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Designing the World as your Palette

Designing the World as your Palette. Kimiko Ryokai MIT Media Laboratory E15-349, 20 Ames Street Cambridge, MA 02139 USA kimiko@media.mit.edu. Stefan Marti MIT Media Laboratory E15-384C, 20 Ames Street Cambridge, MA 02139 USA stefanm@media.mit.edu. Hiroshi Ishii

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Designing the World as your Palette

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  1. Designing the World as your Palette Kimiko Ryokai MIT Media Laboratory E15-349, 20 Ames Street Cambridge, MA 02139 USA kimiko@media.mit.edu Stefan Marti MIT Media Laboratory E15-384C, 20 Ames Street Cambridge, MA 02139 USA stefanm@media.mit.edu Hiroshi Ishii MIT Media Laboratory E15-328, 20 Ames Street Cambridge, MA 02139 USA ishii@media.mit.edu

  2. The concept of building visual art projects with elements (the color, texture, and moving patterns) extracted directly from artists’ personal objects and their immediate environment using an augmented paintbrush called I/O Brush.

  3. Project dates and duration • Phase 1:Initial prototyping and observational study in kindergarten classrooms, July 2003 – April 2004. • Phase 2: Developing and installing a version for the Ars Electronica Center exhibition, June – September 2004. • Phase 3: Further design and development – September 2004 – current

  4. Phase1. Kindergarten • Challenge: • the ink always came out in a uniformed flow, with constant stroke width. • Testing: • Installing the system in kindergarten classrooms and observing children’s interaction with the system was important. Working with over 40 kindergarteners (ages 4-5) • Prob: • More robust sensing. • Be able to run around freely if the brush was wireless.

  5. Phase2. Ars Electronica Center Exibition • Prob: • preview. • where it come from? • New features: • real-time preview window? • have a palette? • pop-up movie about the history of certain texture.

  6. Evolution details • Simplicity • 3 buttons  NO button. • electronic components tucked inside hardwood brush handle.

  7. Scale, form, and orientation • contact switches, force sensors, piezo sensors. Force sensors embedded at the bottom of the brush bristles, gave the best result.  pressure sensible!

  8. Scale, form, and orientation (cont) • keep the diameter of the bristle area “eye” size.

  9. Scale, form, and orientation (cont) • observed people trying to turn their ink by rotating the brush as they draw.  MEMS-based inclinometer inside.

  10. Scale, form, and orientation (cont) • 21-inch Wacom™ tablet display  too small. • 50-inch infrared vision based touch panel over a back projection screen  GREAT!

  11. Touching the portrait • the children did a lot of touching to their portrait on the LCD screen voluntarily even when there was no interactivity through the screen.  “smudging” interaction!

  12. Offer a place to work with the ink: Palette • No preview  debugging window! • Ongoing…  using Tablet PC, up to 5 different distinctive inks can be stored. NOOOOO~ 

  13. Portrait that tells stories behind the material: Canvas with memory • People quickly understood the idea and enjoyed finding out where the ink came from. • Replay the history!

  14. Phase3. Future work • “palette” and the “history” • artists quickly exhausted the five reservoirs on the palette • water transparency of the ink • adults and children usage… (symbolically / not painting)

  15. Bla bla bla… • collapsible tin tube  portable paint boxes Impressionism! • I/O Brush  new generation of art?

  16. the end

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