessment","authors":"Miriam Valor Priego,&nbsp;Ari Braemer,&nbsp;Cristina Obispo Díaz,&nbsp;Isabel Reche Martínez,&nbsp;Juan Antonio Martínez Vázquez de Parga,&nbsp;Alicia Celemin Viñuela","doi":"10.1002/col.70134","DOIUrl":"https://doi.org/10.1002/col.70134","url":null,"abstract":"<div>\u0000 \u0000 \u0000 <section>\u0000 \u0000 <h3> Background/Objectives</h3>\u0000 \u0000 <p>Dental shade guides are widely used for clinical color determination; however, their chromatic stability under routine clinical use remains uncertain. This study aimed to evaluate whether color changes occur in dental shade guide tabs subjected exclusively to normal clinical use, without accelerated disinfection or sterilization procedures.</p>\u0000 </section>\u0000 \u0000 <section>\u0000 \u0000 <h3> Materials and Methods</h3>\u0000 \u0000 <p>Color measurements were performed using a Vita Easyshade V spectrophotometer in Guide Check mode on complete Vita 3D-Master shade guides, including one unused guide and six guides clinically used for more than 5 years. Each shade tab was measured three times under standardized conditions, and the categorical color parameters (value, hue, and chroma) were recorded according to the manufacturer's shade classification. Identification accuracy was defined as the percentage of exact agreement between the spectrophotometer output and the nominal shade tab designation. Color agreement was evaluated using descriptive analysis and Cohen's <i>κ</i> statistics.</p>\u0000 </section>\u0000 \u0000 <section>\u0000 \u0000 <h3> Results</h3>\u0000 \u0000 <p>The spectrophotometer demonstrated an overall identification accuracy of 82.4% (95% CI: 79.2–85.6) based on 546 total measurements. The new guide showed a color match rate of 89.3% (<i>κ</i> = 0.853), whereas guides used for more than 5 years exhibited a significantly lower match rate of 51.1% (<i>κ</i> = 0.489). Differences in agreement between new and used guides were statistically significant (<i>p</i> &lt; 0.001).</p>\u0000 </section>\u0000 \u0000 <section>\u0000 \u0000 <h3> Conclusions</h3>\u0000 \u0000 <p>The Vita Easyshade V spectrophotometer showed high reliability for shade identification. However, clinically used Vita 3D-Master shade guides demonstrated substantial color degradation over time, which may compromise their reliability for clinical shade selection.</p>\u0000 </section>\u0000 </div>","PeriodicalId":10459,"journal":{"name":"Color Research and Application","volume":"51 6","pages":""},"PeriodicalIF":2.0,"publicationDate":"2026-10-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"149205438","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"工程技术","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Use of Color As a Tool for Conveying Emotion in Cinematic Space Design: An Analysis of Auteur Directors' Films","authors":"Büşra Zeynep Dalbay,&nbsp;Umut Tuğlu Karslı","doi":"10.1002/col.70131","DOIUrl":"https://doi.org/10.1002/col.70131","url":null,"abstract":"<div>\u0000 \u0000 <p>The design of cinematic spaces by directors plays a crucial role in shaping the audience's experience. Directors who adopt the auteur theory, with their unique cinematic language, often create distinctive cinematic spaces that significantly impact the audience. Color, as a vital element of visual perception, is one of the primary tools used by auteur directors to evoke emotions within these spaces. The paper aims to investigate the use of color as a tool for conveying emotion in cinematic space design across the films of auteur directors. Following a comprehensive literature review on cinematic space and the use of color within these spaces, a research is conducted to investigate how auteur directors use color to symbolize various emotions and situations. In the research, the primary and secondary colors used by auteur directors <i>Wong Kar-wai, Wes Anderson, Jean-Luc Godard, Dario Argento, Stanley Kubrick, Lynne Ramsay, Sean Baker</i> and <i>Tom Ford</i> in their cinematic spaces are examined with a semiotic approach and their effects on color symbolism are discussed. The color palettes of their cinematic spaces are identified, determining both their denotations and connotations, while exploring the relationship between color, space, and narrative from an interdisciplinary perspective. A unique aspect of this research is its comparative analysis of the similarities and differences in how auteur directors from America, Europe, and Asia use color as a tool for conveying emotion within cinematic spaces. It should be emphasized that the analysis does not aim to define each director's overall color aesthetics, but rather examines how color is employed within a selected film by each director as a case study. Consequently, the findings are discussed to reflect the specific narrative strategies identified within the chosen samples. Key findings of the study reveal that the color preferences of auteur directors to convey emotion or situation differ significantly from one director to another. Contrary to the studies where the meanings of colors used in cinematic spaces are clearly defined, the findings of this study reveal that auteur directors' use of colors in cinematic spaces extends beyond such frameworks. Auteur directors who seek to create a distinctive narrative language often transcend these boundaries, using colors to convey a broad spectrum of emotions. The findings of the study not only contribute to the literature on cinema, architecture, spatial psychology, and color research, but also offer practical contributions to directors, architects, designers and color experts on how color can be used in spaces to create a unique narrative language.