Paper-based Mixed Reality Sketch Augmentation as a Conceptual Design Support Tool

This undergraduate student paper explores usage of mixed reality techniques as support tools for conceptual design. A proof-of-concept was developed to illustrate this principle. Using this as an example, a small group of designers was interviewed to determine their views on the use of this technology. These interviews are the main contribution of this paper. Several interesting applications were determined, suggesting possible usage in a wide range of domains. Paper-based sketching, mixed reality and sketch augmentation techniques complement each other, and the combination results in a highly intuitive interface

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

The Universal Design Paradigm: An Examination of Real-Time, C-Print, Meaning-for-Meaning Transcription and Individual Differences in Learning

The intent of this thesis is to guide further research and discussion of C-Print, meaning-for-meaning transcription and its applications to today’s dynamic classroom settings under a Universal Design Paradigm. Evidence suggests that providing these captions can benefit Deaf and Hard of Hearing populations and also that concise, textual representations of information increase retention for average learners in multimedia settings. Individual differences were considered and low internal control participants did significantly better on exams when material was captioned compared to when it was not. They also tended to outperform high internal control participants on captioned material exams

Sketch Recognition on Mobile Devices

Sketch recognition allows computers to understand and model hand drawn sketches and diagrams. Traditionally sketch recognition systems required a pen based PC interface, but powerful mobile devices such as tablets and smartphones can provide a new platform for sketch recognition systems. We describe a new sketch recognition library, Strontium (SrL) that combines several existing sketch recognition libraries modified to run on both personal computers and on the Android platform. We analyzed the recognition speed and accuracy implications of performing low-level shape recognition on smartphones with touch screens. We found that there is a large gap in recognition speed on mobile devices between recognizing simple shapes and more complex ones, suggesting that mobile sketch interface designers limit the complexity of their sketch domains. We also found that a low sampling rate on mobile devices can affect recognition accuracy of complex and curved shapes. Despite this, we found no evidence to suggest that using a finger as an input implement leads to a decrease in simple shape recognition accuracy. These results show that the same geometric shape recognizers developed for pen applications can be used in mobile applications, provided that developers keep shape domains simple and ensure that input sampling rate is kept as high as possible

Gesture-based Human-Machine Interaction in Industrial Environments

The traditional human-machine interaction systems for manufacturing processes use peripheral devices that require physical contact between end user and machines. This physical contact causes an alteration of the elements that constitute the system due to the transmission of undesirable particles such as oil, chemical substances and pollution. This Master's thesis gives a solution for this issue which is based on the integration of a device used by game industry in entertainment applications that enables human-machine interaction through a non-physical contact modality. Several purposes are offered by the market such as kinect sensor and leap motion controller (LMC). However, the solution used in this thesis was focused on a hand gesture-based device called "LMC", which promising features that make it an attractive tool for future solutions in the industrial domain. The obtained result was the integration of this gesture sensor with different technologies that enables the interaction via hand gestures with a monitoring system and also a robot cell which is part of a manufacturing system

Software Takes Command

This book is available as open access through the Bloomsbury Open Access programme and is available on www.bloomsburycollections.com. Software has replaced a diverse array of physical, mechanical, and electronic technologies used before 21st century to create, store, distribute and interact with cultural artifacts. It has become our interface to the world, to others, to our memory and our imagination - a universal language through which the world speaks, and a universal engine on which the world runs. What electricity and combustion engine were to the early 20th century, software is to the early 21st century. Offering the the first theoretical and historical account of software for media authoring and its effects on the practice and the very concept of 'media,' the author of The Language of New Media (2001) develops his own theory for this rapidly-growing, always-changing field. What was the thinking and motivations of people who in the 1960 and 1970s created concepts and practical techniques that underlie contemporary media software such as Photoshop, Illustrator, Maya, Final Cut and After Effects? How do their interfaces and tools shape the visual aesthetics of contemporary media and design? What happens to the idea of a 'medium' after previously media-specific tools have been simulated and extended in software? Is it still meaningful to talk about different mediums at all? Lev Manovich answers these questions and supports his theoretical arguments by detailed analysis of key media applications such as Photoshop and After Effects, popular web services such as Google Earth, and the projects in motion graphics, interactive environments, graphic design and architecture. Software Takes Command is a must for all practicing designers and media artists and scholars concerned with contemporary media

THE UNIVERSAL MEDIA BOOK

We explore the integration of projected imagery with a physical book that acts as a tangible interface to multimedia data. Using a camera and projector pair, a tracking framework is presented wherein the 3D position of planar pages are monitored as they are turned back and forth by a user, and data is correctly warped and projected onto each page at interactive rates to provide the user with an intuitive mixed-reality experience. The book pages are blank, so traditional camera-based approaches to tracking physical features on the display surface do not apply. Instead, in each frame, feature points are independently extracted from the camera and projector images, and matched to recover the geometry of the pages in motion. The book can be loaded with multimedia content, including images and videos. In addition, volumetric datasets can be explored by removing a page from the book and using it as a tool to navigate through a virtual 3D volume

New design companions opening up the process through self-made computation

Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2013.Cataloged from PDF version of thesis.Includes bibliographical references (p. 73-75).This thesis is about man and machine roles in the early conception of designs where it investigates computational methods that support creativity and surprise. It discusses the relationship between human and digital medium in the enterprise of Computer-Aided Design', and Self-Made Computation to empower the designer as driver of digital processes taking the computer as an active collaborator, or a sharp apprentice, rather than a master. In a design process tool personalization enables precise feedback between human and medium. In the field of architecture, every project is unique, and there are as many design workflows as designers. However current off-the-shelf design software has an inflexible built-in structure targeting general problem-solving that can interfere with non-standard design needs. Today, those with programming agility look for customized processes that assist early problem-finding instead of converging solutions. Contributing to alleviate software frustrations, smaller tailor-made applications prove to be precisely tailored, viable and enriching companions in certain moments of the project development. Previous work on the impact of standardized software for design has focused on the figure of the designer as a tool-user, this thesis addresses the question from the vision of the designer as a tool-maker. It investigates how self-made software can become a design companion for computational thinking - observed here as a new mindset that shifts design workflows, rather than a technique. The research compares and diagrams designer-toolmaker work where self-made applets where produced, as well as the structures in the work of rule-maker artisans. The main contributions are a comparative study of three models of computer-aided design, their history and technical review, their influence in design workflows and a graphical framework to better compare them. Critical analysis reveals a common structure to tailor a creative and explorative design workflow. Its advantages and limitations are exposed to guide designers into alternative computational methods for design processes. Keywords: design workflow; computation; applets; self-made tools; diagrams; design process; feedback; computers; computer-assisted-designby Laia Mogas-Soldevila.S.M