Dissertations / Theses on the topic 'Sketching'
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Theophil, Sebastian Christoph. "Sketching Slides." Doctoral thesis, Humboldt-Universität zu Berlin, Mathematisch-Naturwissenschaftliche Fakultät II, 2011. http://dx.doi.org/10.18452/16368.
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Die Entwicklung effizienter Desktop Publishing Systeme wird behindert durch den Mangel an leistungsfähigen, automatischen Layoutalgorithmen. Aktuelle Algorithmen zum Layout ganzer Dokumente oder einzelner Seiten erfordern entweder die Formulierung des Layoutproblems in einer formalen Beschreibungssprache, oder sie benötigen fertige, detaillierte Layouttemplates. Layoutprobleme mit schwacher Semantik lassen sich schlecht in formale Sprachen umsetzen, Layout Templates verschieben den manuellen Aufwand nur vom Endnutzer zum Template Designer. Das erste Ergebnis dieser Dissertation ist ein Layoutalgorithmus, der ein allgemeines Layoutproblem löst, in dem er es als Ressourcenallokationsproblem interpretiert. Die Fläche einer einzelnen Seite ist eine Ressource, die zwischen den visuellen Elementen einer Seite verteilt wird. Das Layoutproblem wird in ein lexikographisches min-ordering Optimierungsproblem übersetzt, das durch lineare Optimierung in Echtzeit gelöst wird. Die Lösungen manuell erzeugter Layoutprobleme sind häufig über- oder unterbestimmt. Wenn das Problem überbestimmt ist, also keine gültige Lösung besitzt, muss der Algorithmus die Lösung finden, die am n\"achsten an der intendierten Lösung ist. Der Algorithmus erkennt nicht eindeutig definierte Probleme mit unbefriedigenden Lösungen und fügt die minimal notwendige Anzahl von Constraints hinzu um das vom Nutzer beabsichtigte Layout zu erzeugen. Das zweite Ergebnis ist die Entwicklung einer intuitiven Benutzerschnittstelle, die es erlaubt, die vorhergehend beschriebenen Layoutprobleme zu erzeugen. Sie verbirgt die Komplexität des Constraintsystems und vermeidet die Komplexität constraint-basierter Grafikanwendungen der Vergangenheit. Diese Benutzerschnittstelle macht formale Beschreibungssprachen und manuell erzeugte Layouttemplates überflüssig. Die Evaluation zeigt, dass die besten Tabellenlayoutalgorithmen keine signifikant besseren Ergebnisse produzieren als der allgemeinere ICBM Layout Algorithmus.The efficiency of desktop publishing is severely limited by the lack of sophisticated automatic document layout systems. State-of-the-art algorithms either require the input to be written in a description language such as HTML and LaTeX, or to be a manually designed layout template. However, description languages are ill-suited to express layout problems with weak semantics and layout templates shift the burden from the end user to the template designer. The first contribution of this thesis is an algorithm that solves a general class of layout problems by treating them as equitable resource allocation problems. The available document area is a resource that is distributed among inter-element gaps. The layout problem is transformed into a lexicographic min-ordering optimization problem that is solved using linear programming techniques in real-time. If the layout problem is over-constrained, the quality of the solution layout degrades gracefully. The layout algorithm finds the solution layout with the most equitable distribution of constraint errors among the soft layout constraints, i.e., the solution closest to the user''s original intent. Conversely, the layout algorithm detects the under-constrained subproblems that adversely affect the solution layout. It adds the minimal number of constraints required to achieve the fully specified layout problem that is closest to the user''s input. The second contribution is the creation of an intuitive direct manipulation user interface that lets users create the aforementioned class of general constrained layout problems. It hides the complexity of the constraint system and avoids the usability problems that have plagued constraint drawing applications. It eliminates the need of document description languages and manually-created layout templates. In the evaluation, we show that the best state-of-the-art specialized table layout algorithms do not outperform the general ICBM layout algorithm by any significant margin.
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Gunnarsson, Örn. "Sketching 3D faces." Thesis, University of Sheffield, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.531227.
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Loke, Shee Ming. "Sketching with words." Thesis, University of Sheffield, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.273736.
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Zheng, Qingzheng. "Sketching-based skeleton extraction." Thesis, Durham University, 2011. http://etheses.dur.ac.uk/3249/.
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Articulated character animation can be performed by manually creating and rigging a skeleton into an unfolded 3D mesh model. Such tasks are not trivial, as they require a substantial amount of training and practice. Although methods have been proposed to help automatic extraction of skeleton structure, they may not guarantee that the resulting skeleton can help to produce animations according to user manipulation. We present a sketching-based skeleton extraction method to create a user desired skeleton structure which is used in 3D model animation. This method takes user sketching as an input, and based on the mesh segmentation result of a 3D mesh model, generates a skeleton for articulated character animation. In our system, we assume that a user will properly sketch bones by roughly following the mesh model structure. The user is expected to sketch independently on different regions of a mesh model for creating separate bones. For each sketched stroke, we project it into the mesh model so that it becomes the medial axis of its corresponding mesh model region from the current viewer perspective. We call this projected stroke a “sketched bone”. After pre-processing user sketched bones, we cluster them into groups. This process is critical as user sketching can be done from any orientation of a mesh model. To specify the topology feature for different mesh parts, a user can sketch strokes from different orientations of a mesh model, as there may be duplicate strokes from different orientations for the same mesh part. We need a clustering process to merge similar sketched bones into one bone, which we call a “reference bone”. The clustering process is based on three criteria: orientation, overlapping and locality. Given the reference bones as the input, we adopt a mesh segmentation process to assist our skeleton extraction method. To be specific, we apply the reference bones and the seed triangles to segment the input mesh model into meaningful segments using a multiple-region growing mechanism. The seed triangles, which are collected from the reference bones, are used as the initial seeds in the mesh segmentation process. We have designed a new segmentation metric [1] to form a better segmentation criterion. Then we compute the Level Set Diagrams (LSDs) on each mesh part to extract bones and joints. To construct the final skeleton, we connect bones extracted from all mesh parts together into a single structure. There are three major steps involved: optimizing and smoothing bones, generating joints and forming the skeleton structure. After constructing the skeleton model, we have proposed a new method, which utilizes the Linear Blend Skinning (LBS) technique and the Laplacian mesh deformation technique together to perform skeleton-driven animation. Traditional LBS techniques may have self-intersection problem in regions around segmentation boundaries. Laplacian mesh deformation can preserve the local surface details, which can eliminate the self-intersection problem. In this case, we make use of LBS result as the positional constraint to perform a Laplacian mesh deformation. By using the Laplacian mesh deformation method, we maintain the surface details in segmentation boundary regions. This thesis outlines a novel approach to construct a 3D skeleton model interactively, which can also be used in 3D animation and 3D model matching area. The work is motivated by the observation that either most of the existing automatic skeleton extraction methods lack well-positioned joints specification or the manually generated methods require too much professional training to create a good skeleton structure. We dedicate a novel approach to create 3D model skeleton based on user sketching which specifies articulated skeleton with joints. The experimental results show that our method can produce better skeletons in terms of joint positions and topological structure.
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Bodwin, Greg (Gregory MIchael). "Sketching distances in graphs." Thesis, Massachusetts Institute of Technology, 2018. http://hdl.handle.net/1721.1/118077.
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Thesis: Ph. D. in Computer Science, Massachusetts Institute of Technology, Department of Electrical Engineering and Computer Science, 2018.Cataloged from PDF version of thesis.
Includes bibliographical references (pages 131-144).
Often in computer science, graphs are used to represent metrics: the nodes represent "locations," and the edges represent connectivity between locations. The salient properties of such a graph are the shortest path distances between its nodes - that is, the minimum length of a path from each point A to each point B, capturing the time or resource cost of travelling from one place to another in the space represented by the graph. There are plenty of nice algorithms and structure theorems that are used to understand or analyze shortest path distances. However, in the modern computing, we sometimes have to handle spaces that are too enormous to be efficiently handled by these classic methods. When this happens, it is often useful to "sketch" these enormous spaces, designing a graph or data structure that approximately encodes the distances of the original network, but in much smaller space. This dissertation is about the design of these graph sketches that encode distances. Some of the content will cover upper bounds: we will demonstrate some new ways to make sketches, and we will prove things about the tradeoff between the size of these sketches and their approximation error. Some of the content will cover lower bounds: we will design some very particular graphs, and we will prove that a certain size vs error tradeoff can't be achieved any sketch on these graphs. We will do this for a few different reasonable notions of "approximation" of distances. We will also consider some of these settings in the fault-tolerant model, where we imagine that nodes or edges of the graph can spontaneously "fail," and we want our sketches to be strongly robust to these failures.
by Greg Bodwin.
Ph. D. in Computer Science
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Hannibal, Claire. "Digital sketching in architecture." Thesis, University of Liverpool, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.420293.
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Rice, Susan Janis. "Sketching to learn, learning to sketch: students' ways of sketching in architectural designing." Thesis, The University of Sydney, 2008. http://hdl.handle.net/2123/8148.
