Communication through design sketches: implications for stakeholder interpretation during concept design

Elsevier 2019 Design studies Vol.63 No.-

<P>We investigate how stakeholder expertise influences design interpretation derived from intent communication through conceptual design representations. Four types of design sketch are used as stimuli to gather responses from three stakeholder groups: Designers, Managers, Engineers. Physical response derived from an eye-tracking study, together with self-report responses gathered through a card-sorting exercise using semantic differentials, is subjected to qualitative and statistical analysis. Results indicate how expertise implicated response to design intent expressed through the ambiguity of sketch representations, significant differences towards graphic elements of the sketch stimuli, and how stakeholder expertise (i.e. Design, Manager, Engineer) implicated comprehension. Findings are discussed in terms implications for understanding the role and use of sketches in the communication of intent during conceptual design ideation.</P> <P><B>Highlights</B></P> <P> <UL> <LI> Designers are less challenged in interpreting design intent in ambiguous sketches. </LI> <LI> Designers pay more attention to visual elements of design sketches. </LI> <LI> Managers are more attentive to systemic and diagrammatic elements of design sketches. </LI> <LI> Norms and conventions of solution representation implicate stakeholder comprehension. </LI> </UL> </P>

A freehand sketching interface for progressive construction of 3D objects

Masry, M.,Kang, D.,Lipson, H. Elsevier 2005 Computers & graphics Vol.29 No.4

<P><B>Abstract</B></P><P>This paper presents an intuitive, freehand sketching application for Computer Aided Design (CAD) that can reconstruct a 3D object from a single, flat, freehand sketch. A pen is used to draw 2D sketches consisting of straight and curved strokes connected at vertices. The sketches are processed by a reconstruction algorithm that uses the angular distribution of the strokes and their connectivity to determine an orthogonal 3D axis system whose projection correlates with the observed stroke orientations. The axis system is used to determine a plausible depth for each vertex. This approach works well for drawings of objects whose edges predominantly conform to some overall orthogonal axis system. A second, independent optimization procedure is then used to reconstruct each curved stroke in the original sketch, assuming that the curve is planar. New strokes can be attached to the 3D object, or drawn directly onto the object's faces. An implementation of the reconstruction algorithm based on Levenberg–Marquardt optimization allows objects with over 50 strokes to be reconstructed in interactive time.</P>

SKETCHING IN VIRTUAL REALITY FOR RAPID AND SITUATED IDEA GENERATION

Minjoo Cho,Bokyung Lee,Joonhee Min,Daniel Saakes 한국디자인학회 2015 한국디자인학회 학술발표대회 논문집 Vol.2015 No.10

We introduce a sketch-based 3D modeling system using Virtual Reality (VR) with a Head Mounted Display (HMD). The system enables users to sketch freely 3D objects in various colors, arrange and situate the objects in the environment and finally export the virtual objects into a 3D file for fabrication. We evaluated the system in a small workshop with users, and the system was found to have a possibility for rapid ideation and for spatially conceptualizing ideas.

A Two Layered Approach for Animation Sketching

손의성,전재웅,박태진,손원성,임순범,최윤철 한국멀티미디어학회 2009 멀티미디어학회논문지 Vol.12 No.12

In this paper, we present an animation sketching system using a two layered approach. Animation sketching is a popular technique to create informal animations but it is often suffered by the low-quality output due to a trade-off between convenience and complexity. Our aim is to support sketching practical animation scenes easily and fast while not complicating the simple sketching interface. The key idea is to combine two conceptual stop motion layers, a whiteboard and cutout animation layer, in a seamless interface. As a background, the whiteboard animation layer handles stroke-oriented objects, while the cutout animation layer takes charge of transform-oriented objects. We found that this approach enables users to express more complicated animation fast while still maintaining a concise sketching interface. We demonstrate the usability and flexibility through resulting animations from user experiments.

A Two Layered Approach for Animation Sketching

Sohn, Ei-Sung,Jeon, Jae-Woong,Park, Tae-Jin,Sohn, Won-Sung,Lim, Soon-Bum,Choy, Yoon-Chul Korea Multimedia Society 2009 멀티미디어학회논문지 Vol.12 No.12

In this paper, we present an animation sketching system using a two layered approach. Animation sketching is a popular technique to create informal animations but it is often suffered by the low-quality output due to a trade-off between convenience and complexity. Our aim is to support sketching practical animation scenes easily and fast while not complicating the simple sketching interface. The key idea is to combine two conceptual stop motion layers, a whiteboard and cutout animation layer, in a seamless interface. As a background, the whiteboard animation layer handles stroke-oriented objects, while the cutout animation layer takes charge of transform-oriented objects. We found that this approach enables users to express more complicated animation fast while still maintaining a concise sketching interface. We demonstrate the usability and flexibility through resulting animations from user experiments.

