@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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