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Architects when sketching take time to pause, to look, to sketch, to look and sketch again. Described by some as the passing of an idea, a place or an experience from eye to mind to hand, the act of sketching is a means by which architects come to see and to understand the unfolding outcomes of their designing and make sense of aspects of the world. For many practitioners, scholars and eminent architects, sketching is fundamental to their architectural disposition and an integral part of thinking in an architectural way. To become architects, students need to learn this kind of sketching and few students in the early years of their studies are able to sketch in this way. Experience in teaching reveals architecture students are able to produce sketches, yet many struggle to grasp how to use their sketching as an integral part of their thinking and of progressing their designing. Far too rarely is using sketching an explicit focus of teaching and learning in the design studio. This research is directed towards understanding the different ways students are sketching when designing, on the basis that understanding these ways provides a useful and appropriate basis upon which to found improvements in teaching and learning about sketching in the design studio. Synergies between architectural sketching, visual thinking and how students learn, give rise to an investigation into the ways students are sketching, its approach, the form and collection of the data, the tools of analysis and means of interpretation founded on what is shared. The phenomenographic perspective on teaching and learning (Marton and Booth 1997) provides a means to analyse students' sketching, its iterative and interwoven cycles of considering, discovering and reinterpreting, suited to making sense of and seeing below the surface of the loose, searching and at times unclear design sketching. The analysis findings identify and describe differences in what and how students are sketching and are synthesized into a visual framework of 'palettes', describing three different and increasingly complex ways students are sketching. Using the descriptive framework in the studio offers students and teachers, through the understanding it depicts and the language it provides, opportunity to see, to make sense of, to compare, to complement, to improve and to discuss their own sketching and the sketching of others, and in so doing provides a means by which to help bring sketching into being an explicit focus of the day to day exchanges which lie at the core of learning in the design studio. Consideration is given to how teaching and learning in the studio might change were sketching to take this focus.
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Thiebaut, Jean-Baptiste. "Sketching music : representation and composition." Thesis, Queen Mary, University of London, 2010. http://qmro.qmul.ac.uk/xmlui/handle/123456789/406.
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The process of musical composition is sometimes conceived of as an individual, internal, cognitive process in which notation plays a passive role of transmitting or recording musical ideas. This thesis questions the role played by representations in musical composition practices. We begin by tracing how, historically, compositional practices have co-evolved with musical representations and technologies for music production. We present case studies to show that the use of graphical sketches is a characteristic feature of the early stages of musical composition and that this practice recurs across musical genres ranging from classical music to contemporary electroacoustic composition. We describe the processes involved in sketching activities within the framework of distributed cognition and distinguish an intermediate representational role for sketches that is different from what is ‘in the head’ of the composer and from the functions of more formal musical notations. Using evidences from the case studies, we argue in particular that as in other creative design processes, sketches provide strategically ambiguous, heterogeneous forms of representation that exploit vagueness, indeterminacy and inconsistency in the development of musical ideas. Building on this analysis of the functions of sketching we describe the design and implementation of a new tool, the Music Sketcher, which attempts to provide more under-specified and flexible forms of ‘sketch’ representation than are possible with contemporary composition tools. This tool is evaluated through a series of case studies which explore how the representations constructed with the tool are interpreted and what role they play in the compositional process. We show that the program provides a similar level of vagueness to pen and paper, while also facilitating re-representation and re-interpretation, thus helping bridge the gap between early representations and later stages of commitment.
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Adams, Daniel B. "Feature-based Interactive Terrain Sketching." BYU ScholarsArchive, 2009. https://scholarsarchive.byu.edu/etd/2288.
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Procedural generation techniques are able to quickly and cheaply produce large areas of terrain. However, these techniques produce results that are not easily directable and often require artists to edit the results by hand to achieve the desired layout. This paper proposes a sketch-based system for controlling fractal terrain that allows for a wide variety of terrain feature types. Artists sketch features rather than constrained points or elevations. The system is interactive, provides quick on-demand previews of the terrain, and allows for iterative design modifications. Interaction between features is handled in a realistic fashion. An arbitrary vertex insertion order midpoint displacement algorithm is also described which provides the necessary flexibility and constraints for the terrain generation system.
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Falcone, Roberta <1991>. "Supervised Classification with Matrix Sketching." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2020. http://amsdottorato.unibo.it/9348/1/Falcone_PhD_Thesis.pdf.
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Matrix sketching is a recently developed data compression technique. An input matrix A is efficiently approximated with a smaller matrix B, so that B preserves most of the properties of A up to some guaranteed approximation ratio. In so doing numerical operations on big data sets become faster. Sketching algorithms generally use random projections to compress the original dataset and this stochastic generation process makes them amenable to statistical analysis. The statistical properties of sketched regression algorithms have been widely studied previously. We study the performances of sketching algorithms in the supervised classification context, both in terms of misclassification rate and of boundary approximation, as the degree of sketching increases. We also address, through sketching, the issue of unbalanced classes, which hampers most of the common classification methods.
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PANA-TALPEANU, RADU-MIHAI. "Trajectory extraction for automatic face sketching." Thesis, KTH, Skolan för datavetenskap och kommunikation (CSC), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-142429.
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This project consists of a series of algorithms employed to obtain a simplistic but realistic representation of a human face. The final goal is for the sketch to be drawn onto paper by a robotic arm with a gripper holding a drawing instrument. The end application is mostly geared towards entertainment and combines the fields of human-machine interaction, machine learning and image processing. The first part focuses on manipulating an input digital image in order to obtain trajectories of a suitable format for the robot to process. Different techniques are presented, tested and compared, such as edge extraction, landmark detection, spline generation and principal component analysis. Results showed that an edge detector yields too many lines, while the generative spline method leads to overly simplistic faces. The best facial depiction was obtained by combining landmark localization with edge detection. The trajectories outputted by the different techniques are passed to the arm through the high level interface provided by ROS, the Robot Operating System and then drawn on paper.Detta projekt består av en serie av algoritmer som används för att erhålla en förenklad men realistisk återgivning av ett mänskligt ansikte. Det slutgiltiga målet är att skissen ska ritas på papper av en robotarm med en gripare som håller ett ritinstrument. Tillämpningen är nöjesorienterad och kombinerar områdena människamaskin- interaktion, maskininlärning och bildbehandling. Den första delen fokuserar på att manipulera en mottagen digital bild så att banor i ett format lämpligt för roboten erhålls. Olika tekniker presenteras, testas och jämförs såsom kantdetektion, igenkänning av landmärke, spline-generering och principalkomponentanalys. Resultaten visade att en kantdetektor ger alltför många linjer och att spline-genererings-metoden leder till alltför förenklade ansikten. Den bästa ansiktsskildringen erhölls genom att kombinera lokalisering av landmärke med kantdetektering. De banor som erhållits genom de olika teknikerna överförs till armen genom ett högnivågränssnitt till ROS, Robot Operating System och sedan ritas på papper.
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Sivaloganathan, Sangarappillai. "Sketching input for computer aided engineering." Thesis, City University London, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.292733.
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Smithnosky, Jesse Michael. "Enabling collaboration in the sketching domain." Thesis, Massachusetts Institute of Technology, 2005. http://hdl.handle.net/1721.1/33362.
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Thesis (M. Eng.)--Massachusetts Institute of Technology, Dept. of Electrical Engineering and Computer Science, 2005.Includes bibliographical references (leaf 47).
Sketching, although deceptively simple and seemingly primitive, is a powerful paradigm for designing and understanding many types of engineering systems. Many problem domains, such as designing electrical circuits, developing flow charts, and modeling simple mechanical devices, rely heavily on the ability to produce sketches efficiently in order to bring out the most salient features. Engineers working in these domains usually rely on pen and paper to generate their design sketches. They do this because more advanced technologies (such as notebook computers) are often unavailable, hard to learn, or cumbersome. It is important for engineers to collaborate with their colleagues while working on their sketches. Unfortunately, collaboration on sketches that exist only as pen and paper often proves to be tedious, requiring a minimum of a fax machine and scanner. Engineers could benefit from a more efficient means of collaboration when dealing with pen and paper sketches. The technology exists to improve the current situation and make pen and paper sketches a more effective medium for collaborative design. This thesis presents an implementation of a system that achieves three goals. First, the system allows two users to collaborate on the production of a sketch in much the same way they would collaborate when composing a document (with one user composing a sketch, then accepting or rejecting the changes of his collaborator).
(cont.) Second, it allows users to watch a collaborator's additions play in real time, like watching a movie. And finally, it links the sketch recognition and simulation software developed by the Design Rationale Group at MIT with a simple pen and paper interface, allowing engineers to run simulations of their design sketches. These goals are achieved by using a commercial pen produced by the Anoto Group that is capable of storing the strokes it draws. In essence, the user creates both a hard and soft copy of the sketch simultaneously, and can share the soft copy with any collaborator. Using this model of production, sketches can be collaboratively generated, edited, and reviewed quickly and easily, all using only a pen, paper, and a standard printer.
by Jesse Michael Smithnosky.
M.Eng.
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Nelson, Jelani (Jelani Osei). "Sketching and streaming high-dimensional vectors." Thesis, Massachusetts Institute of Technology, 2011. http://hdl.handle.net/1721.1/66314.
