Stereoscopic Sketchpad: 3D Digital Ink

--Context-- This project looked at the development of a stereoscopic 3D environment in which a user is able to draw freely in all three dimensions. The main focus was on the storage and manipulation of the ‘digital ink’ with which the user draws. For a drawing and sketching package to be effective it must not only have an easy to use user interface, it must be able to handle all input data quickly and efficiently so that the user is able to focus fully on their drawing. --Background-- When it comes to sketching in three dimensions the majority of applications currently available rely on vector based drawing methods. This is primarily because the applications are designed to take a users two dimensional input and transform this into a three dimensional model. Having the sketch represented as vectors makes it simpler for the program to act upon its geometry and thus convert it to a model. There are a number of methods to achieve this aim including Gesture Based Modelling, Reconstruction and Blobby Inflation. Other vector based applications focus on the creation of curves allowing the user to draw within or on existing 3D models. They also allow the user to create wire frame type models. These stroke based applications bring the user closer to traditional sketching rather than the more structured modelling methods detailed. While at present the field is inundated with vector based applications mainly focused upon sketch-based modelling there are significantly less voxel based applications. The majority of these applications focus on the deformation and sculpting of voxmaps, almost the opposite of drawing and sketching, and the creation of three dimensional voxmaps from standard two dimensional pixmaps. How to actually sketch freely within a scene represented by a voxmap has rarely been explored. This comes as a surprise when so many of the standard 2D drawing programs in use today are pixel based. --Method-- As part of this project a simple three dimensional drawing program was designed and implemented using C and C++. This tool is known as Sketch3D and was created using a Model View Controller (MVC) architecture. Due to the modular nature of Sketch3Ds system architecture it is possible to plug a range of different data structures into the program to represent the ink in a variety of ways. A series of data structures have been implemented and were tested for efficiency. These structures were a simple list, a 3D array, and an octree. They have been tested for: the time it takes to insert or remove points from the structure; how easy it is to manipulate points once they are stored; and also how the number of points stored effects the draw and rendering times. One of the key issues brought up by this project was devising a means by which a user is able to draw in three dimensions while using only two dimensional input devices. The method settled upon and implemented involves using the mouse or a digital pen to sketch as one would in a standard 2D drawing package but also linking the up and down keyboard keys to the current depth. This allows the user to move in and out of the scene as they draw. A couple of user interface tools were also developed to assist the user. A 3D cursor was implemented and also a toggle, which when on, highlights all of the points intersecting the depth plane on which the cursor currently resides. These tools allow the user to see exactly where they are drawing in relation to previously drawn lines. --Results-- The tests conducted on the data structures clearly revealed that the octree was the most effective data structure. While not the most efficient in every area, it manages to avoid the major pitfalls of the other structures. The list was extremely quick to render and draw to the screen but suffered severely when it comes to finding and manipulating points already stored. In contrast the three dimensional array was able to erase or manipulate points effectively while the draw time rendered the structure effectively useless, taking huge amounts of time to draw each frame. The focus of this research was on how a 3D sketching package would go about storing and accessing the digital ink. This is just a basis for further research in this area and many issues touched upon in this paper will require a more in depth analysis. The primary area of this future research would be the creation of an effective user interface and the introduction of regular sketching package features such as the saving and loading of images

System upgrade: realising the vision for UK education

A report summarising the findings of the TEL programme in the wider context of technology-enhanced learning and offering recommendations for future strategy in the area was launched on 13th June at the House of Lords to a group of policymakers, technologists and practitioners chaired by Lord Knight. The report – a major outcome of the programme – is written by TEL director Professor Richard Noss and a team of experts in various fields of technology-enhanced learning. The report features the programme’s 12 recommendations for using technology-enhanced learning to upgrade UK education

Design as conversation with digital materials

This paper explores Donald Schön's concept of design as a conversation with materials, in the context of designing digital systems. It proposes material utterance as a central event in designing. A material utterance is a situated communication act that depends on the particularities of speaker, audience, material and genre. The paper argues that, if digital designing differs from other forms of designing, then accounts for such differences must be sought by understanding the material properties of digital systems and the genres of practice that surround their use. Perspectives from human-computer interaction (HCI) and the psychology of programming are used to examine how such an understanding might be constructed.</p

Design Ideation: The Conceptual Sketch in a Digital Design Culture

Design ideation, or the generating and developing of design ideas is central to designing in both education and practice. But what is the impact of digital technology on conceptual tools, notably the traditional pen and paper sketch? Initial research, in the Introduction highlights how freehand drawing is under pressure from digital technology both in design schools and industry yet educators and practitioners alike seem uncertain how best to deal with the digital challenge. The Literature review, in which the investigation is likened to a sprawling rhizome, covers both practical and philosophical concerns about conceptual tools thereby extending the notion of sketching beyond pen and paper, to what is called sketcherly ways of designing. To find out how to capture designers' use of conceptual tools, the spectrum of Design methodology was explored in which the case study method combined with protocol study emerged as the research strategy to be tested in a Pilot study. The pilot outcome set the scene for a protocol study with first-year design students which, through a series of Ideation workshops, illuminates how sketching together with verbalisation is a powerful combination for conceptualisation. In this, the workshop format emerged as an effective means for encouraging novice designers to develop ideation skills. The pilot was also instrumental for conducting a Multiple case study comprising five second year design students and five recent design graduates working in industry in the domains of fashion, architecture, graphics, product and general design. Using self-reporting and interviews the cases illuminate real uses of conceptual tools situated in everyday designing that reveal the multifaceted yet unpredictable character of ideation. The Summary and Conclusion discuss the future role of the conceptual sketch in digital design environments and suggest how scholarship in the context of teaching and learning design can bridge the worlds of design schools and professional practice. In this, computer-aided ideation, CAI, emerged as a promising research field