Haptic Experience and the Design of Drawing Interfaces

Haptic feedback has the potential to enhance users’ sense of being engaged and creative in their artwork. Current work on providing haptic feedback in computer-based drawing applications has focused mainly on the realism of the haptic sensation rather than the users’ experience of that sensation in the context of their creative work. We present a study that focuses on user experience of three haptic drawing interfaces. These interfaces were based on two different haptic metaphors, one of which mimicked familiar drawing tools (such as pen, pencil or crayon on smooth or rough paper) and the other of which drew on abstract descriptors of haptic experience (roughness, stickiness, scratchiness and smoothness). It was found that users valued having control over the haptic sensation; that each metaphor was preferred by approximately half of the participants; and that the real world metaphor interface was considered more helpful than the abstract one, whereas the abstract interface was considered to better support creativity. This suggests that future interfaces for artistic work should have user-modifiable interaction styles for controlling the haptic sensation

Painterly rendering techniques: A state-of-the-art review of current approaches

In this publication we will look at the different methods presented over the past few decades which attempt to recreate digital paintings. While previous surveys concentrate on the broader subject of non-photorealistic rendering, the focus of this paper is firmly placed on painterly rendering techniques. We compare different methods used to produce different output painting styles such as abstract, colour pencil, watercolour, oriental, oil and pastel. Whereas some methods demand a high level of interaction using a skilled artist, others require simple parameters provided by a user with little or no artistic experience. Many methods attempt to provide more automation with the use of varying forms of reference data. This reference data can range from still photographs, video, 3D polygonal meshes or even 3D point clouds. The techniques presented here endeavour to provide tools and styles that are not traditionally available to an artist. Copyright © 2012 John Wiley & Sons, Ltd

Digitally augmented sketch-planning

Thesis (M.C.P.)--Massachusetts Institute of Technology, Dept. of Urban Studies and Planning, 2002.Includes bibliographical references (p. 73-74).While many aspects of the planning profession have changed radically in light of recent technological advances, the practice of sketching plans has remained largely unaffected. There may be good reasons for eschewing computers in the design arena such as that their use may detract from the liberty of the design thinking process. This thesis suggests that this reluctance may be overcome by changing the practice from one of emulation with digital tools to one of "augmentation". In addressing a perceived need to bring computation to the design table a solution called the "digitally augmented sketch planning environment" (DASPE) has been developed. Making use of video projection, DASPE augments the design space with digital visualization and analysis tools and allows planners to sketch using either conventional media or a pen stylus on a digitizing table. Plans can be sketched in the conventional manner, then "hardened" into three dimensional computer models without the need to leave the design space.by Kenneth Goulding.M.C.P