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Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Electrical Engineering and Computer Science, 2011.This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.
Cataloged from student submitted PDF version of thesis.
Includes bibliographical references (p. 136-145).
A sketch of a dataset is a small-space data structure supporting some prespecified set of queries (and possibly updates) while consuming space substantially sublinear in the space required to actually store all the data. Furthermore, it is often desirable, or required by the application, that the sketch itself be computable by a small-space algorithm given just one pass over the data, a so-called streaming algorithm. Sketching and streaming have found numerous applications in network traffic monitoring, data mining, trend detection, sensor networks, and databases. In this thesis, I describe several new contributions in the area of sketching and streaming algorithms. The first space-optimal streaming algorithm for the distinct elements problem. Our algorithm also achieves 0(1) update and reporting times. A streaming algorithm for Hamming norm estimation in the turnstile model which achieves the best known space complexity. The first space-optimal algorithm for pth moment estimation in turnstile streams for 0 < p < 2, with matching lower bounds, and another space-optimal algorithm which also has a fast O(log²(1/[epsilon]) log log(1[epsilon])) update time for (1+/-[epsilon])- approximation. A general reduction from empirical entropy estimation in turnstile streams to moment estimation, providing the only known near-optimal space-complexity upper bound for this problem. A proof of the Johnson-Lindenstrauss lemma where every matrix in the support of the embedding distribution is much sparser than previous known constructions. In particular, to achieve distortion (1+/-[epsilon]) with probability 1-[delta], we embed into optimal dimension 0([epsilon]-²log(1/[delta])) and such that every matrix in the support of the distribution has 0([epsilon]-¹ log(1/[delta])) non-zero entries per column.
by Jelani Nelson.
Ph.D.
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Harris, K. Paul Covach John Rudolph. "U2's creative process sketching in sound /." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2007. http://dc.lib.unc.edu/u?/etd,806.
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Thesis (Ph. D.)--University of North Carolina at Chapel Hill, 2007.Title from electronic title page (viewed Dec. 18, 2007). "... in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music." Discipline: Music; Department/School: Music.
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Ryan, Kathleen. "Sketching and creativity of interior design students." Online access for everyone, 2008. http://www.dissertations.wsu.edu/Thesis/Spring2008/K_Ryan_042508.pdf.
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Tseng, Winger Sei-wo. "Functional knowledge and structure of sketching behaviour." Thesis, Coventry University, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.323036.
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Axiotis, Kyriakos. "Algorithms for Subset Sum using linear sketching." Thesis, Massachusetts Institute of Technology, 2019. https://hdl.handle.net/1721.1/122750.
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Thesis: S.M., Massachusetts Institute of Technology, Department of Electrical Engineering and Computer Science, 2019Cataloged from PDF version of thesis.
Includes bibliographical references (pages 41-43).
Given n positive integers, the Modular Subset Sum problem asks if a subset adds up to a given target t modulo a given integer m. This is a natural generalization of the Subset Sum problem (where m = + [infinity symbol]) with ties to additive combinatorics and cryptography. The non-modular case was long known to be NP-complete but to admit pseudo-polynomial time algorithms and, recently, algorithms running in near-linear pseudo-polynomial time were developed [9, 211. For the modular case, however, the best known algorithm by Koiliaris and Xu [21] runs in time 0̃ (m⁵/⁴). In this thesis we tackle this problem by devising a faster algorithm for the Modular Subset Sum problem, running in 0̃(m) randomized time, which matches a recent conditional lower bound of [1] based on the Strong Exponential Time Hypothesis. Interestingly, in contrast to most previous results on Subset Sum, our algorithm does not use the Fast Fourier Transform. Instead, it is able to simulate the "textbook" Dynamic Programming algorithm much faster, using ideas from linear sketching. This is one of the first applications of sketching-based techniques to obtain fast algorithms for exact combinatorial problems in an offline setting.
by Kyriakos Axiotis.
S.M.
S.M. Massachusetts Institute of Technology, Department of Electrical Engineering and Computer Science
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Mustafa, Janan Abdulsattar. "Computer-based sketching and the productivity of the conceptual stage of design." Thesis, University of Edinburgh, 2013. http://hdl.handle.net/1842/8858.
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Many designers find computer-based tools are not as effective during the early stages of design as manual sketching. However, to abandon the computer in these conceptual stages denies designers the computer‟s capability to translate and supplement imaginative design thinking. Recent design studies address conceptual design. What is the impact of computer-based drawing and sketching on designers‟ cognition and productive reasoning? This research focuses on the relationship between the characteristics of sketching using the drawing environment of the computer and the productivity of the conceptual design phase. I provide a theoretical framework that identifies and clarifies both sketching and productivity. Previous specialized studies are selective and sometimes only descriptive in defining this relationship. A review of these studies reveals a gap in our understanding of those aspects of sketching that relate to visualization, imagination and the generation of design ideas. The thesis addresses three objectives: (i) to build a comprehensive theoretical framework that on one hand defines the characteristics of sketching that might affect the generation of design ideas, and on the other hand defines the productivity of conceptual design and its indicators; (ii) to apply this framework in a practical study; and (iii) to extract implications for the relationship. To address the problem of computer-based sketching, I indentify the continuity within the dynamic field of images usually generated while designers sketch as the most effective characteristic of the computer sketching process. I establish a measure of continuity defined by (i) the degree of ease in projecting design images, (ii) the degree of continuity of displaying images due to changing the status of the design objects and due to navigation around the objects, (iii) the degree of provision of a holistic view (i.e., the total view of the design objects on the computer screen). Then I define productivity within this framework in terms of the cognitive operations of dialogical reinterpretation. When sketching, designers seem to perform key operations such as interpreting, reframing and restructuring. I present the case that a process rich with these cognitive operations is productive. The study makes use of the fields of free hand sketching, literature, cognitive psychology and Gestalt theory. Four indicators emerge from this study: the occurrence of pattern discovery, conceptual reinterpretation, alternation of thinking, and restructuring. I identify key variables that define the degree of continuity of the dynamic field of images which relate to designer‟s performance to verify their relationship with productivity. I study ten design participants who are given a design task that involves sketching with various CAD systems. The study involves 21 hours of recorded video analyzed using a method adapted from Goldschmidt's “linkography” tool for representing design protocols. I identify where patterns of relationships between variables exist, and where they do not apply. Not all the selected variables of continuity of the dynamic field of images, nor all the indicators of productivity in the conceptual design phase, support these patterns of relationships. This indicates that there is a special group of characteristics of sketching that maintain the pace of continuity within the dynamic field of images can improve the productivity in the conceptual phase.
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Yusoff, Saiful Bahan Mohd. "Automotive sketching - Techniques from Education and Professional Practice." Thesis, Birmingham City University, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.485979.
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Within most design domains, even though the term 'sketch' can be ambiguous and vague nevertheless sketching is acknowledged as playing an important part in the design process, carrying valuable information within the conceptual phase. This study confirms the importance and significance of sketching in the context of Automotive Design; the automotive design process is compared to design processes more generally. The subjects of the investigation were 9 automotive design professionals and 55 students in United Kingdom and Malaysia. The range of sketching techniques from professional designers is discussed and the study demonstrates that tacit knowledge and the understanding of automotive profile has a significant effect for designers' aptitude for sketching. The research identifies sketch types used in the conceptual stage of the design process: a distinction is made between thumbnail sketch, rough sketch, memo sketch, idea sketch and concept sketch. Investigation was conducted via sketching tasks with professional designers. Video observational analysis was carried out to complement protocol analysis to excavate the implicit sketching process by looking at a different aspects such as medium used, left/right hand, line repetition, sequence of activity, sketching angle, automotive component detailing, shadow line, duration of activity, size of sketch output and overall activity , with the. results documented and discussed. Professionals and students al~e regard sketching as the central signifying skill in automotive design, and beIi.eve that it is distinct from sketching more generally: this has led to a sketching convention characterized by few viewing angles and a 'strict sequence of sketch development, 3tarting with the wheels. At the end of the research, some recommendations relating :0 an understanding of 'theory of sketch\ approaches tl? s~etching in the early ~onceptual phase, and the understanding
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Pedro, Erez. "Sketching in design and CAID, a theoretical exploration." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape8/PQDD_0016/MQ47663.pdf.
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Hua, Nan. "Space-efficient data sketching algorithms for network applications." Diss., Georgia Institute of Technology, 2012. http://hdl.handle.net/1853/44899.
