Surface Theory

<p><b>Surfaces readily communicate visual and tactile cues about adesign’s purpose and identity. An intrinsic knowledge of physicalcharacteristics of products has been established through existingresearch that relates product shape to semantic descriptors, buthas not yet addressed how a material’s surface texture mightcontribute towards a product identity.</b></p> <p>The advent of additive manufacturing enables a new mindsettowards production and the high fidelity of these processesoffer unprecedented control over the designed identity; as suchthere is a gap for research that helps designers understand theinfluence of detailed textures on sensitive body parts, such asthe fingertip. With greater understanding that the experiencedesign and emotional acuity of a physical product is an importantdifferentiator in the market it is necessary to provide designersa more concrete understanding of how their designs could beperceived.</p> <p>A great range of emotional affects can be elicited throughtangible 3D-printed form. In exploration of this a process wascreated to generate surfaces from a script-based modellingsoftware that provides strict control of 3D models. Utilisingparameter-based design a large variety of complex geometrieswere made from a shared scaffold; and in taking advantage ofthis statistical base, user studies were conducted to identifycorrelations between geometric features and emotional affects.</p> <p>Novel natural language processing tools were used to analyseopen-ended questionnaires and contrasted with results fromconfirmatory questions on a series of designed textures. Furtherinquiry into these results enabled extraction of statisticallysignificant factors and their corresponding parameters to informa set of guidelines on how to elicit certain emotional responsesusing only changes in surface geometry.</p> <p>The results of this research show that innovative visual andtactile textures can evoke a desired emotional response. Usingspeculative design, emotive textures are applied within theconsumer electronics industry to create a series of experimentswith unique surfaces that suggest how greater customisationfor consumers could be provided, enabling a greater productattachment and to allow products to be designed with greaterempathy. More emotional designs can be created using 3D printingthat might contribute to a more ethical and sustainable cultureof production, made possible with aesthetic changes of the nexttechnological revolution.</p>

Surface Theory

<p><b>Surfaces readily communicate visual and tactile cues about adesign’s purpose and identity. An intrinsic knowledge of physicalcharacteristics of products has been established through existingresearch that relates product shape to semantic descriptors, buthas not yet addressed how a material’s surface texture mightcontribute towards a product identity.</b></p> <p>The advent of additive manufacturing enables a new mindsettowards production and the high fidelity of these processesoffer unprecedented control over the designed identity; as suchthere is a gap for research that helps designers understand theinfluence of detailed textures on sensitive body parts, such asthe fingertip. With greater understanding that the experiencedesign and emotional acuity of a physical product is an importantdifferentiator in the market it is necessary to provide designersa more concrete understanding of how their designs could beperceived.</p> <p>A great range of emotional affects can be elicited throughtangible 3D-printed form. In exploration of this a process wascreated to generate surfaces from a script-based modellingsoftware that provides strict control of 3D models. Utilisingparameter-based design a large variety of complex geometrieswere made from a shared scaffold; and in taking advantage ofthis statistical base, user studies were conducted to identifycorrelations between geometric features and emotional affects.</p> <p>Novel natural language processing tools were used to analyseopen-ended questionnaires and contrasted with results fromconfirmatory questions on a series of designed textures. Furtherinquiry into these results enabled extraction of statisticallysignificant factors and their corresponding parameters to informa set of guidelines on how to elicit certain emotional responsesusing only changes in surface geometry.</p> <p>The results of this research show that innovative visual andtactile textures can evoke a desired emotional response. Usingspeculative design, emotive textures are applied within theconsumer electronics industry to create a series of experimentswith unique surfaces that suggest how greater customisationfor consumers could be provided, enabling a greater productattachment and to allow products to be designed with greaterempathy. More emotional designs can be created using 3D printingthat might contribute to a more ethical and sustainable cultureof production, made possible with aesthetic changes of the nexttechnological revolution.</p>

AN ANALYTICAL FRAMEWORK FOR COLLABORATIVE CLOUD-BASED CAD PLATFORM AFFORDANCES

Cloud computing has had an increasing influence on engineering and design. A hallmark of sites such as Github is the promise of rapid iteration and real-time collaboration. Recently, cloud collaborative software has migrated into the realm of physical product design, with computer-aided design (CAD) software platforms such as PTC's Onshape. In this research, we suppose that the effect of cloud collaborative software is multi-faceted; that this type of tool affords a number of new capabilities and behaviours for design individuals and teams. We develop a framework on how to contextualize the changes to design tasks afforded by the unique attributes of these cloud-based, collaborative design tools. We find evidence in our research of design engineers leveraging many aspects of the framework, particularly in learning and engagement with their team, and with resources available from communities of users. However, we find that real-world design engineers are not yet utilizing the full capability of synchronous cloud-platforms with respect to real-time synchronous design iteration within teams or communities.

Closed-Loop Digital Twin for the Product Lifecycle

Digital Twin advances have provided the conceptual ground for integrating a physical product with its digital representation. However, Digital Twin implementation has been focused on the beginning of life and manufacturing optimization, leaving space for developing a Digital Twin model that encompasses and connects different stages of the entire product lifecycle. In this scenario, the integration between company-internal data with real-time customers' data is still a challenge. Besides, implementing such a model in a multiplatform environment is also an open issue in the literature. This paper proposes the definition of a Closed-loop Digital Twin implemented as a middleware software that connects PLM, ERP, and MES data with customers' usage data. The proposed concept was implemented and tested in a learning factory. Results demonstrated the concept potential to consolidate product data, support data analyses, and provide insights for different stages of the product lifecycle.

Smart Connected Digital Products and IoT Platform With the Digital Twin

A digital illustration of a novel prevalence of a physical product helps one to gain larger insight into that product's state performance and behavior digital twin, which is an unequivocal advanced copy of an item, method, or control. This living model creates a thread between the physical and digital worlds. A model of a physical object—a 'twin'—enables you to observe its standing, diagnose problems, and take a look at solutions remotely. It's a dynamic virtual illustration of a tool that is unendingly fed with knowledge from embedded sensors and packages. This provides associate degree correct period of time standing of the physical device. Digital twins drive innovation and performance and offer development technicians prognostic analytics that give firms the flexibility to boost client expertise.

The Choreography of the Creative process: Drawing in Time and Space

This paper provokes a new perspective on the contribution of computers to visual art, questioning how both the aesthetic qualities of the visual product and the making process itself can render a hybrid artistic outcome. We advocate for a medium that unifies the physical product with the spirit of the making process, as a territory with extensive innovative potential for computational artistic practice. The paper demonstrates various techniques to visualize the motor performance of artists in activities such as drawing and carving. We rely on digital tracking of the artists’ movements and computer graphic tools to expose the expressive performance of artists, highlight their working style, and bring the hidden paths of their strokes to the front of the artwork. Furthermore, we discuss the contextual implication of this form of visualization to new domains of visual art.