This is an arts-based research study on the effects of applying extensive and diverse sketching techniques to the development of a cohesive body of work, which reflects the significant and meaningful events of the artist-researcher’s life. The research techniques employed and studied consist of looking at historical exemplars, sketching, reflecting, critiquing, and revising. The results of the research were then reflected upon and applied to the field of art education in an attempt to discover the benefits for both teaching and learning in kindergarten through 12th grade curriculums.

We present a novel method for building 3D models from a user sketch. Given a 2D sketch as input, the approach aligns and deforms a chosen 3D template model to match the sketch. This is guided by a set of user-specified correspondences and an algorithm that deforms the 3D model to match the sketched profile. Our primary contribution is related to fitting the 3D deformable geometry to the 2D user sketch. We demonstrate our technique on several examples.

Cette thèse explore l'utilisation de croquis et d'annotation pour contrôler la modélisation 3D d'objets complexes (comme des chevelures, des arbres, des vêtements, etc). Nous introduisons une méthodologie basée sur trois idées princpales: Premièrement, le fait que l'expression de connaissances à priori sur l'objet modélisé peut être déterminante pour l'interprétation d'un croquis. Deuxièmement, l'idée que la chaîne de traitements doit se rapprocher au maximum de celle utilisée par un artiste, avec en particulier une esquisse de la forme globale avant que les détails ne soient précisés. Troisièmement, le fait que la structure 3D sous jacente peut soit servir de base au croquis (ils s'agit alors d'une technique d'annotation), soit être inférée à partir des silhouettes tracées par l'utilisateur, ce qui réduit grandement la quantité d'information à donner. Nous illustrons cette méthodologie en détaillant quatre exemples d'application: la modélisation par croquis de vêtements (pour laquelle sont comparées différents niveaux de connaissances a priori), de chevelures, de nuages et d'arbres.

We present a novel method for building 3D models from a user sketch. Given a 2D sketch as input, the approach aligns and deforms a chosen 3D template model to match the sketch. This is guided by a set of user-specified correspondences and an algorithm that deforms the 3D model to match the sketched profile. Our primary contribution is related to fitting the 3D deformable geometry to the 2D user sketch. We demonstrate our technique on several examples.

PhD / In design literature, how designers think and how they design have been identified as a reflection of how they interact with their sketches. Sketching in architectural design is still a central concern which shapes our understanding of the design process and the development of new tools. Sketching not only serves as a visual aid to store and retrieve conceptualisations, but as a medium to facilitate more ideas, and to revise and refine these ideas. This thesis examined how mental imagery and sketching is used in designing by conducting a protocol analysis study with six expert architects. Each architect was required to think aloud and design under two different conditions: one in which s/he had access to sketching and one in which s/he was blindfolded (s/he did not have access to sketching). At the end of the blindfold condition the architects were required to quickly sketch what they held in their minds. The architects were able to come up with satisfying design solutions and some reported that using their imagery could be another way of designing. The resulting sketches were assessed by judges and were found to have no significant differences in overall quality. Expert architects were able to construct and maintain the design of a building without having access to sketching. The analysis of the blindfold and sketching design protocols did not demonstrate any differences in the quantity of cognitive actions in perceptual, conceptual, functional and evaluative categories. Each architect’s cognitive structure and designing behaviour in the blindfold activity mimicked her/his cognitive structure and designing behaviour in the sketching activity. The analysis of links between the design ideas demonstrated that architects’ performance in idea development was higher under the blindfold condition, compared to their sketching condition. It was also found that architects’ blindfold design performance was improved when they were more familiar with the site layout. These results imply that expert designers may not need sketching as a medium for their reflective conversation with the situation. This study indicates that constructing internal representations can be a strong tool for designing. Future studies may show that designers may not need sketching for the generation of certain designs during the early phases of conceptual designing.

