The role of sketches in supporting near-synchronous remote communication in computer supported collaborative design

This paper presents recent research into the functions and value of sketch outputs during computer supported collaborative design. Sketches made primarily exploiting whiteboard technology are shown to support subjects engaged in remote collaborative design, particularly when constructed in ‘nearsynchronous’ communication. The authors define near-synchronous communication and speculate that it is compatible with the reflective and iterative nature of design activity. There appears to be significant similarities between the making of sketches in near-synchronous remote collaborative design and those made on paper in more traditional face-to-face settings With the current increase in the use of computer supported collaborative working (CSCW) in undergraduate and postgraduate design education it is proposed that sketches and sketching can make important contributions to design learning in this context

Coat of Arms Designs

Dr. Gibson was truly involved in nearly every aspect of the formation of Brock University. Pictured here is Dr. Gibson's preliminary design sketches and ideas for the Brock Coat of Arms.

O Design, a Gestão e a Comunicação da Marca: Caso de estudo spryou

Dissertação apresentada ao Instituto Politécnico de Castelo Branco para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Design Gráfico pela Escola Superior de Artes Aplicadas do Instituto Politécnico de Castelo Branco em associação com a Faculdade de Arquitetura da Universidade de Lisboa.

Feature Point Detection and Curve Approximation for Early Processing of Freehand Sketches

Freehand sketching is both a natural and crucial part of design, yet is unsupported by current design automation software. We are working to combine the flexibility and ease of use of paper and pencil with the processing power of a computer to produce a design environment that feels as natural as paper, yet is considerably smarter. One of the most basic steps in accomplishing this is converting the original digitized pen strokes in the sketch into the intended geometric objects using feature point detection and approximation. We demonstrate how multiple sources of information can be combined for feature detection in strokes and apply this technique using two approaches to signal processing, one using simple average based thresholding and a second using scale space.

Segmentation and Alignment of Speech and Sketching in a Design Environment

Sketches are commonly used in the early stages of design. Our previous system allows users to sketch mechanical systems that the computer interprets. However, some parts of the mechanical system might be too hard or too complicated to express in the sketch. Adding speech recognition to create a multimodal system would move us toward our goal of creating a more natural user interface. This thesis examines the relationship between the verbal and sketch input, particularly how to segment and align the two inputs. Toward this end, subjects were recorded while they sketched and talked. These recordings were transcribed, and a set of rules to perform segmentation and alignment was created. These rules represent the knowledge that the computer needs to perform segmentation and alignment. The rules successfully interpreted the 24 data sets that they were given.

Supporting Computer-supported collaborative work (CSCW) in conceptual design

In order to gain a better understanding of online conceptual collaborative design processes this paper investigates how student designers make use of a shared virtual synchronous environment when engaged in conceptual design. The software enables users to talk to each other and share sketches when they are remotely located. The paper describes a novel methodology for observing and analysing collaborative design processes by adapting the concepts of grounded theory. Rather than concentrating on narrow aspects of the final artefacts, emerging “themes” are generated that provide a broader picture of collaborative design process and context descriptions. Findings on the themes of “grounding – mutual understanding” and “support creativity” complement findings from other research, while important themes associated with “near-synchrony” have not been emphasised in other research. From the study, a series of design recommendations are made for the development of tools to support online computer-supported collaborative work in design using a shared virtual environment.

O processo de construção de objetos de aprendizagem em cálculo diferencial e integral durante uma atividade de design

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Design Participativo para a Sustentabilidade: desenvolvimento de painéis modulares para fechamentos, utilizando bambu associado com terra e resíduos

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

ARTHUR: A Collaborative Augmented Environment for Architectural Design and Urban Planning

Projects in the area of architectural design and urban planning typically engage several architects as well as experts from other professions. While the design and review meetings thus often involve a large number of cooperating participants, the actual design is still done by the individuals in the time in between those meetings using desktop PCs and CAD applications. A real collaborative approach to architectural design and urban planning is often limited to early paper-based sketches.In order to overcome these limitations, we designed and realized the ARTHUR system, an Augmented Reality (AR) enhanced round table to support complex design and planning decisions for architects. WhileAR has been applied to this area earlier, our approach does not try to replace the use of CAD systems but rather integrates them seamlessly into the collaborative AR environment. The approach is enhanced by intuitiveinteraction mechanisms that can be easily con-figured for different application scenarios.

Sketches of young gentlemen. Dedicated to the young ladies.

In illustrated paper boards with design by "Phiz".