</p>\u0000 </div>","PeriodicalId":10459,"journal":{"name":"Color Research and Application","volume":"51 6","pages":""},"PeriodicalIF":2.0,"publicationDate":"2026-10-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"149146084","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"工程技术","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Photostability and Colorimetric Properties of Azobenzene-Based Photochromic Coatings: Performance Enhancement by TiO2 Nanoparticles and UV Protective Varnish","authors":"Sanja Mahović Poljaček,&nbsp;Tamara Tomašegović,&nbsp;Katarina Itrić Ivanda","doi":"10.1002/col.70132","DOIUrl":"https://doi.org/10.1002/col.70132","url":null,"abstract":"<div>\u0000 \u0000 <p>Azobenzene-based photochromic pigments are widely studied for their tunable photochemical behavior and adaptability as functional printed coatings. This study evaluated the colorimetric, chemical, and functional properties of printed coatings containing blue, violet, and orange photochromic pigments modified with titanium dioxide (TiO₂) nanoparticles and protected with an overprint varnish. The effects of these modifications on UV-induced aging, lightfastness, pigment activation, and photofading of printed layers on paperboard were systematically examined. Incorporation of TiO₂ nanoparticles produced higher lightness values of coatings compared to unmodified samples, while varnish application resulted in a paler, less saturated appearance. FTIR-ATR and 2D correlation spectroscopy revealed chemical changes in the printed coatings due to UV exposure, particularly with peaks corresponding to carbonyl and aromatic vibrations showing altered intensity in aged samples. UV-induced aging caused the most pronounced degradation and color shifts in unmodified coatings, whereas samples containing nano-TiO₂ showed smaller color shifts throughout aging cycles; the least change was observed in varnished surfaces. Fluorescence spectroscopy indicated that the detected emission originated predominantly from the paperboard substrate, with negligible fluorescence contribution from the photochromic pigments under applied conditions. Monitoring pigment activation and photofading revealed visible differences between modified and unmodified coatings, with the greatest decrease in photochromic effect occurring immediately after removal of the UV source. Nano-TiO₂ addition partially slowed fading, and varnish provided the highest color stability. Overall, the proposed modifications demonstrated potential for improving lightfastness and delaying photofading, emphasizing interactions among ink components and offering opportunities for controlled application of photochromic functional coatings.</p>\u0000 </div>","PeriodicalId":10459,"journal":{"name":"Color Research and Application","volume":"51 6","pages":""},"PeriodicalIF":2.0,"publicationDate":"2026-10-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"149145886","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"工程技术","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Semantic Perception of Color Schemes Across Contrasting Semi-Public Study Environments","authors":"Serra Koz,&nbsp;Nilgün Olguntürk","doi":"10.1002/col.70133","DOIUrl":"https://doi.org/10.1002/col.70133","url":null,"abstract":"<p>Although color schemes are widely acknowledged as a crucial element of interior design, less is known about how they influence the semantic perception of interior spaces. This study examined the effects of various color schemes on semantic assessments in two contrasting semi-public study spaces: libraries and cafés. Four color scheme types (monochromatic, analogous, complementary, and split-complementary) were applied to 16 digitally produced interior stimuli in a within-subjects experimental design. A 25-item semantic differential scale was used by 40 individuals to assess each stimulus. Five semantic dimensions <i>(Orderliness, Environmental Calmness, Stylistic Modernity, Spatiality, and Environmental Openness)</i> were found by exploratory factor analysis. Interior typology significantly affected all five dimensions, while linear mixed-effects models also showed significant color-scheme effects across all five semantic dimensions. Post hoc comparisons further indicated that the pattern of these effects differed across semantic dimensions. No significant Color Scheme × Typology interactions were observed across the five semantic dimensions, suggesting that the effects of color scheme were broadly consistent across the two typologies. The results indicate that both color scheme and interior typology contribute to environmental meaning, while color-scheme effects were broadly consistent across the two typologies.</p>","PeriodicalId":10459,"journal":{"name":"Color Research and Application","volume":"51 6","pages":""},"PeriodicalIF":2.0,"publicationDate":"2026-10-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://onlinelibrary.wiley.com/doi/epdf/10.1002/col.70133","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"149145679","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"工程技术","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Predicting Post-Foundation Skin Color With a Coverage-Dependent Optical Mixing Model Beyond the Continuous-Film Assumption","authors":"YungKyung Park,&nbsp;Chun ho Park,&nbsp;Donghoan Seo,&nbsp;Sujung Choi,&nbsp;Sinae Kim,&nbsp;Eunjung Na,&nbsp;Yunsil Oh","doi":"10.1002/col.70130","DOIUrl":"https://doi.org/10.1002/col.70130","url":null,"abstract":"<div>\u0000 \u0000 <p>Cosmetic foundation has traditionally been modeled as a continuous, optically homogeneous film over the skin, an assumption that underlies most color-prediction frameworks based on Kubelka–Munk theory. However, microscopic observation shows that, in practice, foundation deposits form spatially discrete particle distributions on a partially exposed substrate rather than a uniform film. Therefore, the perceived color is more naturally understood as an optical mixture of skin and foundation contributions, weighted