디지털 환경이 창의적인 디자인 사고와 인지과정에 미치는 영향

조명은(Cho, Myung Eun),김미정(Kim, Mi Jeong) 대한건축학회 2016 대한건축학회논문집 Vol.32 No.9

This research adopted the assumption that the characteristics of digital tools differ from those of conventional tools and that these two tools affect creativity differently in the design processes. An empirical study was carried out to grasp the effect of the use of sketching and digital tools on students’ creative behaviors and to ascertain any differences in behaviors. A coding scheme was developed to measure students’ creative design thinking processes and spatial cognitive behaviors. Female senior students studying interior design at universities in Seoul participated in the study. They had all completed a basic modelling and sketching course. It was found that participants used digital tools as much as they did sketching in the early design process. The participants then used the digital tools to expand the visual notes that they developed during sketching while either reflecting on the design guidelines or thinking about the design. Further, duplex tool changeovers occurred naturally throughout the design process and allowed participants to find an appropriate solution and improved their creative thinking in the design processes. This research showed that interactions between sketching and digital tools have new potential in design processes and that each tool has different effects on students’ design thinking and cognitive processes. Design education programmes and study guidelines should be developed to encourage students to creatively use design tools in the design process.

NCS 실내디자인 과목의 ‘주거공간 계획하기’ 단원에서 3차원 스케치 소프트웨어를 활용한 수업 프로그램 개발 및 적용 효과

지애희,유현석 대한공업교육학회 2019 대한공업교육학회지 Vol.44 No.2

최근 실내건축 분야의 실무 현장이나 대학의 실내건축 교육은 3차원 스케치 소프트웨어를 활용한 공간계획능력을 필수적으로 요구하고 있지만, 현재 특성화 고등학교에서의 교육은 수작업성 실기수업과 2D CAD 중심으로 구성되어 산업계의 변화에 적절하게 대응하지 못하고 있으며, 학생들의 공간계획 능력을 향상시킬 수 있는 3차원 스케치 소프트웨어 기반 수업 프로그램이 매우 부족한 실정이다. 따라서 이 연구의 목적은 특성화 고등학교 NCS 기반 실내디자인 과목의 ‘주거공간 계획하기’ 단원에서 3차원 스케치 소프트웨어를 활용한 수업 프로그램을 개발하고, 특성화고 수업에 적용하여 학생들의 학업성취도에 미치는 효과를 알아보는 데 있다. 이 연구에서 개발한 3차원 스케치 소프트웨어 기반 수업 프로그램은 PDIE 모형 절차에 따라 준비, 개발, 실행, 평가의 4단계를 거쳐 개발되었으며, 실험설계 모형은 이질집단 사후검사설계를 사용하였다. 실험 처치는 건설 분야 특성화 고등학교 학생들을 대상으로 실시하였고, 총 9차시의 실내디자인 교과 수업에 적용하였다. 실험 처치 후에는 인지적, 정의적, 심동적 영역에 대한 학업성취도 검사를 실시하였으며, 독립표본 t-검정을 통해 개발된 수업 프로그램에 대한 효과를 분석하였다. 이 연구에서 개발된 3차원 스케치 프로그램을 활용한 수업 프로그램은 인지적, 정의적, 심동적 영역 모두에서 기존의 수작업성 실기 수업보다 학생들의 학업성취도를 향상시키는데 효과적인 것으로 나타났다. In recent years, space planning ability using 3D sketch software is required in the working field of interior design. However, vocational high school do not respond appropriately to changes in the industry, because the class of vocational high school consists of hands-on practical classes and 2D CAD based classes. There is a shortage of 3D sketch software-based instruction programs that can improve students' spatial planning skills. Therefore, this study is to develop instruction program using 3D sketch software for 'Planning for Residential Space' unit of NCS-based on interior design subject and to find out the effect on students' academic achievement by applying to vocational high school class. The 3d sketch software based instructional program developed in this study was developed through four stages of preparation, development, implementation and evaluation according to the PDIE model process. The experimental design model used nonequivalent group posttest-only design in this study. Experiments were conducted on vocational high school students in construction and 9 hours of interior design subjects were applied. After the experiments, students were tested for academic achievement in the cognitive, affective, and psychomotor areas. As a result, the instruction program using the 3d sketch program developed in this study was found to be more effective in improving students' academic achievement than existing manual instruction program in both cognitive, affective, and psychomotor areas.