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Sketching techniques are widely adopted in network applications. Sketching algorithms “encode” data into succinct data structures that can later be accessed and “decoded” for various purposes, such as network measurement, accounting, anomaly detection and etc. Bloom filters and counter braids are two well-known representatives in this category. Those sketching algorithms usually need to strike a tradeoff between performance (how much information can be revealed and how fast) and cost (storage, transmission and computation). This dissertation is dedicated to the
research and development of several sketching techniques including improved forms of stateful Bloom Filters, Statistical Counter Arrays and Error Estimating Codes. Bloom filter is a space-efficient randomized data structure for approximately representing a set in order to support membership queries. Bloom filter and its variants have found widespread use in many networking applications, where it is important to minimize the cost of storing and communicating network data. In this thesis, we propose a family of Bloom Filter variants augmented by rank-indexing method. We will show such augmentation can bring a significant reduction of space and also the number of memory accesses, especially when deletions of set elements from the Bloom Filter need to be supported. Exact active counter array is another important building block in many sketching algorithms, where storage cost of the array is of paramount concern. Previous approaches reduce the storage costs while either losing accuracy or supporting only passive measurements. In this thesis, we propose an exact statistics counter array architecture that can support active measurements (real-time read and write). It also leverages the aforementioned rank-indexing method and exploits statistical multiplexing to minimize the storage
costs of the counter array. Error estimating coding (EEC) has recently been established as an important tool to estimate bit error rates in the transmission of packets over wireless links. In essence, the EEC problem is also a sketching problem, since the EEC codes can be viewed as a sketch of the packet sent, which is decoded by the receiver to estimate bit error rate. In this thesis, we will first investigate the asymptotic bound of error estimating coding by viewing the problem from two-party computation perspective and then investigate its coding/decoding efficiency using Fisher information analysis. Further, we develop several sketching techniques including Enhanced tug-of-war(EToW) sketch and the generalized EEC (gEEC)sketch family which can achieve around 70% reduction of sketch size with similar estimation accuracies. For all solutions proposed above, we will use theoretical tools such as information theory and communication complexity to investigate how far our proposed solutions are away from the theoretical optimal. We will show that the proposed techniques are asymptotically or empirically very close to the theoretical bounds.
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SEGURA, VINICIUS COSTA VILLAS BOAS. "UISKEI: SKETCHING THE USER INTERFACE AND ITS BEHAVIOR." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2011. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=23595@1.
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CONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICODurante o estágio inicial do design de uma interface com usuário, diferentes soluções devem ser exploradas e refinadas iterativamente pela equipe de design. Nesse cenário de mudanças rápidas e constantes, uma ferramenta que permita e facilite essas mudanças é de grande valia. UISKEI explora o poder do desenho, possibilitando ao designer transmitir sua ideia com uma forma de expressão mais natural, e adiciona o poder computacional, facilitando a manipulação e edição dos elementos. Mais do que uma ferramenta de desenho de protótipos de interface, UISKEI também permite a definição do comportamento da interface, indo além da navegação entre contêineres de interfaces (por exemplo, janelas, páginas web, capturas de telas) e possibilitando definir mudanças nos estados dos elementos de interface (habilitando e desabilitando-os, por exemplo). Essa dissertação apresenta os conceitos principais por trás do UISKEI e um estudo de como ele se compara a ferramentas similares. A etapa de desenho da interface é detalhada, explicando como a conversão dos traços em widgets é feita através da combinação de um reconhecedor de traços, que usa a distância de Levenshtein como medida de similaridade, e a interpretação dos traços reconhecidos baseada em uma árvore de evoluções. Além disso, também são discutidas as diferentes soluções exploradas para endereçar o problema do desenho da interação, propondo uma visualização inovadora no estilo mind-map que possibilita ao usuário expressar o evento, as condições e ações de cada caso de interação, sem abandonar o paradigma da interação com caneta.
During the early user interface design phase, different solutions should be explored and iteratively refined by the design team. In this rapidly evolving scenario, a tool that enables and facilitates changes is of great value. UISKEI takes the power of sketching, allowing the designer to convey his or her idea in a rough and more natural form of expression, and adds the power of computing, which makes manipulation and editing easier. More than an interface prototype drawing tool, UISKEI also features the definition of the prototype behavior, going beyond navigation between user interface containers (e.g. windows, web pages, screen shots) and allowing to define changes to the state of user interface elements and widgets (enabling/disabling widgets, for example). This dissertation presents the main concepts underlying UISKEI and a study on how it compares to similar tools. The user interface drawing stage is detailed, explaining how the conversion of sketches to widgets is made by combining a sketch recognizer, which uses the Levenshtein distance as a similarity measure, and the interpretation of recognized sketches based on an evolution tree. Furthermore, it discusses the different solutions explored to address the issue of drawing an interaction, suggesting an innovative mind-map-like visualization approach that enables the user to express the event, conditions and actions of each interaction case while still keeping the pen-based interaction paradigm in mind.
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Göransson, Andreas, and Fernando Barrajon. "Sketching a set of multi-touch design principles." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-22583.
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Today multi-touch technology is the basis for many new techniques designed to improveinteractions with computers and mobile devices. It seems that multi-touch screen interfacemakes the user handling very natural in the sense that there is no need for a manual in how tointeract with the object on the screen.The aim with this paper is to establish a fundamental set of design principles intendedspecifically for large multi-touch interfaces. To reach this goal we have implemented a coupleof sub-goals beforehand:It was essential that we acquired a good understanding of the current state of the multi-touchinterface and the different implementations that exist today. To make this possible weconstructed a multi-touch display, "Rosie". Knowing how the hardware is produced today willhelp us understand the limitations and also the possibilities of the design implementationstoday and in the future.We also needed to devise a sound interaction design process that conveys the moderndesigners work. During this design process four methods were implemented that gave usdeeper understanding how to reach the result in this paper (design principles). The methodsare: Qualitative conceptualisation, Qualitative user-testing, Participatory design, and Iterativeprototyping. Doing these methods we gained knowledge through the process and experienceof for example, building, running workshops, doing video-prototypes and etc. Creative designwas very relevant in our design process.The result in this paper is a foundation for a set of design principles with relevance for multitouchinterfaces and a interesting design process for developing multi-touch applications.
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Pache, Martin Walter. "Sketching for conceptual design empirical results and future tools /." [S.l.] : [s.n.], 2005. http://deposit.ddb.de/cgi-bin/dokserv?idn=977692973.
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Chao, William O. "Improvisational interfaces for visualization construction and scalar function sketching." Thesis, University of British Columbia, 2012. http://hdl.handle.net/2429/41982.
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Presentations are an important aspect of daily communication in most organizations. As sketch, and gesture-capable interfaces such as tablets and smart boards become increasingly common, they open up new possibilities for interacting with presentations. This thesis explores two new interface prototypes to improve upon otherwise tedious presentation needs such as demonstrating models based on scalar functions, and visualization of data. We combine a spreadsheet style interface with sketching of scalar mathematical functions to develop and demonstrate intuitive mathematical models without the need of coding or complex equations. We also explore sketch and gesture based creation of data visualizations.
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Razenshteyn, Ilya. "High-dimensional similarity search and sketching : algorithms and hardness." Thesis, Massachusetts Institute of Technology, 2017. http://hdl.handle.net/1721.1/113934.
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Thesis: Ph. D., Massachusetts Institute of Technology, Department of Electrical Engineering and Computer Science, 2017.This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.
Cataloged from student-submitted PDF version of thesis.
Includes bibliographical references (pages 241-255).
We study two fundamental problems that involve massive high-dimensional datasets: approximate near neighbor search (ANN) and sketching. We obtain a number of new results including: ' An algorithm for the ANN problem over the ℓ₁ and ℓ₂ distances that, for the first time, improves upon the Locality-Sensitive Hashing (LSH) framework. The key new insight is to use random space partitions that depend on the dataset. ' An implementation of the core component of the above algorithm, which is released as FALCONN: a new C++ library for high-dimensional similarity search. ' An efficient algorithm for the ANN problem over any distance that can be expressed as a symmetric norm. ' For norms, we establish the equivalence between the existence of short and accurate sketches and good embeddings into ℓp spaces for 0 < p by Ilya Razenshteyn.
Ph. D.
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Balu, Raghavendran. "Privacy-aware and scalable recommender systems uing sketching techniques." Thesis, Rennes 1, 2016. http://www.theses.fr/2016REN1S047/document.
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Cette thèse étudie les aspects passage à l’échelle et respect de la vie privée des systèmes de recommandation grâce à l’emploi d’algorithmes à base de sketchs. Les contributions techniques liées à cette étude nous permettent de proposer un système de recommandations personnalisées capable de passer à l’échelle tant en nombre d’utilisateurs qu’en nombre de produits à recommander, tout en offrant une bonne protection de la confidentialité de ces recommandations. La thèse se situe ainsi à la croisée de trois domaines qui sont les systèmes de recommandation, la confidentialité différentielle et les techniques à base de sketchs. Concernant la confidentialité, nous nous sommes intéressés à définir de nouveaux mécanisme garantissant une bonne confidentialité mais aussi à les évaluer. Nous avons pu observer que c’est qui est le paramètre essentiel contrôlant le respect plus ou moins garanti de la confidentialité différentielle. Par ailleurs, le besoin de fonctionner à grande échelle demande de relever les défis liés à la modélisation de très nombreux utilisateurs et à la prise en compte de très nombreux produits à recommander. Ces défis sont particulièrement difficiles à relever dans un contexte où les préférences des utilisateurs et le catalogue de produits évoluent dynamiquement. Cette évolution complexifie les techniques de stockage des profils des utilisateurs, leur mise à jour et leur interrogation. Nos contributions sur cet aspect intéressent non seulement le domaine de la recommandation, mais ont une portée plus générale. Globalement, nous avons mené de nombreuses campagnes d’évaluation de nos propositions, sur des jeux de données réels de très grande taille, démontrant ainsi la capacité de nos contributions à passer à l’échelle tout en offrant de la dynamicité et des garanties sur la confidentialitéIn this thesis, we aim to study and evaluate the privacy and scalability properties of recommender systems using sketching techniques and propose scalable privacy preserving personalization mechanisms. Hence, the thesis is at the intersection of three different topics: recommender systems, differential privacy and sketching techniques. On the privacy aspects, we are interested in both new privacy preserving mechanisms and the evaluation of such mechanisms. We observe that the primary parameter in differential privacy is a control parameter and motivated to find techniques that can assess the privacy guarantees. We are also interested in proposing new mechanisms that are privacy preserving and get along well with the evaluation metrics. On the scalability aspects, we aim to solve the challenges arising in user modeling and item retrieval. User modeling with evolving data poses difficulties, to be addressed, in storage and adapting to new data. Also, addressing the retrieval aspects finds applications in various domains other than recommender systems. We evaluate the impact of our contributions through extensive experiments conducted on benchmark real datasets and through the results, we surmise that our contributions very well address the privacy and scalability challenges
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Craft, B. R. "A sketching-oriented design method for information visualization software." Thesis, University College London (University of London), 2007. http://discovery.ucl.ac.uk/1445401/.