by an effective coverage. In this work, we adopt this partial-coverage perspective and formulate a closed-form prediction of post-application CIE <i>L</i>*<i>a</i>*<i>b</i>* values as a smoothstep-weighted interpolation between bare-skin and foundation reference values, modulated by a small exponent that depends on the lightness difference between skin and foundation. The model was validated against 54 in vivo spectrophotometric measurements collected from the forearms of 6 subjects, covering 3 foundation lightness levels and 3 application strengths. The proposed model achieved a mean CIEDE2000 of 2.74 in-sample and 3.01 under leave-one-subject-out cross-validation, with the medium-shade regime reaching Δ<i>E</i>₀₀ ≈ 2, at or below the conventional perceptual threshold. The results further reveal a systematic dependence of the effective coverage slope on foundation lightness, with lighter foundations showing steeper saturation behavior. They also indicate that prediction accuracy is influenced by the foundation-reference measurement procedure. Although the limited subject pool does not yet permit fully generalized parameterization, the present work establishes a partial-coverage optical mixing framework and a practical closed-form model for predicting post-foundation skin color.</p>\u0000 </div>","PeriodicalId":10459,"journal":{"name":"Color Research and Application","volume":"51 6","pages":""},"PeriodicalIF":2.0,"publicationDate":"2026-09-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"149072559","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"工程技术","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"An Effective EOTF for Showing Gradients on 10 000 Nit Rec. 2020 Displays","authors":"Ziyuan Liu,&nbsp;Minchen Wei,&nbsp;Changjiu Yang,&nbsp;Qiyan Zhai,&nbsp;Jiantong Zhou","doi":"10.1002/col.70127","DOIUrl":"https://doi.org/10.1002/col.70127","url":null,"abstract":"<div>\u0000 \u0000 <p>Electro-Optical Transfer Function (EOTF) plays a critical role in image encoding, which aims to minimize the number of bit-depth while preventing visible artifacts of contour banding. Past studies commonly employed Gabor patches (i.e., sine-wave gratings) as stimuli, but visual experiences suggest that artifacts are commonly observed in images with transitions and gradients. Therefore, we carefully designed, built, and calibrated an HDR/WCG display system, which can cover a wide luminance range (i.e., 0.005–12 000 cd/m²) and a color gamut close to Rec. 2020. The stimuli were carefully designed to be gradients/transitions with changes in luminance and simultaneous changes in luminance and chroma, and to have systematically varied luminance, number of bands, and color of stimuli. The experiment results suggested that the achromatic stimuli introduced the lowest threshold of contrast. In particular, the thresholds at the low luminance levels were below those characterized by the Barten curve and the 10-bit PQ curve, while those at the high luminance levels were above these two curves. The insufficient digital counts at low luminance levels for the 10-bit PQ curve corroborates the visual experience. Based on the experiment results, an effective 10-bit EOTF was proposed, which was believed to prevent visible artifacts for showing gradients on 10 000 cd/m² Rec. 2020 displays.</p>\u0000 </div>","PeriodicalId":10459,"journal":{"name":"Color Research and Application","volume":"51 5","pages":""},"PeriodicalIF":2.0,"publicationDate":"2026-09-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"149146774","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"工程技术","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Color Distribution Rarity in Naturalistic Scenes as a Possible Integrative Descriptor of Preference for Abstract Paintings","authors":"Ikuto Hanada,&nbsp;Takehiro Nagai","doi":"10.1002/col.70129","DOIUrl":"https://doi.org/10.1002/col.70129","url":null,"abstract":"<p>Color preferences may be shaped by the statistical regularities of naturalistic scenes. To examine this possibility, we investigated whether preference for abstract paintings is related to the rarity of the color distributions of the naturalistic images used as donors. As an indirect measure of this rarity, we used a variational-autoencoder-based donor-image rarity index. We specifically tested a restricted matching-to-nature hypothesis, which predicts higher preference for more typical color distributions within the range of color distributions observed in naturalistic images. Abstract painting stimuli were generated by mapping color distributions from naturalistic images onto several base images, and preference was measured using Thurstone's pairwise comparison method. Contrary to the prediction of the restricted matching-to-nature hypothesis, the results showed a moderate positive correlation between the donor-image rarity index and preference, indicating that painting stimuli with higher donor-image rarity indices tended to be preferred. The donor-image rarity index was also associated with greater variance in lightness, chroma, and hue, and these statistics were likewise positively associated with preference. These findings provide indirect support for the possibility that the rarity of color distributions within the naturalistic-image range captures variance shared by multiple color-distribution statistics relevant to abstract painting preference.</p>","PeriodicalId":10459,"journal":{"name":"Color Research and Application","volume":"51 5","pages":""},"PeriodicalIF":2.0,"publicationDate":"2026-09-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://onlinelibrary.wiley.com/doi/epdf/10.1002/col.70129","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"149048235","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"工程技术","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}