A drawing book for digital eyes

Looking at book covers may not tell you everything, but they do tell you something. A collection of leather-bound ‘how to draw’ books of the nineteen twenties exudes confidence, the expertise of the masters handed down. The titles indicate attention to technique, referring to ‘pencil drawing’, ‘lead pencil drawing’, or ‘pen and ink’, and speak of the ‘art’ of drawing. Some of these had been in print for fifty years. There are idealised classical figures, nature studies, but also stirrings of a more liberal approach. By the nineteen forties and fifties the books are less formal, less symmetrical, and more Do-It-Yourself: ‘I wish I could draw’, ‘Drawing at Home’, ’The Natural Way to Draw’, ‘Drawing Without a Master’. Some are slim volumes running in series devoted to subjects such as ships, cats, trees, even tanks. You draw the world around you

Ambient Adaptive Lighting

The concept of adaptive lighting suggests architectural lighting designs that adjust and react to the living practices of inhabitants and variations in the environmental conditions. Current developments in lighting technologies, such as LED light sources and IoT infrastructures, open for new opportunities with adaptive lighting, where the control of the lighting possibly operates as an IoT service rather than build into building management systems. The dynamic flux in lighting changes the experiential presence and brings focus on change and variation rather than states, levels and structures. The suggestion is to enable adaptive intertwinement through an expanded field of dynamic flux in the artificial lighting, and couple between the daylighting and the artificial lighting through an integration of ambient contexts. The project develops experiential prototypes, with which the dynamic design parameters of adaptive lighting can be investigated, analysed and scoped into architectural programming processes. The staging’s are full-scale architectural scenography’s, which situate investigations into how the experience parameters of fluctuating artificial lighting, integrated with daylight flux in an architectural space, are experienced to influence the experience of architectural space, social situations and everyday activities

Sobremesa: The Time Spent Savoring Food and Friendship

Sobremesa is the culmination of five different ceramic sets handcrafted and uniquely made as a way to enhance the experience of eating and sharing food. This work honors the Latino and Hispanic tradition of Sobremesa, which is the time we spend sharing special moments with friends and family after eating. I explore the relevance of sharing meals as a member of a Venezuelan family and how these memories of my childhood before moving away to another country relates to the way in which I approach the creation of my functional vessel’s aesthetic and conceptual background. The pieces that make up the sets in Sobremesa are all hand-built ceramic functional vessels that are coil and slab built with red clay, and bisque and glaze fired to cone 04. The Sushi Set and Coffee Set can be partially hung, and the Cocoa Set, Sake Set, and Charcuterie Board are free-standing. Sobremesa expands on the importance of historical ceramics in our world, such as the Teotihuacan, Mayan, and Mimbres pottery, which have influenced the visual elements of my artwork and thoughts on what I want my pottery to express. Contemporary art and cultural references are used to explain the meaning behind color, presentation, and shapes found in Sobremesa

Beyond factual to formulated silhouettes

When sketching terrain, a view-dependent framework of silhouette-related cues is required. This framework is prominent in manual sketches and is especially important in small-scale depictions viewed obliquely from above. Occluding contours, namely the lines delineating depth discontinuities in the projected surface, are insufficient for forming this framework. The role which the occluding contour, or Factual Silhouette, plays in structuring the sketch becomes increasingly minimal as more of the terrain becomes visible, as the viewpoint is raised.The aim of this research is to extend the set of occluding contours to encompass situations that are perceived as causing an occlusion and would therefore be sketched in a similar manner. These locations, termed Formulated Silhouettes supplement the set of occluding contours and provide a successful structuring framework. The proposed method processes visible areas of terrain, which are turning away from view, to extract a classified, vector-based description for a given view of a Digital Elevation Model. Background approaches to silhouette rendering are reviewed and the specific contributions of this thesis are discussed.The method is tested using case studies composed of terrain of varying scale and character and two application studies demonstrate how silhouettes can be used to enhance existing terrain visualization techniques, both abstract and realistic. In addition, consultation with cartographic designers provides external verification of the research. The thesis concludes by noting how silhouette contours relate to perceived entities rather than actual occlusions

Defining Reality in Virtual Reality: Exploring Visual Appearance and Spatial Experience Focusing on Colour