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The aim of this research is to describe a useful approach for supporting creativity and problem-solving in the design of Information Visualization software. This type of software is useful for helping people to understand large or complex collections of data by making the data easier to see and use. Because it can be so helpful, many people are motivated to create visualization software to address their own unique problems of understanding data. However, the techniques which visualizations use to enhance cognition of data are not widely known. Also, there are currently few resources which comprehensively describe a method for designing novel visualizations. Consequently, people who seek to build new Information Visualization tools are left to consult design examples, guidelines, and reference models, which do not adequately describe the visualization design process. The key question of the research concerns how Information Visualization methodologies should account for representation of the user, existing visualization design knowledge, and sketching. Given that the current methods of Information Visualization design are incomplete and show evidence of significant shortcomings, how can novice visualization design teams bridge these gaps by using methods from other design disciplines to successfully create effective visualizations To investigate this question, several studies were conducted. Also, a design methodology called So Viz was developed. It incorporates a participatory design approach, using sketching and visualization design patterns to support creativity and problem-solving. A prototype was designed using the SoViz approach. The key contributions of this thesis are results which show that Information Visualization designers can benefit from using this method. The thesis presents the results of using SoViz to create an Information Visualization prototype and describes the theoretical consequences for Information Visualization methodology.
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Weisman, Luke 1974. "A foundation for intelligent multimodal drawing and sketching programs." Thesis, Massachusetts Institute of Technology, 1999. http://hdl.handle.net/1721.1/9489.
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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Electrical Engineering and Computer Science, 1999.Includes bibliographical references (p. 76-77).
Computers should be able to assist an engineer or designer at all stages of design without chasing the engineer away or frustrating her. In order for this to occur, the computer needs to be able to understand what the engineer is doing and provide unobtrusive help. Furthermore the engineer needs to be able to interact with the computer in a natural manner. To support this design methodology I implement a foundation on which a programmer can make such applications. I provide two illustrative applications which demonstrate the foundation's power.
by Luke Weisman.
S.M.
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Hie, Brian. "Stitching and sketching large-scale single-cell transcriptomic data." Thesis, Massachusetts Institute of Technology, 2019. https://hdl.handle.net/1721.1/121734.
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Thesis: S.M., Massachusetts Institute of Technology, Department of Electrical Engineering and Computer Science, 2019Cataloged from PDF version of thesis.
Includes bibliographical references (pages 57-65).
Researchers are generating single-cell RNA sequencing (scRNA-seq) profiles of diverse biological systems [1]-[7] and every cell type in the human body [8] at an unprecedented scale, with scRNA-seq experiments regularly profiling gene expression in hundreds of thousands or even millions of cells [9]. Leveraging this data to gain unprecedented insight into biology and disease requires algorithms that can scale to the tremendous amount of data being generated and can integrate information across multiple experiments, laboratories, and technologies. Here, we present two algorithms that aim to aid researchers in gaining better insight from scRNA-seq data sets. The first, Scanorama, inspired by algorithms for panorama stitching, achieves accurate integration of heterogeneous scRNA-seq data sets, which we use to integrate a number of large and complex collections of data sets. The second algorithm, geometric sketching, is a sampling approach that aims to evenly cover the low-dimensional manifold spanned by the cells to capture more of the rare transcriptional structure than would uniform subsampling with equal probability for each cell, obtaining sketches that better capture the transcriptional heterogeneity of the original data. Moreover, geometric sketching can be used to improve the computational efficiency of algorithms for single-cell integration, including Scanorama. We anticipate that both algorithms will play an important role in the analysis and interpretation of large-scale single-cell transcriptomic data sets.
by Brian Hie.
S.M.
S.M. Massachusetts Institute of Technology, Department of Electrical Engineering and Computer Science
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Moussette, Camille. "Simple haptics : Sketching perspectives for the design of haptic interactions." Doctoral thesis, Umeå universitet, Institutionen Designhögskolan, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-60221.
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Historically, haptics—all different aspects of the sense of touch and its study—has developed around very technical and scientific inquiries. Despite considerable haptic research advances and the obviousness of haptics in everyday life, this modality remains mostly foreign and unfamiliar to designers. The guiding motif of this research relates to a desire to reverse the situation and have designers designing for and with the haptic sense, for human use and looking beyond technical advances. Consequently, this thesis aims to nurture the development of haptics from a designerly perspective, leading to a new field of activities labeled haptic interaction design. It advances that haptic attributes and characteristics are increasingly part of the qualities that make up the interactions and the experiences we have with objects and the interfaces that surround us, and that these considerations can and ought to be knowingly and explicitly designed by designers. The book encompasses an annotated research through design exploration of the developing field of haptic interaction design, building on a considerable account of self-initiated individual design activities and empirical-style group activities with others. This extensive investigation of designing haptic interactions leads to the Simple Haptics proposition, an approach to ease the discovery and appropriation of haptics by designers. Simple Haptics consists in a simplistic, rustic approach to the design of haptic interactions, and advocates an effervescence of direct perceptual experiences in lieu of technical reverence. Simple Haptics boils down to three main traits: 1) a reliance on sketching in hardware to engage with haptics; 2) a fondness for basic, uncomplicated, and accessible tools and materials for the design of haptic interactions; and 3) a strong focus on experiential and directly experiencable perceptual qualities of haptics. Ultimately, this thesis offers contributions related to the design of haptic interactions. The main knowledge contribution relates to the massification of haptics, i.e. the intentional realization and appropriation of haptics—with its dimensions and qualities—as a non-visual interaction design material. Methodologically, this work suggests a mixed longitudinal approach to haptics in a form of a well-grounded interplay between personal inquiries and external perspectives. The book also presents design contributions as ways to practically, physically and tangibly access, realize and explore haptic interactions. Globally these contributions help make haptics concrete, graspable, sensible and approachable for designers. The hope is to inspire design researchers, students and practitioners to discover and value haptics as a core component of any interaction design activities.
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Keriven, Nicolas. "Apprentissage de modèles de mélange à large échelle par Sketching." Thesis, Rennes 1, 2017. http://www.theses.fr/2017REN1S055/document.