겸재 金剛山 眞景山水畵에 나타난 寺刹 사생 및 山水 寫景의 探勝 장소에 관한 연구

안호균(Ahn, Ho-Kyun) 동서미술문화학회 2013 미술문화연구 Vol.3 No.3

겸재(謙齋)의 금강산 진경산수(眞景山水)가 갖는 의미는 우리나라의 자연경관과 명소를 소재로 그 내면의 진실 된 아름다움까지 표현한 것에 있다. 금강산 진경은 본래 객관적 자연물과 내용을 사실적으로 담아내는 것으로 출발하였지만, 작가주관이 반영된 산수경(山水景)이므로 원래 포착된 이미지와 다른 형태로 나타날 수 있다. 금강산의 오늘날 실제 이미지와의 차이로 각 경물들을 막연한 기억이나 상상에 의해 그리지 않았는가 하는 의문이 드는 것도 이 때문이다. 여기서 진경산수의 요체는 내금강산이 계절, 장소와 시간에 따라 달리 보이는 대물(大物)의 진면목(眞面目)을 작가가 ‘사생표현’을 기본으로 작품 속에 조형의 목표와 의식이 반영되도록 하였는가 하는 것이다. 그 결과와 실제 풍경의 유사 여부가 진경산수화를 이해하는데 중요한 포인트가 된다. 본 연구는 우선, 내금강산을 한 화면에 담은 여러 점의 <금강내산도>에서 4개 사찰 명소의 특징과 사생사례를 현장과 비교하여 고찰함으로써 겸재의 조형 목표와 사생의지를 확인하였다. 그리고 겸재가 봉우리의 이름을 직접 표기한 그림들과 현대 지도를 비교하여 당시 겸재가 실제로 금강산의 면면을 관찰한 탐승처(探勝處)를 찾아보았다. 이렇게 추정된 탐승장소와 행선지를 살펴보면 내금강산 각각의 경물이 어떤 기준으로 배치되었는지 알 수 있을 것이기 때문이다. 겸재(謙齋)의 금강산 진경산수(眞景山水)에서 사생과정은 산수본질에 접근하려는 의지의 산물이자 금강산의 진면을 대하는 태도의 핵심이긴 하지만 무엇보다도 겸재 회화는 시각적으로 체득한 각각의 경물을 공간 지각적 해석을 새롭게 하여 구도에 반영한 조형결과라는 점을 확인할 수 있다. The implications Geumgangsan mountain Aactual-View Landscape Painting of Gyeongmjae are to express the inner true beauty of the Korean landscape and sights. Although Geumgangsan mountain Aactual-View started originally with containing objectively natural objects and contents, it can be appear in a different form from the original captured image as it’s landscape that the artist’s subjectivity is reflected. Due to differences from Geumgang mountain’s actual image today, there is a question whether each scenery of the season is drawn by a vague memory or imagination. The essence of the True-View Landscape depends on whether the artist reflects a big thing’s truth looking different according to season, location and time on the goal and awareness of molding in the work based on ‘sketching’ As a result, it’s an important point whether the actual landscape is true or not. In this study, Gyeongmjae’s formative goal and the will to sketch were first verified by comparing the characteristics of 4 temples and cases of sketching in some paintings of 〈Geumgangnaesan〉 which expresses NaeGeumgangsan mountain in one side with the field and considering it. Sightseeing place(探勝處:Roam somewhere to sightly and Find a good place) where Gyeomjae at that time had observed every aspect of Geumgangsan mountain really was looked by comparing pictures that Gyeomjae represented the names of the peaks directly with a modern map. Looking at Sightseeing place and destination estimated like this, we can know what standards each scenery of the season in NaeGeumgang mountain is placed. Although the process of sketching in Geumgangsan mountain Aactual-View Landscape Painting of Gyeomjae is the core of the attitude to treat the truth of Geumgang mountain, above of all, the painting of Gyeomjae can be found to be the result of modeling that each scenery of the season mastered visually is reflected on the composition by making spacial and perceptual analysis new.

Deforming NURBS Surfaces to Target Curves for Immersive VR Sketching

KWON, Junghoon,LEE, Jeongin,KIM, Harksu,JANG, Gilsoo,CHAI, Youngho The Institute of Electronics, Information and Comm 2010 IEICE transactions on information and systems Vol.93 No.1

<P>Designing NURBS surfaces by manipulating control points directly requires too much trial and error for immersive VR applications. A more natural interface is provided by deforming a NURBS surface so that it passes through a given target point; and by repeating such deformations we can make the surface follow one or more target curves. These deformations can be achieved by modifying the pseudo-inverse matrix of the basis functions, but this matrix is often ill-conditioned. However, the application of a modified FE approach to the weights and control points provides controllable deformations, which are demonstrated across a range of example shapes.</P>

Intuitive Constraint based Spatial Over-sketching for 3D Conceptual Design

Ashok Kumar Patil,Sanghun Nam,Youngho Chai 한국HCI학회 2013 한국HCI학회 학술대회 Vol.2013 No.1