Orientador: Luise Weiss / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-17T22:57:43Z (GMT). No. of bitstreams: 1 Peixoto_SimonedeArruda_M.pdf: 54659379 bytes, checksum: 8433db3d5529daaca092e209c5f0a8e7 (MD5) Previous issue date: 2009 / Resumo: Este trabalho é a descrição de um processo criativo, tanto das reflexões teóricas quando da pratica em ateliê. Os procedimentos construtivos utilizados são o desenho e a gravura. No entanto, relacionados a eles, está o pensamento sobre aspectos processuais da fotografia na construção das imagens, através de uma postura documental para a criação de desenhos e através da criação de índices e da captura de imagens, utilizando procedimentos de gravura. Uma coleção de objetos escolhidos em parte pelo acaso, em parte pelo afeto, funciona como ponto de partida de experimentações para a prática artística. Assim, misturam-se as linguagens: desenho, gravura, fotografia e objeto na construção desse trabalho. As imagens representadas fazem parte do meu cotidiano, são detalhes lugares e objetos pessoais em desenhos e gravuras que são sobrepostos sucessivamente, denunciando uma passagem de tempo sobre os acontecimentos do cotidiano. Dessa maneira, os trabalhos não se concluem, permanecem sempre abertos para novas interferências. O texto está organizado em três capítulos: o primeiro "Tocar o Real", estabelece as relações entre o desenho, a gravura e a fotografia; o segundo,"Intimidade e Cotidiano", descreve a coleção de objetos, e como o cotidiano e a intimidade aparecem no trabalho; o terceiro, "Tempo e Presentidade", são considerações sobre as sobreposições de imagens e procedimentos, e como isso sugere temporalidade no trabalho / Abstract: The present work is a description of a creative process, from to the teorethical thinking to the practical work. The technics that are used are drawing and etching, but, in association to it is the thinking about technical aspects of the photography in the creation of images, this is done by the documental standarts of the drawing and by making indexes and capturing imagens from the etching proceedings. A colection of objects, chosen from affection or chance are a starting point for experiences in the practical work. Therefore, etching, drawing, photography and the object are combined in this works creation. The represented images are taken from the daily events, places, objects and details of the every day in drawings that are overlaied successively, showing the time passing from the daily events. Therefore, the works never ends; they stay for ever opened for new interferiences. This text is organized in three chapters: the first chapter "Touching Real" describes the relations among drawing, eacthing and photographie; the second chapter, "The daily and the intimacy" describes the objects collection and the way that the daily events and intimacy appears in this work; the third chapter "Time and presentness" / Mestrado / Artes Visuais / Mestre em Artes

We present a novel method for building 3D models from a user sketch. Given a 2D sketch as input, the approach aligns and deforms a chosen 3D template model to match the sketch. This is guided by a set of user-specified correspondences and an algorithm that deforms the 3D model to match the sketched profile. Our primary contribution is related to fitting the 3D deformable geometry to the 2D user sketch. We demonstrate our technique on several examples. / Science, Faculty of / Computer Science, Department of / Graduate

This thesis explores the potential of AI generated images as a means to enhance the design, sketching and brainstorming processes in architecture. The study addresses the challenges faced by architects in generating innovative ideas and overcoming cognitive biases during their sketching phase. By examining the integration of the AI inpainting tool, Dall-E 2 developed by OpenAI, into the architectural sketching process, the study explores the possibilities as well as the challenges with such an integration. To do so, a qualitative approach utilizing a case study methodology was employed, conducting a focus group consisting of five architects. The participants were given the task of creating a skyscraper using the inpainting tool individually and to iterate over the sketches in three iterations. Between each iteration, group discussions were held to discuss their experiences and thoughts on the tool itself and the images generated. The data collected from the focus group was transcribed and analyzed using theoretical thematic analysis. The analysis produced four key themes, including human-computer interaction, tool improvement points, evaluation of the inpainting tool, and evaluation of generated images. The results reveal that even though the participants encountered challenges with the inpainting tool’s interaction and output, they still found value in its application to their process. The findings of this study suggest that AI inpainting effectively can be integrated into the early stages of sketching, providing architects with rapid editing capabilities and alternative design options that align with the characteristics of brainstorming.