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Les bases de données modernes sont de très grande taille, parfois divisées et distribuées sur plusieurs lieux de stockage, ou encore sous forme de flux de données : ceci soulève de nouveaux défis majeurs pour les méthodes d’apprentissage statistique. Une des méthodes récentes capable de s’adapter à ces situations consiste à d’abord compresser les données en une structure appelée sketch linéaire, puis ensuite de réaliser la tâche d’apprentissage en utilisant uniquement ce sketch, ce qui est extrêmement rapide si celui-ci est de petite taille. Dans cette thèse, nous définissons une telle méthode pour estimer un modèle de mélange de distributions de probabilités à partir des données, en utilisant uniquement un sketch de celles-ci. Ce sketch est défini en s’inspirant de plusieurs notions venant du domaine des méthodes à noyaux : le plongement par noyau moyen et les approximations aléatoires de noyaux. Défini comme tel, le sketch correspond à des mesures linéaires de la distribution de probabilité sous-jacente aux données. Ainsi nous analysons le problème en utilisant des outils venant du domaine de l’acquisition comprimée, dans lequel un signal est mesuré aléatoirement sans perte d’information, sous certaines conditions. Nous étendons certains résultats de l’acquisition comprimée à la dimension infinie, donnons des conditions génériques garantissant le succès de notre méthode d’estimation de modèles de mélanges, et les appliquons à plusieurs problèmes, dont notamment celui d’estimer des mélanges de distributions stables multivariées, pour lequel il n’existait à ce jour aucun estimateur. Notre analyse est basée sur la construction d’opérateurs de sketch construits aléatoirement, qui satisfont une Propriété d’Isométrie Restreinte dans l’espace de Banach des mesures finies signées avec forte probabilité. Dans une second partie, nous introduisons un algorithme glouton capable heuristiquement d’estimer un modèle de mélange depuis un sketch linéaire. Cet algorithme est appliqué sur données simulées et réelles à trois problèmes : l’estimation de centres significatifs dans les données, pour lequel on constate que la méthode de sketch est significativement plus rapide qu’un algorithme de k-moyennes classique, l’estimation de mélanges de Gaussiennes, pour lequel elle est plus rapide qu’un algorithme d’Espérance-Maximisation, et enfin l’estimation de mélange de distributions stables multivariées, pour lequel il n’existait à ce jour, à notre connaissance, aucun algorithme capable de réaliser une telle tâcheLearning parameters from voluminous data can be prohibitive in terms of memory and computational requirements. Furthermore, new challenges arise from modern database architectures, such as the requirements for learning methods to be amenable to streaming, parallel and distributed computing. In this context, an increasingly popular approach is to first compress the database into a representation called a linear sketch, that satisfies all the mentioned requirements, then learn the desired information using only this sketch, which can be significantly faster than using the full data if the sketch is small. In this thesis, we introduce a generic methodology to fit a mixture of probability distributions on the data, using only a sketch of the database. The sketch is defined by combining two notions from the reproducing kernel literature, namely kernel mean embedding and Random Features expansions. It is seen to correspond to linear measurements of the underlying probability distribution of the data, and the estimation problem is thus analyzed under the lens of Compressive Sensing (CS), in which a (traditionally finite-dimensional) signal is randomly measured and recovered. We extend CS results to our infinite-dimensional framework, give generic conditions for successful estimation and apply them analysis to many problems, with a focus on mixture models estimation. We base our method on the construction of random sketching operators such that some Restricted Isometry Property (RIP) condition holds in the Banach space of finite signed measures with high probability. In a second part we introduce a flexible heuristic greedy algorithm to estimate mixture models from a sketch. We apply it on synthetic and real data on three problems: the estimation of centroids from a sketch, for which it is seen to be significantly faster than k-means, Gaussian Mixture Model estimation, for which it is more efficient than Expectation-Maximization, and the estimation of mixtures of multivariate stable distributions, for which, to our knowledge, it is the only algorithm capable of performing such a task
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Ferreira, Isabelle Martins dos Santos. "Sketching behaviour and the copying, recall and creation of objects." Thesis, Lancaster University, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.518186.
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Song, Huaguang. "Multi-scale data sketching for large data analysis and visualization." Scholarly Commons, 2012. https://scholarlycommons.pacific.edu/uop_etds/832.
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Analysis and visualization of large data sets is time consuming and sometimes can be a very difficult process, especially for 3D data sets. Therefore, data processing and visualization techniques have often been used in the case of different massive data analysis for efficiency and accuracy purposes. This thesis presents a multi-scale data sketching solution, specifically for large 3D scientific data with a goal to support collaborative data management, analysis and visualization. The idea is to allow users to quickly identify interesting regions and observe significant patterns without directly accessing the raw data, since most of the information in raw form is not useful. This solution will provide a fast way to allow the users to choose the regions they are interested and save time. By preprocessing the data, our solution can sketch out the general regions of the 3D data, and users can decide whether they are interested in going further to analyze the current data. The key issue is to find efficient and accurate algorithms to detect boundaries or regions information for large 3D scientific data. Specific techniques and performance analysis are also discussed.
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Kihlström, Andreas. "Design Tools for Sketching of Dome Productions in Virtual Reality." Thesis, Linköpings universitet, Medie- och Informationsteknik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-152251.
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This report presents the problem of designers working on new productions for fulldomes. The back and forth process of moving between a work station and the fulldome is time consuming, a faster alternative would be useful. This thesis presents an option, a virtual reality application where a user can sketch the new environment directly on a virtual representation of a fulldome. The result would then be exported directly to the real fulldome to be displayed. The application is developed using Unreal Engine 4. The virtual dome is constructed using a procedurally generated mesh, with a paintable material assigned to it. All painting functionality is implemented manually, as is all other tools. The final product is fully useable, but requires additional work if it is to be used commercially. Additional features can be added, including certain features discussed that were cut due to time constraints, as well as improvements to existing features. Application stability is currently a concern that needs to be addressed, as well as optimizations to the software.
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Hewson, Rachel. "Marking and making : a characterisation of sketching for typographic design." Thesis, Open University, 1994. http://oro.open.ac.uk/56454/.
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This research rests on the premise that sketching in paper and pencil is crucial for typographic designers when designing documents. The aim has been to derive a characterisation of the salient aspects of sketching, through an ethnographically-oriented study of designers' use of paper and pencil. The people studied were professional typographic designers, but both the motivations for the research and the characterisation deriving from it relate to other design disciplines, notably industrial and engineering design and architecture. The goal was to identify the underlying functionality supported by sketching, in order to inform the design of future tools for document creation. The characterisation is presented as a framework, with seven main categories: visual characteristics of marks; basic semantic units of design; visual features of sketches; visual and tactile features of sheets of sketches; affordances of sketching; functionality required to support sketching; capacities of the traditional medium. The first four categories deal with the visual qualities of sketches, such as image quality within the line and recurring features in sketches such as different scale, closure, and degree of detail. The functions supported by sketching are suggested to be: interpretability, focus, comparison, simulation of experience, ideas capture and record making. The functionality identified as necessary to support sketching includes the appropriate speed of image generation, image emergence, image manipulation, and image capture and record making. Also necessary are high speed and ease of switching between all the strands mentioned above, and singularity of focus. The supportive capacities of the traditional medium include a rich vocabulary of marks, high image definition, and the continuum-of-activity through the continuity-at-medium, i.e. the natural progression from sketching on paper to making simulations out of paper. In recognition of the respective strengths of the traditional and electronic media, integration between the two is recommended for the design of optimal document creation systems.
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Guerreiro, José Manuel Nunes Serra. "Sketching, desenho de ideias e comunicação de conceitos em design industrial." Master's thesis, Universidade de Évora, 2014. http://hdl.handle.net/10174/12227.
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A presente dissertação consistes numa análise dos paradigmas atuais e futuros do processo de sketching em Design Industrial. Engloba o enquadramento historio onde são dispostas as fundações do desenho, a evolução do mesmo ao longo dos séculos e o impacto que as áreas como as Artes e Arquitetura tiveram. Explora-se também o panorama atual do sketching em relação ao processo de desenvolvimento de projeto em Design Industrial, bem como o desenvolvimento de técnicas e tecnologias que englobam a prática do sketching em conjunto com outras ferramentas de apoio ao processo de criação em Design; Abstract: Sketching, drawing ideas and communication of concepts in Industrial Design
This thesis is an analysis of current and future paradigms in the process of sketching in Industrial Design. Encompasses the historiographical framework where the foundations are laid in the drawing, the evolution of the same over the centuries and the impact areas such as the Arts and Architecture had. Also explores the current landscape of the sketching process in relation to project development in Industrial Design, and the development of techniques and technologies that comprise the practice of sketching in conjunction with other tools to support the creative process in design.
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Haapasalo, H. (Harri). "Creative computer aided architectural design:an internal approach to the design process." Doctoral thesis, University of Oulu, 2000. http://urn.fi/urn:isbn:9514257545.
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Abstract
This survey can be seen as quite multidisciplinary research.
The basis for this study has been inapplicability of different CAD
user interfaces in architectural design. The objective of this research
is to improve architectural design from the creative problem-solving
viewpoint, where the main goal is to intensify architectural design
by using information technology. The research is linked to theory
of methods, where an internal approach to design process means studying
the actions and thinking of architects in the design process. The
research approach has been inspired by hermeneutics.
The human thinking process is divided into subconscious and
conscious thinking. The subconscious plays a crucial role in creative
work. The opposite of creative work is systematic work, which attempts
to find solutions by means of logical inference. Both creative and
systematic problem solving have had periods of predominance in the
history of Finnish architecture. The perceptions in the present
study indicate that neither method alone can produce optimal results. Logic
is one of the tools of creativity, since the analysis and implementation
of creative solutions require logical thinking. The creative process
cannot be controlled directly, but by creating favourable work conditions
for creativity, it can be enhanced.
Present user interfaces can make draughting and the creation
of alternatives quicker and more effective in the final stages of
designing. Only two thirds of the architects use computers in working design,
even the CAD system is being acquired in greater number of offices.
User interfaces are at present inflexible in sketching. Draughting
and sketching are the basic methods of creative work for architects.
When working with the mouse, keyboard and screen the natural communication
channel is impaired, since there is only a weak connection between
the hand and the line being drawn on the screen. There is no direct
correspondence between hand movements and the lines that appear
on the screen, and the important items cannot be emphasized by,
for example, pressing the pencil more heavily than normally. In
traditional sketching the pen is a natural extension of the hand,
as sketching can sometimes be controlled entirely by the unconscious.
Conscious efforts in using the computer shift the attention away
from the actual design process. However, some architects have reached
a sufficiently high level of skill in the use of computer applications
in order to be able to use them effectively in designing without
any harmful effect on the creative process.