Today, different actors in the design process have communication difficulties in visualizing and predictinghow the not yet built environment will be experienced. Visually believable virtual environments (VEs) can make it easier for architects, users and clients to participate in the planning process. This thesis deals with the difficulties of translating reality into digital counterparts, focusing on visual appearance(particularly colour) and spatial experience. The goal is to develop knowledge of how differentaspects of a VE, especially light and colour, affect the spatial experience; and thus to contribute to a better understanding of the prerequisites for visualizing believable spatial VR-models. The main aims are to 1) identify problems and test solutions for simulating realistic spatial colour and light in VR; and 2) develop knowledge of the spatial conditions in VR required to convey believable experiences; and evaluate different ways of visualizing spatial experiences. The studies are conducted from an architecturalperspective; i.e. the whole of the spatial settings is considered, which is a complex task. One important contribution therefore concerns the methodology. Different approaches were used: 1) a literature review of relevant research areas; 2) a comparison between existing studies on colour appearance in 2D vs 3D; 3) a comparison between a real room and different VR-simulations; 4) elaborationswith an algorithm for colour correction; 5) reflections in action on a demonstrator for correct appearance and experience; and 6) an evaluation of texture-styles with non-photorealistic expressions. The results showed various problems related to the translation and comparison of reality to VR. The studies pointed out the significance of inter-reflections; colour variations; perceived colour of light and shadowing for the visual appearance in real rooms. Some differences in VR were connected to arbitrary parameter settings in the software; heavily simplified chromatic information on illumination; and incorrectinter-reflections. The models were experienced differently depending on the application. Various spatial differences between reality and VR could be solved by visual compensation. The study with texture-styles pointed out the significance of varying visual expressions in VR-models

Rockscapes:A Study of Forms in the Natural Formations of Hyderabad

Rock formations in the Deccan Plateau are very old; some of them are older than 2.5 million years. Geologically, rocks constitute of various mineral compositions within the core and these decide how they are shaped due to weathering over many years. These beautifully weathered landscapes are affected by the recent rapid urbanization. Thus by photographically studying the forms and divulging the inner souls, this project attempts to sensitize a viewer towards these rockscapes. Photographs are presented in square format to highlight the form and texture. As per the psychology of shapes, square is quite balanced and that encourages the viewer to move around within the frame. It provides a clutter free and simple composition. In addition, the images are printed in monochrome to eliminate the visual dominance of color, to emphasize form and texture, to feel the timelessness and to amplify the use of negative space. By grouping the images, the subject matter is presented to the viewer with intended emphasis – singles, sky, plants, shadow and radials

Design and semantics of form and movement (DeSForM 2006)

Design and Semantics of Form and Movement (DeSForM) grew from applied research exploring emerging design methods and practices to support new generation product and interface design. The products and interfaces are concerned with: the context of ubiquitous computing and ambient technologies and the need for greater empathy in the pre-programmed behaviour of the ‘machines’ that populate our lives. Such explorative research in the CfDR has been led by Young, supported by Kyffin, Visiting Professor from Philips Design and sponsored by Philips Design over a period of four years (research funding £87k). DeSForM1 was the first of a series of three conferences that enable the presentation and debate of international work within this field: • 1st European conference on Design and Semantics of Form and Movement (DeSForM1), Baltic, Gateshead, 2005, Feijs L., Kyffin S. & Young R.A. eds. • 2nd European conference on Design and Semantics of Form and Movement (DeSForM2), Evoluon, Eindhoven, 2006, Feijs L., Kyffin S. & Young R.A. eds. • 3rd European conference on Design and Semantics of Form and Movement (DeSForM3), New Design School Building, Newcastle, 2007, Feijs L., Kyffin S. & Young R.A. eds. Philips sponsorship of practice-based enquiry led to research by three teams of research students over three years and on-going sponsorship of research through the Northumbria University Design and Innovation Laboratory (nuDIL). Young has been invited on the steering panel of the UK Thinking Digital Conference concerning the latest developments in digital and media technologies. Informed by this research is the work of PhD student Yukie Nakano who examines new technologies in relation to eco-design textiles

Defining Reality in Virtual Reality: Exploring Visual Appearance and Spatial Experience Focusing on Colour

Today, different actors in the design process have communication difficulties in visualizing and predictinghow the not yet built environment will be experienced. Visually believable virtual environments (VEs) can make it easier for architects, users and clients to participate in the planning process. This thesis deals with the difficulties of translating reality into digital counterparts, focusing on visual appearance(particularly colour) and spatial experience. The goal is to develop knowledge of how differentaspects of a VE, especially light and colour, affect the spatial experience; and thus to contribute to a better understanding of the prerequisites for visualizing believable spatial VR-models. The main aims are to 1) identify problems and test solutions for simulating realistic spatial colour and light in VR; and 2) develop knowledge of the spatial conditions in VR required to convey believable experiences; and evaluate different ways of visualizing spatial experiences. The studies are conducted from an architecturalperspective; i.e. the whole of the spatial settings is considered, which is a complex task. One important contribution therefore concerns the methodology. Different approaches were used: 1) a literature review of relevant research areas; 2) a comparison between existing studies on colour appearance in 2D vs 3D; 3) a comparison between a real room and different VR-simulations; 4) elaborationswith an algorithm for colour correction; 5) reflections in action on a demonstrator for correct appearance and experience; and 6) an evaluation of texture-styles with non-photorealistic expressions. The results showed various problems related to the translation and comparison of reality to VR. The studies pointed out the significance of inter-reflections; colour variations; perceived colour of light and shadowing for the visual appearance in real rooms. Some differences in VR were connected to arbitrary parameter settings in the software; heavily simplified chromatic information on illumination; and incorrectinter-reflections. The models were experienced differently depending on the application. Various spatial differences between reality and VR could be solved by visual compensation. The study with texture-styles pointed out the significance of varying visual expressions in VR-models

