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design/#2d
One way in which a resolution III design can be enhanced and turned
into a resolution IV design is via foldover (e.g., see Box and Draper,
1987, Deming and Morgan, 1993): Suppose you have a 7-factor design
in 8 runs:
Design: 2**(7-4) design
Run A B C D E F G
1 1 1 1 1 1 1 1
2 1 1 -1 1 -1 -1 -1
3 1 -1 1 -1 1 -1 -1
4 1 -1 -1 -1 -1 1 1
5 -1 1 1 -1 -1 1 -1
6 -1 1 -1 -1 1 -1 1
7 -1 -1 1 1 -1 -1 1
8 -1 -1 -1 1 1 1 -1
This is a resolution III design, that is, the two-way interactions will be
confounded with the main effects. You can turn this design into a
resolution IV design via the Foldover (enhance resolution) option. The
foldover method copies the entire design and appends it to the end,
reversing all signs:
Design: 2**(7-4) design (+Foldover)
New:
Run A B C D E F G H
1 1 1 1 1 1 1 1 1
2 1 1 -1 1 -1 -1 -1 1
3 1 -1 1 -1 1 -1 -1 1
4 1 -1 -1 -1 -1 1 1 1
5 -1 1 1 -1 -1 1 -1 1
6 -1 1 -1 -1 1 -1 1 1
7 -1 -1 1 1 -1 -1 1 1
8 -1 -1 -1 1 1 1 -1 1
9 -1 -1 -1 -1 -1 -1 -1 -1
10 -1 -1 1 -1 1 1 1 -1
11 -1 1 -1 1 -1 1 1 -1
12 -1 1 1 1 1 -1 -1 -1
13 1 -1 -1 1 1 -1 1 -1
14 1 -1 1 1 -1 1 -1 -1
15 1 1 -1 -1 1 1 -1 -1
16 1 1 1 -1 -1 -1 1 -1
Thus, the standard run number 1 was -1, -1, -1, 1, 1, 1, -1; the new run
number 9 (the first run of the "folded-over" portion) has all signs
reversed: 1, 1, 1, -1, -1, -1, 1. In addition to enhancing the resolution of
the design, we also have gained an 8'th factor (factor H), which
contains all +1's for the first eight runs, and -1's for the folded-over
portion of the new design. Note that the resultant design is actually a
2**(8-4) design of resolution IV (see also Box and Draper, 1987, page
160).
To return to the example of the resolution R = III design, now that you
know that main effects are confounded with two-way interactions, you
may ask the question, "Which interaction is confounded with which
main effect?"
Fractional Design Generators
2**(11-7) design
(Factors are denoted by numbers)
Factor Alias
5 123
6 234
7 134
8 124
9 1234
10 12
11 13
Design generators. The design generators shown above are the
"key" to how factors 5 through 11 were generated by assigning them
to particular interactions of the first 4 factors of the full factorial 2**4
design. Specifically, factor 5 is identical to the 123 (factor 1 by factor 2
by factor 3) interaction. Factor 6 is identical to the 234 interaction, and
so on. Remember that the design is of resolution III (three), and you
expect some main effects to be confounded with some two-way
interactions; indeed, factor 10 (ten) is identical to the 12 (factor 1 by
factor 2) interaction, and factor 11 (eleven) is identical to the 13
(factor 1 by factor 3) interaction. Another way in which these
equivalencies are often expressed is by saying that the main effect for
factor 10 (ten) is an alias for the interaction of 1 by 2. (The term alias
was first used by Finney, 1945).
To summarize, whenever you want to include fewer observations
(runs) in your experiment than would be required by the full factorial
2**k design, you "sacrifice" interaction effects and assign them to the
levels of factors. The resulting design is no longer a full factorial but a
fractional factorial.
The fundamental identity. Another way to summarize the design
generators is in a simple equation. Namely, if, for example, factor 5 in
a fractional factorial design is identical to the 123 (factor 1 by factor 2
by factor 3) interaction, then it follows that multiplying the coded
values for the 123 interaction by the coded values for factor 5 will
always result in +1 (if all factor levels are coded ±1); or:
I = 1235
where I stands for +1 (using the standard notation as, for example,
found in Box and Draper, 1987). Thus, we also know that factor 1 is
confounded with the 235 interaction, factor 2 with the 135, interaction,
and factor 3 with the 125 interaction, because, in each instance their
product must be equal to 1. The confounding of two-way interactions is
also defined by this equation, because the 12 interaction multiplied by
the 35 interaction must yield 1, and hence, they are identical or
confounded. Therefore, you can summarize all confounding in a design
with such a fundamental identity equation.
Blocking
Designs with factors that are set at two levels implicitly assume that
the effect of the factors on the dependent variable of interest (e.g.,
fabric Strength) is linear. It is impossible to test whether or not there is
a non-linear (e.g., quadratic) component in the relationship between a
factor A and a dependent variable, if A is only evaluated at two points
(.i.e., at the low and high settings). If you suspects that the relationship
between the factors in the design and the dependent variable is rather
curve-linear, then you should include one or more runs where all
(continuous) factors are set at their midpoint. Such runs are called
center-point runs (or center points), since they are, in a sense, in the
center of the design (see graph).
Later in the analysis (see below), you can compare the measurements
for the dependent variable at the center point with the average for the
rest of the design. This provides a check for curvature (see Box and
Draper, 1987): If the mean for the dependent variable at the center of
the design is significantly different from the overall mean at all other
points of the design, then you have good reason to believe that the
simple assumption that the factors are linearly related to the
dependent variable, does not hold.