There are several possibilities in developing CAD systems
aimed at architectural design, but the practical creative design
process has developed during a long period of time, in which case changing
it in a short period of time would be very difficult. Although CAD
has had, and will have, some evolutionary influences on the design
process of architects as an entity, the future CAD user interface
should adopt its features from the architect's practical
and creative design process, and not vice versa.
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LaViola, Joseph J. "Mathematical sketching : a new approach to creating and exploring dynamic illustrations /." View online version; access limited to Brown University users, 2005. http://wwwlib.umi.com/dissertations/fullcit/3174634.
Full text
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Cleesattel, Michelle. "A Study in Using Sketching Techniques to Develop Cohesive Narrative Art." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/art_design_theses/84.
Full textAbstract:
This is an arts-based research study on the effects of applying extensive and diverse sketching techniques to the development of a cohesive body of work, which reflects the significant and meaningful events of the artist-researcher’s life. The research techniques employed and studied consist of looking at historical exemplars, sketching, reflecting, critiquing, and revising. The results of the research were then reflected upon and applied to the field of art education in an attempt to discover the benefits for both teaching and learning in kindergarten through 12th grade curriculums.
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Guay, Martin. "Sketching free-form poses and motions for expressive 3D character animation." Thesis, Université Grenoble Alpes (ComUE), 2015. http://www.theses.fr/2015GRENM016/document.
Full textAbstract:
L'animation expressive permet des styles de mouvements exagerés et artistiques comme l'étirement de parties du corps ou encore l'animation de créatures imaginaires comme un dragon. Créer ce genre d'animation nécessite des outils assez flexible afin de déformer les personnages en des poses quelconques, ainsi que de pouvoir contrôler l'animation à tout moment dans le temps. L'approche acutelle pour l'animation expressive est le keyframing: une approche manuelle avec laquelle les animateurs déforment leur personnage un moment spécifique dans le temps en cliquand et glissant la souris sur une partis spécifique du corps---un à la fois. Malgré le fait que cette approche soit flexible, il est difficile de créer des animations de qualité qui suivent les principes artistiques, puisque le keyframing permet seulement qu'un contrôle local spatiallement et temporellement. Lorsqu'ils dessinent des poses ou des mouvements, les artistes s'appuient sur différentes abstractions sous forme de croquis qui facillitent la réalisation de certain principes artistiques. Par example, certains animateurs dessinent des lignes d'action afin de créer une pose plus lisible et expressive. Afin de coordonner un mouvement, les animateurs vont souvent dessiner des abstractions de mouvement comme des demi-cercles pour des sauts, ou des boucles pour des pirouettes---leur permettant de pratiquer la coordination du mouvement. Malheureusement, ces outils artistiques ne font pas partis de l'ensemble d'outils de keyframing actuelle. Le fait que l'on ne puisse pas employer les même outils artistiques pour animater des personnages 3D a une forte conséquence: les outils d'animation 3D ne sont pas employés dans le processus créatif. Aujourd'hui, les animateurs créent sur du papier et utilisent le keyframing seulement à la fin pour réaliser leur animation. La raison pour laquelle nous n'avons pas ces outils artistiques (ligne d'action, abstractions de mouvement) en animation 3D, est parce qu'il manque une compréhension formelle de ceux-ci qui nous permettrais d'exprimer la forme du personnage---potentiellement au cours du temps---en fonction de la forme de ces croquis. Ainsi la contribution principale de cette thèse est une compréhension formelle et mathématique des abstractions de forme et de mouvement courrament employées par des artistes, ainsi qu'un ensemble d'algorithme qui permet l'utilisation de ces outils artistiques pour créer des animations expressives. C'est-à-dire que les outils développés dans cette thèse permettent d'étirer des parties du corps ainsi que d'animer des personnages de différentes morphologies. J'introduis aussi plusieurs extentions à ces outils. Par example, j'explore l'idée de sculpter du mouvement en permettant à l'artiste de dessigner plusieurs couches de mouvement une par dessus l'autre, de twister en 3D les croquis, ou encore d'animer un croquis ligne comme un élastique. Les contributions principales de cette thèse, aussi résumé ci-dessous: -La ligne d'action facilitant la création de poses expressives en dessinant directement le flow complet du personnage. -La courbe spatio-temporelle qui permet de spécifier un mouvement coordoné complet avec un seul geste (en dessinant une seule courbe), applicable à n'importe quel personnage 3D. -Un algorithme de matching rapide et robuste qui permet du ``squash and stretch''. -La ligne d'action élastique avec des attachements dynamiques à la ligne permettant d'animer un personnages à plusieurs jambes (bras) avec une seule ligne 2D animéeFree-form animation allows for exaggerated and artistic styles of motions such as stretching character limbs and animating imaginary creatures such as dragons. Creating these animations requires tools flexible enough to shape characters into arbitrary poses, and control motion at any instant in time. The current approach to free-form animation is keyframing: a manual task in which animators deform characters at individual instants in time by clicking-and-dragging individual body parts one at a time. While this approach is flexible, it is challenging to create quality animations that follow high-level artistic principles---as keyframing tools only provide localized control both spatially and temporally. When drawing poses and motions, artists rely on different sketch-based abstractions that help fulfill high-level aesthetic and artistic principles. For instance, animators will draw textit{lines of action} to create more readable and textit{expressive} poses. To coordinate movements, animators will sketch textit{motion abstractions} such as semi-circles and loops to coordinate a bouncing and rolling motions. Unfortunately, these drawing tools are not part of the free-form animation tool set today. The fact that we cannot use the same artistic tools for drawing when animating 3D characters has an important consequence: 3D animation tools are not involved in the creative process. Instead, animators create by first drawing on paper, and only later are 3D animation tools used to fulfill the pose or animation. The reason we do not have these artistic tools (the line of action, and motion abstractions) in the current animation tool set is because we lack a formal understanding relating the character's shape---possible over time---to the drawn abstraction's shape. Hence the main contribution of this thesis is a formal understanding of pose and motion abstractions (line of action and motion abstractions) together with a set of algorithms that allow using these tools in a free-form setting. As a result, the techniques described in this thesis allow exaggerated poses and movements that may include squash and stretch, and can be used with various character morphologies. These pose and animation drafting tools can be extended. For instance, an animator can sketch and compose different layers of motion on top of one another, add twist around strokes, or turning the strokes into elastic ribbons. The main contributions of this thesis are summarized as follows: -The line of action facilitating expressive posing by directly sketching the overall flow of the character's pose. -The space-time curve allowing to draft full coordinated movements with a single stroke---applicable to arbitrary characters. -A fast and robust skeletal line matching algorithm that supports squash-and-stretch. -Elastic lines of action with dynamically constrained bones for driving the motion of a multi-legged character with a single moving 2D line
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Adler, Aaron D. (Aaron Daniel) 1979. "Segmentation and alignment of speech and sketching in a design environment." Thesis, Massachusetts Institute of Technology, 2003. http://hdl.handle.net/1721.1/16959.
Full textAbstract:
Thesis (M.Eng.)--Massachusetts Institute of Technology, Dept. of Electrical Engineering and Computer Science, 2003.Includes bibliographical references (p. 203-205).
This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.
by Aaron D. Adler.
M.Eng.
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Sung, Woongki. "Sketching in 3D : towards a fluid space for mind and body." Thesis, Massachusetts Institute of Technology, 2013. http://hdl.handle.net/1721.1/82285.
Full textAbstract:
Thesis (S.M. in Architecture Studies)--Massachusetts Institute of Technology, Dept. of Architecture, 2013.Cataloged from PDF version of thesis.
Includes bibliographical references (p. 80-82).
This thesis explores a new type of computer-aided sketching tool for 3-dimensional designs. Sketching, as a process, has been used as an effective way to explore and develop ideas in the design process. However, when designers deal with volumetric designs in 3-dimensional space, current sketching means, including traditional free-hand sketching and contemporary computer-aided design (CAD) modeling have limitations such as dimensional inconsistency, and non-intuitive interactions. By observing the roles of sketching in the design process and reviewing the history of design tools, this thesis investigates and proposes new digital methods of 3-dimensional sketching that take advantage of motion detecting and computer-vision technology that is widely available today. In this thesis, two prototype tools were developed and compared. The first prototype uses a motion detecting sensor, projection screen, and gesture tracking software. The movement of the user's hands becomes the intuitive interface to shape 3-dimensional objects in the virtual space. The second prototype, developed in collaboration with Nagakura, uses a hand-held tablet computer with marker-based augmented reality technique. The hand-held device displays the virtual object from desired angles and works as a virtual tool like a chisel, plane, drill, and glue gun to shape virtual objects in 3-dimensional space. Testing these two prototypes for use, and comparing the resulting objects and user responses revealed the strengths and weaknesses of these different 3-dimensional sketching environments. The proposed systems provide a possible foundation for novel computer-aided sketching application that takes advantages of both the physical and virtual worlds.
by Woongki Sung.
S.M.in Architecture Studies
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Smith, Rebecca A. (Rebecca Anna). "Analyzing patterns of writing and sketching in the product design process." Thesis, Massachusetts Institute of Technology, 2009. http://hdl.handle.net/1721.1/54491.
Full textAbstract:
Thesis (S.B.)--Massachusetts Institute of Technology, Dept. of Mechanical Engineering, 2009."June 2009." Cataloged from PDF version of thesis.
