NA SENDA DA IMAGEM A Representação ea Tecnologia na Arte

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B. User Interface Feedback Fig. 15. Testing the Design set -up. The survey conducted after the first testing session showed that the users found the system to have an unnatural feedback, too fast and a limited space to work in. These problems led the users to concentrate more on maintaining the lights visible by the cameras than on the sketch itself. The users also said the system was fun and they like the shapes generated. They liked especially the export feature because it allowed for more complete exploration of the generated shapes and further editing in 3D Studio or Auto CAD. Different exploratory tools are also required to derive a better understanding of the objects that are being created. A possible conclusion from the testers’ behaviour and reactions is that a designer develops a personal relationship with a design tool, leading to an individual belief in her experience with the tool. However, a designer’s “fluency” with a preferred design tool or method is usually not vocalized. With reference made to this approach, and its possible place in the design process, it was commented that when a designer becomes “fluent” in using a particular tool she is able to better consider all the possibilities available to her. So, training ends up as being essential. V. CONCLUSIONS AND FUTURE DIRECTIONS This project has developed a prototype for non intrusive, inexpensive, free hand based 3D sketching system to be used in the earliest phases of the design process. The approach this paper suggests is based on the independent free movement of both hands in space, providing architects and other designers involved in object conception, with a highly flexible 3D shape generation instrument that takes advantages of mixed reality concepts. That is to say: using real world paradigms with virtual objects. The software was conceived (and tested along its development with that aim) to assist or enhance the first 2D drawings steps in the design process by using both hands to draw organic, non parametric, surfaces. This method produces rough 3D sketches that can be refined latter using any 3D modeling software package (as it was shown in 3D Studio and CAD examples). A. Non-Intrusive, Spontaneous 3D Digital Design The testing phase and all the research made for the development of this system leads to the conclusion that a non-intrusive and insightful 3D digital design system is possible. All the problems encountered (and some solved) were technical, not fundamental to the configuration. B. Simple, Low-Cost Interfaces Based on Non Intrusive Devices The hardware used is not expensive and the hand held input device is not cumbersome. The test users immediately grasped the concept and liked the freedom the un-connected LED light sticks allowed. C. Real World Applications: Concept Design The export module demonstrates the applicability of such systems as a plug in for 3D design systems such as 3D Studio or Auto CAD. This will permit faster experimenting for designers and architects, without physical models and digitizing. D. Shape Generation The system generates organic, complex, fractal like shapes from the free, creative hand of the digital artist, seeking new worlds inside the computer. This kind of sketch system can also be seen as a creative tool, a conceptual tool in computer design and architecture. The fundamental difference from other design generating programs is that no explicit mathematic knowledge is required by the designer. The objective is to achieve new form through hand movement. Not by a generative function that is left to work on it’s own after the parameters are set. 61 Copyright © ARTECH 2004 – 1º Workshop Luso-Galaico de Artes Digitais 12 de Julho de 2004, FC - UL
Fig. 16. The Weatherhead School of Management's Peter B. Lewis, Frank O. Gehry. http://images.google.com/ Fig. 17. Creating organic shape with strip-surfaces using the program. Three dimensional, direct, digital design systems are possible and will be a common technology available to concept design. The barrier between 2D paper representations of 3D concepts is bound to fall and it will be possible to translate a concept directly from mind to a geometric entity stored in computer memory. This digital design is ready to be edited, modified into something powered be the endless possibilities of a computer. It will be a digital model that has had one less stage of translation where possibly some information would be lost. E. Future Changes Advanced displays, better video cameras, brighter LED’s and more accurate tracking systems. These are not real constraints, but more a matter of time and financial resources. A color based algorithm is being programmed in order to minimize the influence of the lighting conditions. So, instead of using lights the user will move a fingered cap with a pre-determined color. In conclusion this work argues that 3D design, based on free hand form generation, allows for an enhancement of the traditional creative process through spontaneous and immediate translation of a concept into 3D digital shape. ACKNOWLEDGEMENTS Miguel Dias, President of HP New Media Lab, ISCTE Lisbon for his invaluable guidance. Ava Fatah gen. Schieck, for her technical guidance and encouragement, and for urging us to pursue this further. Lesley Gavin, Virtual Environments Course Director, for her kind advice and generous support during the course of this research. NOTES [1] http://www.vr.ucl.ac.uk/projects/arthur/ REFERENCES Schieck, AF Gen: 2001, Interactive Form Creation, Thesis MSc in Virtual Environments, UCL, London. Jenkins, DL and Martin, RR: 1993, The importance of free-hand rsketching in conceptual design: Automatic sketch input, In: ASME Design Automation Conference in Albuquerque. Pugh, D: 1992, Designing solid objects using interactive sketch interpretation, Computer Graphics Symposium on Interactive 3D Graphics), 25(2):117-126. Dias, JMS et al: 2002, Tangible Interaction for Conceptual Architectural Design,“ART02”, First IEEE International Augmented Reality Toolkit Workshop”, ISMAR 2002, IGD, Darmstad, Germany. Forsberg, AS, LaViola Jr, JJ, Markosian, L. and Zeleznik, RC: 1997, Seamless Interaction in Virtual Reality, Computer Graphics & Applications, IEEE, Vol. 17, No. 6, pp. 6 – 9. Gross, MD and Do, E Y-L: 2000, Drawing on the Back of an Envelope: a framework for interacting with application programs by freehand drawing, Computers & Graphics, Vol. 24, No. 6, pp. 835 – 849, Elsevier. Lipson, H and Shpitalni, M: 1997, Conceptual design and analysis by sketching, In AIDAM- 97. Hwang, T and Ullman, D: 1990, The design capture system: Capturing back -of-the envelope sketches, Journal for Engineering Design 1, 4. 62 Copyright © ARTECH 2004 – 1º Workshop Luso-Galaico de Artes Digitais 12 de Julho de 2004, FC - UL
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Organização: ACTAS Faculdade de C
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Os trabalhos do Artech 2004 decorre
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CONSÓRCIO DO PROJECTO @RTEC - Arte
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“Tecnologias em Ambientes Virtuai
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Compor com as novas tecnologias No
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Ser Sónico - Performance Sonora em
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PROJECTO LITHIUM Arlete Castelo “
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ÍNDICE DE AUTORES Aneiros, Maria D
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ARTECH 2004 1.º Workshop Luso -Gal
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NA SENDA DA IMAGEM A Representação ea Tecnologia na Arte

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