Designing Digital Art and Communication Tools Inspired by Traditional Craft

Ph.DDOCTOR OF PHILOSOPH

Lightweight curtain fabric ideas – Examining differences in interior textile brands’ looks in various geographic market areas

Due to the technically complex creative process of designing interior fabrics, much of the creative work happens in textile mills. Therefore, textile designers working in weaving mills influence significantly upcoming textile designs’ aesthetics and qualities. Interior textile brands develop coordinated textile collections by selecting and modifying fabrics from textile idea collections presented by the weaving mills. The purpose of this practice-based thesis is to examine the aspects that the textile designer needs to consider while creating lightweight curtain fabrics for the contract-residential market whilst the fabrics are aimed at medium-high level textile brands in various geographic market areas. The background research of this thesis presents the actors and the textile production phases in the interior textile industry to understand their influence on the interior textiles’ aesthetics and qualities. Furthermore, it explores the trends’ effect in curtain fabrics and presents the trend forecasting industry. Finally, it searches for the differences and similarities between the textile editors in North Europe, the UK and the USA by presenting selected textile brands based in market areas mentioned above. The creative part, the design case of this thesis is developed in collaboration with the Italian weaving mill Lodetex. The section uncovers the creative process and presents the textile idea portfolios of lightweight curtain fabrics, which are aimed at Lodetex’s customers in North Europe, the UK and the USA. The textile idea portfolios are groups of individual woven and digitally printed designs, instead of coordinated textile collections. They are divided into two groups according to the aesthetics and qualities. Furthermore, the section gathers feedback about the textile idea portfolios from the textile professionals. This thesis provides knowledge of the interior textile industry, trends and textile brands’ preferences in fabric aesthetics and qualities by examining literature, online articles and websites. Additionally, it analyses textile professionals’ interviews, describes the textile design process and offers new woven and digitally printed designs to Lodetex’s collection.Suuri osa sisustuskankaiden suunnitteluun liittyvästä luovasta työstä tapahtuu tekstiilitehtaissa, koska työ on teknisesti haastavaa. Tämän takia kutomojen tekstiilisuunnittelijoilla on huomattava vaikutus tulevien kangasmallien ulkonäköön ja laatuun. Sisutustekstiilibrändeissä kehitetään viimeisteltyjä tekstiilimallistoja valitsemalla ja muokkaamalla kankaita kutomojen tekstiilikokoelmista. Tämän käytäntöön perustuvan, “practice-based” opinnäytteen tarkoitus on tutkia seikkoja, joita tekstiilisuunnittelija pohtii kehittäessään kevyitä julkitiloihin ja etenkin hotellikäyttöön suunnattuja verhokankaita, kun kankaat on suunnattu keski- ja huipputason tekstiilibrändeille useilla maantieteellisillä markkina-alueilla. Opinnäytteen taustatutkimus esittelee sisustustekstiilialan toimijat ja tekstiilien tuotantovaiheet, koska niiden vaikutus sisustustekstiilien esteettisiin ja laadullisiin vaatimuksiin täytyy ymmärtää. Lisäksi taustatutkimus avaa trendien vaikutusta verhokankaisiin ja esittelee niiden ennustamiseen keskittyvän toimialan. Lopuksi esitellään valikoidut tekstiilibrändit Pohjois-Euroopassa, Iso-Britanniassa ja Yhdysvalloissa ja tarkastellaan tekstiilibrändien eroja ja yhtäläisyyksiä. Opinnäytteen luova, verhokankaiden suunnitteluun keskittyvä osio on kehitetty yhteistyössä italialaisen kutomon Lodetexin kanssa. Osio kertoo suunnitteluprosessista ja esittelee kevyistä verhokankaista koostuvat ideaportfoliot, jotka on suunnattu Lodetexin asiakkaille Pohjois-Euroopassa, Iso-Britanniassa ja Yhdysvalloissa. Ideaportfoliot eivät ole viimeisteltyjä kangasmallistoja vaan kangaskokoelmia, jotka koostuvat yksittäisistä kudotuista ja digitaalisesti painetuista kangasmalleista. Ne on jaettu kahteen osaan estetiikan ja kangaslaadun perusteella. Suunnittelutyön ja prosessin avaamisen lisäksi osio kerää palautetta ideaportfolioista tekstiilialan ammattilaisilta. Opinnäyte tarjoaa tietoa sisustuskankaiden teollisuusalalta tutkimalla kirjallisuutta, verkkojulkaisuja ja –sivustoja. Lisäksi opinnäytteessä analysoidaan tekstiilialan ammattilaisten haastatteluja, kuvataan ideaportfolioiden syntyyn vaikuttanutta luovaa prosessia sekä tarjotaan uusia kudottuja ja digitaalisesti painettuja kankaita Lodetexin mallistoon