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[BSM+88]  Charcoal Sketching: Returning Control to the Artist

Bleser:1988:CSR (Article)
Author(s)Bleser T., Sibert J. and McGee
Title« Charcoal Sketching: Returning Control to the Artist »
JournalACM Transactions on Graphics
Volume7
Number1
Page(s)76--81
Year1988

Abstract
Background: Traditional paint programs can be criticized on the grounds that they provide fewer degrees of freedom than conventional artistic media. Mouse or tablet input devices usually provide only (x, y) spatial information. Thus most paint programs allow continuous control of the path of a stroke, but render it with a single "brush shape" of fixed size and orientation and use menus, either stationary or appearing, for such tasks as changing "brush" shapes. This produces two distinct discontinuities for the artist. First is a physical discontinuity: stopping the act of drawing and making a brush selection using a different physical device, or using the same device to point at a menu selection. A second discontinuity is the cognitive one involved with deciphering the menu contents and making a selection. Although the second may be minimized by using iconic menus, these interruptions of the drawing act make it difficult or impossible for the artist to maintain the kind of continuous control over his or her medium that is required.

BibTeX code
@article{Bleser:1988:CSR,
  optcitations = {Strassmann:1986:HB},
  number = {1},
  month = jan,
  optissn = {0730-0301},
  author = {Teresa W. Bleser and John L. Sibert and J. Patrick McGee},
  localfile = {papers/Bleser.1988.CSR.pdf},
  optkeywords = {design; drawing; human factors},
  doi = {http://doi.acm.org/10.1145/42188.42230},
  journal = j-TOG,
  volume = {7},
  optsubject = {{\bf J.5}: Computer Applications, ARTS AND HUMANITIES, Arts,
                fine and performing. {\bf B.4.2}: Hardware, INPUT/OUTPUT AND
                DATA COMMUNICATIONS, Input/Output Devices.},
  optstatus = {OK},
  title = {{C}harcoal {S}ketching: {R}eturning {C}ontrol to the {A}rtist},
  abstract = {Background: Traditional paint programs can be criticized on the
              grounds that they provide fewer degrees of freedom than
              conventional artistic media. Mouse or tablet input devices usually
              provide only (x, y) spatial information. Thus most paint programs
              allow continuous control of the path of a stroke, but render it
              with a single "brush shape" of fixed size and orientation and use
              menus, either stationary or appearing, for such tasks as changing
              "brush" shapes. This produces two distinct discontinuities for the
              artist. First is a physical discontinuity: stopping the act of
              drawing and making a brush selection using a different physical
              device, or using the same device to point at a menu selection. A
              second discontinuity is the cognitive one involved with
              deciphering the menu contents and making a selection. Although the
              second may be minimized by using iconic menus, these interruptions
              of the drawing act make it difficult or impossible for the artist
              to maintain the kind of continuous control over his or her medium
              that is required. },
  year = {1988},
  pages = {76--81},
}

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