The use of digital tools such as Sketchup, Rhino, AutoCAD and others is now commonplace in the architectural design process. These tools have advantages for time management and support the iterative nature of design, while also providing an efficient connection to later stages of design development and construction documentation. However, it could be argued that the use of digital tools during the ideation and concept phases of designing limits the cognitive connection between thought and the hand that is present in freehand sketching. If we accept that this cognitive connection is foundational to the design process, then new digital sketching tools are needed that have features similar to freehand sketching while processing sketches to 2D and 3D representations that are translatable to 3D printing, digital fabrication, and eventually Building Information Modeling. What this new tool might be is currently unclear. The purpose of this research is to identify the characteristics of a next generation of sketching tools that could support ideation activities in the concept stage of architectural design. The results will help to design a roadmap for the implementation of digital technologies in the architectural design process. This research will contribute to a shift in the implementation of digital tools in the architectural design process. This research relied on multiple data sources. First, a logical argument tactic was used to develop the research design model through a comprehensive review of the scholarly work that addresses the design process in the concept stage and the role of sketching and digital tools throughout these processes. Second, case study observation and interviews were used to explore how architects and architectural students at Virginia Polytechnic Institute and State University (Virginia Tech) use sketching, 3D modeling, and existing digital tools to represent, develop, iterate, and communicate their design ideas in the concept stage and how the tools they used affect their design process. Third, two immersive case studies were conducted to identify and develop the characteristics of a digital sketching tool. The last step was to determine consensus for the appropriateness of the To-Be model through Delphi tactics. / Doctor of Philosophy / The use of digital tools such as Sketchup, Rhino, AutoCAD and others is now commonplace in the architectural design process. These tools have advantages for time management and support the iterative nature of design, while also providing an efficient connection to later stages of design development and construction documentation. However, it could be argued that the use of digital tools during the ideation and concept phases of designing limits the cognitive connection between thought and the hand that is present in freehand sketching. If we accept that this cognitive connection is foundational to the design process, then new digital sketching tools are needed that have features similar to freehand sketching while processing sketches to 2D and 3D representations that are translatable to 3D printing, digital fabrication, and eventually Building Information Modeling. What this new tool might be is currently unclear. The purpose of this research is to identify the characteristics of a next generation of sketching tools that could support ideation activities in the concept stage of architectural design. The results will help to design a roadmap for the implementation of digital technologies in the architectural design process. This research will contribute to a shift in the implementation of digital tools in the architectural design process. This research relied on multiple data sources. First, a logical argument tactic was used to develop the research design model through a comprehensive review of the scholarly work that addresses the design process in the concept stage and the role of sketching and digital tools throughout these processes. Second, case study observation and interviews were used to explore how architects and architectural students at Virginia Polytechnic Institute and State University (Virginia Tech) use sketching, 3D modeling, and existing digital tools to represent, develop, iterate, and communicate their design ideas in the concept stage and how the tools they used affect their design process. Third, two immersive case studies were conducted to identify and develop the characteristics of a digital sketching tool. The last step was to determine consensus for the appropriateness of the To-Be model through Delphi tactics.

Historically, haptics—all different aspects of the sense of touch and its study—has developed around very technical and scientific inquiries. Despite considerable haptic research advances and the obviousness of haptics in everyday life, this modality remains mostly foreign and unfamiliar to designers. The guiding motif of this research relates to a desire to reverse the situation and have designers designing for and with the haptic sense, for human use and looking beyond technical advances. Consequently, this thesis aims to nurture the development of haptics from a designerly perspective, leading to a new field of activities labeled haptic interaction design. It advances that haptic attributes and characteristics are increasingly part of the qualities that make up the interactions and the experiences we have with objects and the interfaces that surround us, and that these considerations can and ought to be knowingly and explicitly designed by designers. The book encompasses an annotated research through design exploration of the developing field of haptic interaction design, building on a considerable account of self-initiated individual design activities and empirical-style group activities with others. This extensive investigation of designing haptic interactions leads to the Simple Haptics proposition, an approach to ease the discovery and appropriation of haptics by designers. Simple Haptics consists in a simplistic, rustic approach to the design of haptic interactions, and advocates an effervescence of direct perceptual experiences in lieu of technical reverence. Simple Haptics boils down to three main traits: 1) a reliance on sketching in hardware to engage with haptics; 2) a fondness for basic, uncomplicated, and accessible tools and materials for the design of haptic interactions; and 3) a strong focus on experiential and directly experiencable perceptual qualities of haptics.  Ultimately, this thesis offers contributions related to the design of haptic interactions. The main knowledge contribution relates to the massification of haptics, i.e. the intentional realization and appropriation of haptics—with its dimensions and qualities—as a non-visual interaction design material. Methodologically, this work suggests a mixed longitudinal approach to haptics in a form of a well-grounded interplay between personal inquiries and external perspectives. The book also presents design contributions as ways to practically, physically and tangibly access, realize and explore haptic interactions. Globally these contributions help make haptics concrete, graspable, sensible and approachable for designers. The hope is to inspire design researchers, students and practitioners to discover and value haptics as a core component of any interaction design activities.