Includes bibliographical references (p. 23).
Design notebooks, or logbooks, are typically used to record notes during the design process. These notes consist of text entries as well as sketches with varying levels of detail. Previous research on the design process has focused on sketches, including their effect on design outcome, differences based on prior sketching experience, and more. This paper looks at the interplay between text entries and sketches in design notebooks, and analyzes patterns that appear over the course of the design process. Data collected from eighteen logbooks from the class Design-a-palooza shows that trends exist between writings and drawings in the design process. The results of analysis of this data show that the number of sketches in a logbook increases following drawing instruction, and the design process typically starts with more text entries in logbooks, including customer needs research, followed by this increased number of sketches and then a decrease in all entries as prototyping occurs. The analysis was inconclusive in determining if students who write more ideas with text will sketch fewer ideas, as well as the relationship between partners' logbook entries. Recommendations for future research in these areas of design research are presented.
by Rebecca A. Smith.
S.B.
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Alex, John 1977. "Hybrid sketching : a new middle ground between 2- and 3-D." Thesis, Massachusetts Institute of Technology, 2005. http://hdl.handle.net/1721.1/28749.
Full textAbstract:
Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Architecture, 2005.Includes bibliographical references (leaves 124-133).
This thesis investigates the geometric representation of ideas during the early stages of design. When a designer's ideas are still in gestation, the exploration of form is more important than its precise specification. Digital modelers facilitate such exploration, but only for forms built with discrete collections of high-level geometric primitives; we introduce techniques that operate on designers' medium of choice, 2-D sketches. Designers' explorations also shift between 2-D and 3-D, yet 3-D form must also be specified with these high-level primitives, requiring an entirely different mindset from 2-D sketching. We introduce a new approach to transform existing 2-D sketches directly into a new kind of sketch-like 3-D model. Finally, we present a novel sketching technique that removes the distinction between 2-D and 3-D altogether. This thesis makes five contributions: point-dragging and curve-drawing techniques for editing sketches; two techniques to help designers bring 2-D sketches to 3-D; and a sketching interface that dissolves the boundaries between 2-D and 3-D representation. The first two contributions of this thesis introduce smooth exploration techniques that work on sketched form composed of strokes, in 2-D or 3-D. First, we present a technique, inspired by classical painting practices, whereby the designer can explore a range of curves with a single stroke. As the user draws near an existing curve, our technique automatically and interactively replaces sections of the old curve with the new one. Second, we present a method to enable smooth exploration of sketched form by point-dragging. The user constructs a high-level "proxy" description that can be used, somewhat like a skeleton, to deform a sketch independent of
(cont.) the internal stroke description. Next, we leverage the proxy deformation capability to help the designer move directly from existing 2-D sketches to 3-D models. Our reconstruction techniques generate a novel kind of 3-D model which maintains the appearance and stroke structure of the original 2-D sketch. One technique transforms a single sketch with help from annotations by the designer; the other combines two sketches. Since these interfaces are user-guided, they can operate on ambiguous sketches, relying on the designer to choose an interpretation. Finally, we present an interface to build an even sparser, more suggestive, type of 3-D model, either from existing sketches or from scratch. "Camera planes" provide a complex 3-D scaffolding on which to hang sketches, which can still be drawn as rapidly and freely as before. A sparse set of 2-D sketches placed on planes provides a novel visualization of 3-D form, with enough information present to suggest 3-D shape, but enough missing that the designer can 'read into' the form, seeing multiple possibilities. This unspecified information--this empty space--can spur the designer on to new ideas.
by John Alex.
Ph.D.
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Parsons, Clare. "Sketching the 'Sôtêria Tou Biou' : Plato and the art of measurement." Thesis, Durham University, 2007. http://etheses.dur.ac.uk/1320/.
Full textAbstract:
In this thesis, I aim to demonstrate that measurement is an important and dynamic theme though which Plato explores the nature of arete in a range of dialogues covering the early, middle and later periods of his work. In chapters 1-3, I will explore the origin of this theme in the Protagoras' metretike techne' - an art which involves the maximisation of pleasure in our lives through measurement. I suggest that Socrates presents the metretike techne as a sketch of the type of wisdom which would be sufficient for arete and which, as such, has the potential to be 'the salvation of our lives'. 2 He shows how the metretike techne can bring determinacy and accuracy to the decisions we have to make about how we should live, because it is founded upon an objective and quantifiable standard for a good life. In addition, through its foundation on hedonism, it offers an account of our motivation to act consistently upon our knowledge of what is right to do. I will argue that, long after the Protagoras, Plato remains committed to the metretike techne. While often regarded as an ad hominem device or as tongue-in-cheek, the idea of a metretike techne is, in fact, hugely important in shaping Plato's account of arete. In chapters 4-6I will trace the refinement of this sketch of arete through the Gorgias and Republic. Driving the process of refinement for Plato is the challenge of combining the practical strengths which he remains convinced that a metretike techne offers with his emerging account of a good and truly pleasant life as dependent upon order kosmos in the individual soul and in the state. From this process of refinement, as I will discuss in the final chapter, the basilikb techne, 3 the statesman's art, emerges in the Statesman as the basis of arete in the state. The basilike technd entails measurement of order in the state against the standard of 'due measure' to metrion . This art retains the key strengths of the original metretike techne, whilst responding to its weaknesses. So, in completing the portrait of the statesman, Socrates also completes a sketch of arete as measurement which he began in the Protagoras.
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Alzahrani, Adel Bakheet. "Understanding Outdoor Social Spaces: Use of Collaborative-Sketching to Capture Users' Imagination as a Rich Source of Needs and Desires." Diss., Virginia Tech, 2015. http://hdl.handle.net/10919/73897.
Full textAbstract:
The way in which environmental designers design neighborhood spaces has a role to play in the quality of outdoor spaces that shapes and directs daily outdoor social activities as well as creates a bridge between individuals and the local community. The high quality design of outdoor spaces is fundamental in fostering social cohesion among users/residents in order to produce a healthy social atmosphere, whereas a decline in the quality of outdoor spaces can contribute to antisocial behavior.
Today, In Jeddah City, Saudi Arabia, in many cases of new neighborhoods, the outdoor space has become abandoned, and empty, or is avoided. Within this setting, these spaces do not provide opportunities for families with their children to gather and play, to sit and socialize with neighbors, to gather in outdoor activities, to walk to the mosque or school, or to do their daily grocery shopping without being threatened by dangerous car traffic. Moreover, even if users and residents experience problems in their neighborhood, and have their own needs and visions to solve the problem, they do not have the experience to mentally visualize and resolve these problems.
Through this qualitative research, the researcher proposes a new approach in incorporating users' imagination in the ideation process of design in order to examine to extend the current normative theory through the development of a more "collaborative ideation process."In this new collaborative process, the representation of ideas becomes more iterative and knowledge exchange between researcher and users becomes more seamless. Through incorporating the researcher's sketching skills as a process of "collaborative-sketching," possible ideas and solutions are explored that are responsive to the needs and desires of users. Using a number of photographs of an outdoor residential space as an example, the objective of this study is to examine the use of collaborative sketching as a way of taping into users' imagination as a rich source of their needs and desires to empower the design process.
The findings showed that applying a collaborative sketching process in the early ideation stage of design can result in a rich exchange between designers and user, enabling the designer to have a better and more realistic understanding of needs and desires from the perspective of the user. Through this collaborative-sketching process, the users were continuously, iteratively, and instantly stimulated to not only to narrate their needs and desires, but to visually provide realistic and specific details about the social activities and physical elements including their affordance, rationale of using, value of use, and how social interactions might occur within the different settings.Ph. D.
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Aronson, Eran. "Sketches of shadows and light." Thesis, KTH, Skolan för teknik och hälsa (STH), 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-117347.
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Biehl, Marten. "Sketching Movement-based Interactions : Defining Guidelines for Tool Support in Interdisciplinary Teams." Thesis, Uppsala universitet, Människa-datorinteraktion, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-213228.
Full textAbstract:
In the fields of Human-Computer Interaction and Interaction Design there is an increased interest in designing for leisure and fun in contrast to an understanding of technology primarily as part of the workplace. Along with this, the relevance of experiential aspects of design is heightened compared to usability in terms of effectiveness, efficiency and satisfaction. At the same time, this created an interest in the relationship between the human body and technology use in research and industry. The starting point for this thesis is the perceived difficulty to combine exploration and technology in early stages of the design process without becoming technology-focused. Instead of picking a technology early in the process and therefore letting the design process be shaped by it, this thesis advocates introducing technology in a way that designers can explore different technologies similar to sketching with different materials. This thesis aims to identify the needs of designers in inter- disciplinary teams when designing with movement-based interactions. This is done by first summarizing important aspects of sketching from the literature. Secondly, the tools that are currently available are reviewed. Finally, an observational study of a design situation is conducted to complete this investigation. The main outcome of this thesis is a set of guidelines for designing a sketching tool for movement-based interactions in interdisciplinary teams. The most important are low transaction costs, overview over sketches, integration into the existing ecosystem, optimization for the team setting and clear articulation of material qualities.