Kemper Museum of Contemporary Art & Design, Kansas City Art Institute, Kansas City, Missouri, 1991-1994

[Early Conceptual Sketches], untitled. Ink sketches on reverse of "La Valencia Hotel" memo pad paper, 3 1/2 x 6 1/2 inches [from photographic copy by Lance Burgharrdt]

Kemper Museum of Contemporary Art & Design, Kansas City Art Institute, Kansas City, Missouri, 1991-1994

[Early Conceptual Sketches], untitled. Ink sketches on steno pad paper, initialed, 6x9 inches [from photographic copy by Lance Burgharrdt]

Expert system design for cold form sections

The concept of an Expert System (ES) has been acknowledged as a very useful tool, but few studies have been carried out in its application to the design of cold rolled sections. This study involves primarily the use of an ES as a tool to improve the design process and to capture the draughtsman's knowledge. Its main purpose is to reduce substantially the time taken to produce a section drawing, thereby facilitating a speedy feedback to the customer. In order to communicate with a draughtsman, it is necessary to use sketches, symbolic representations and numerical data. This increases the complexity of programming an ES, as it is necessary to use a combination of languages so that decisions, calculations, graphical drawings and control of the system can be effected. A production system approach is used and a further step has been taken by introducing an Activator which is an autoexecute operation set up by the ES to operate an external program automatically. To speed up the absorption of new knowledge into the knowledge base, a new Learning System has been constructed. In addition to developing the ES, other software has been written to assist the design process. The section properties software has been introduced to improve the speed and consistency of calculating the section properties. A method of selecting or comparing the most appropriate section for a given specification is also implemented. Simple loading facilities have been introduced to guide the designer as to the loading capacity of the section. This research has concluded that the application of an ES is beneficial and with the activator approach, automated designing can be achieved. On average a complex drawing can be displayed on the screen in about 100 seconds, where over 95% of the initial section design time for repetitive or similar profile can be saved.

Rationalisation and improvement of a company's engineering design procedures

There is a great deal of literature about the initial stages of innovative design. This is the process whereby a completely new product is conceived, invented and developed. In industry, however, the continuing success of a company is more often achieved by improving or developing existing designs to maintain their marketability. Unfortunately, this process of design by evolution is less well documented. This thesis reports the way in which this process was improved for the sponsoring company. The improvements were achieved by implementing a new form of computer aided design (C.A.D.) system. The advent of this system enabled the company to both shorten the design and development time and also to review the principles underlying the existing design procedures. C.A.D. was a new venture for the company and care had to be taken to ensure that the new procedures were compatible with the existing design office environment. In particular, they had to be acceptable to the design office staff. The C.A.D. system produced guides the designer from the draft specification to the first prototype layout. The computer presents the consequences of the designer's decisions clearly and fully, often by producing charts and sketches. The C.A.D. system and the necessary peripheral facilities were implemented, monitored and maintained. The system structure was left sufficiently flexible for maintenance to be undertaken quickly and effectively. The problems encountered during implementation are well documented in this thesis.

The Role of Art in Computer Game Design

Computer games are significant since they embody our youngsters’ engagement with contemporary culture, including both play and education. These games rely heavily on visuals, systems of sign and expression based on concepts and principles of Art and Architecture. We are researching a new genre of computer games, ‘Educational Immersive Environments’ (EIEs) to provide educational materials suitable for the school classroom. Close collaboration with subject teachers is necessary, but we feel a specific need to engage with the practicing artist, the art theoretician and historian. Our EIEs are loaded with multimedia (but especially visual) signs which act to direct the learner and provide the ‘game-play’ experience forming semiotic systems. We suggest the hypothesis that computer games are a space of deconstruction and reconstruction (DeRe): When players enter the game their physical world and their culture is torn apart; they move in a semiotic system which serves to reconstruct an alternate reality where disbelief is suspended. The semiotic system draws heavily on visuals which direct the players’ interactions and produce motivating gameplay. These can establish a reconstructed culture and emerging game narrative. We have recently tested our hypothesis and have used this in developing design principles for computer game designers. Yet there are outstanding issues concerning the nature of the visuals used in computer games, and so questions for contemporary artists. Currently, the computer game industry employs artists in a ‘classical’ role in production of concept sketches, storyboards and 3D content. But this is based on a specification from the client which restricts the artist in intellectual freedom. Our DeRe hypothesis places the artist at the generative centre, to inform the game designer how art may inform our DeRe semiotic spaces. This must of course begin with the artists’ understanding of DeRe in this time when our ‘identities are becoming increasingly fractured, networked, virtualized and distributed’ We hope to persuade artists to engage with the medium of computer game technology to explore these issues. In particular, we pose several questions to the artist: (i) How can particular ‘periods’ in art history be used to inform the design of computer games? (ii) How can specific artistic elements or devices be used to design ‘signs’ to guide the player through the game? (iii) How can visual material be integrated with other semiotic strata such as text and audio?