=Paper=
{{Paper
|id=Vol-1734/fmt-proceedings-2016-paper12
|storemode=property
|title=Embodied Material Guidance: Augmenting Material for Carving
|pdfUrl=https://ceur-ws.org/Vol-1734/fmt-proceedings-2016-paper12.pdf
|volume=Vol-1734
|authors=Marcel Penz,Sreyan Ghosh
|dblpUrl=https://dblp.org/rec/conf/fmt/PenzG16
}}
==Embodied Material Guidance: Augmenting Material for Carving==
https://ceur-ws.org/Vol-1734/fmt-proceedings-2016-paper12.pdf
Embodied Material Guidance: Augmenting Material for Carving
Marcel Penz Sreyan Ghosh
Umeå Institute of Design National Institute of Design, India
Umeå University R & D Campus,
SE-90187 Umeå, Sweden Bangalore 560 022, Karnataka, India
marcel_penz@hotmail.com contact@sreyan.com
Abstract et al., 2009). Also, for crafting three dimensional
models, hybrid approaches that combine digital and
When learning a new skill, video tutorials are physical components are being developed (Golsteijn et
often the first choice to get help. For creative al., 2013, Oe, Shizuki & Tanaka, 2012). However
domains like carving, this is often not augmenting or enhancing the craft material itself is not
sufficient as the desired expression require very well explored. Often the main focus is to support
reacting on changes in the form constantly. A building digital models by interacting with physical
crucial part of the making process is a close material (Reed, 2009, Smith, Thomas & Piekarski,
observation of the material. Looking at 2008). In our work we focus on the craft’s material
various domains we have chosen wood itself and how a user can be supported in shaping the
carving, to propose new forms of interactions material. The context is carving where we assume that
that can support creative learning processes. 3D printing material suited for carving can be created.
Instead of focusing on tools we aim to In a different context researchers are already working
augment the material for the novice carver. on wood-inspired 3D printed material (Compton &
The concept aims to reduce the fear of Lewis, 2014).
learning by replacing traditional carving
material (like wood) with 3D printed material. 2 Research & Ideation
Guides on where to carve are part of the
printed base material and form embodied
guidance. We assume artistic self expression 2.1 Ideation Workshop
as an additional goal for carving and provide
added levels of randomness to the material In order to better scope the project we invited design
structure through variable colors and material students to participate in an ideation workshop
densities while using Virtual Reality (VR) to revolving around the question of how the future home
provide a change in perspective. can be a place for collaborative making and learning
through making. During the 45 min workshop, six
students of the Master’s programme in Interaction
1 Introduction Design at the Umeå Institute of Design were asked to
The success of numerous online tutorials for making follow a set of tasks involving reflecting on hobbies
indicates how people gather first hand insights in and their tools and how the tools will change in the
learning a new skill. Free online platforms for learning future. Some participants found it difficult to force
such as edx.org, coursera.org or others offer a variety features onto tools that should enable creativity.
of courses for both hands-on and theoretical During the final discussion a common point of view
knowledge building conveyed through video. Often was created stressing that tools should be enablers
tutorials allow for copying a stepwise process to rather than means for creativity. By not focussing on
achieve a certain goal. For artistic activities like the tools we were inspired to think about the material
painting, clay modelling or wood carving static videos instead. Hence we decided to take an approach of
– which don’t adapt to the learner’s context – are only augmenting the medium i.e, the carving material.
of limited help. For painting different interactive
systems have been created that have the potential to 2.2 Research on Tutorial Videos for Making
support the learner by enhancing brush and/or canvas
To identify the issues that the hobbyist carver faces, we
by digital components (Otsuki et al., 2010, Vandoren
reviewed tutorial videos on the web (Farnsworth, 2014,
Schrettl, 2014) trying to place ourselves in the mindset
Copyright © by the paper’s authors. Copying permitted only for private
and academic purposes.
of a beginner in that field. Our reflections towards
these videos helped us identify a few issues. When
In: W. Aigner, G. Schmiedl, K. Blumenstein, M. Zeppelzauer (eds.):
Proceedings of the 9th Forum Media Technology 2016, St. Pölten,
staying in the virtual world, support through video
Austria, 24-11-2016, published at http://ceur-ws.org
100
Embodied Material Guidance: Augmenting Material for Carving
seems to work effectively e.g. for digital tools such as material. This is defined through 1.), contrast in color
creative software (Photoshop, 3DS Max). We assumed between the horse and the waste material and 2.)
that the flat representations on the screen perform through guiding dots aligned with the edge of the horse
inadequately when it came to learning with actual (see fig. 1.2a, 1.2b and fig. 2). The user should also be
tangible material. Videos are sufficient for defined able to add additional color gradients (see fig. 1.2a). A
tasks or step-by-step instructions. However, videos do sensor unit is embedded in the print, able to
not work as well for artistic expression such as carving communicate with a VR headset. After the block is 3D
due to the fact that the material in the user’s hand will printed (see fig. 1.3) she can carve the print
always be perceived differently than the one displayed. immediately (see fig. 1.4). The more she cuts, the more
The biggest challenge for the novice carvers seemed to guiding dots appear making her aware where to carve
be in the ability to understand when to stop carving. away more material. As the color of the material
changes while cutting she is inspired to modify the
3 Concept final shape for aesthetic reasons. To achieve a better
understanding of the proportions of the object inside,
“Every block of stone has a statue inside it and it is the she can use the sensor unit in her workpiece to connect
task of the sculptor to discover it” — Michelangelo to VR headset using wireless technology. By switching
Buonarroti. to VR she gets to see her work from a different
In the same way a blank page can be a barrier for a perspective (see fig. 1.5).
writer a block of wood can be an issue for a sculptor.
Once this issue is overcome, the process of turning this 3.2 Embodied Guidance: Guiding Dots, Color
block of wood into a small figurine without using Gradients and various Levels of Material Density
machinery requires both craft skills and skills for
creative expression. In our concept we propose using
3D printing to create a specialized base material for
carving embodied guidance. In this way we want to
guide the carver towards a shape that is already part of
the carving block and foster a dialog with the carving
material through this augmentation. In addition we use
VR as part of supporting creative reflection.
Figure 2: Left: Cut out of the 3D printed material,
3.1 Scenario middle: guiding dots at the surface of the horse, right:
color gradients to indicate proximity to the final shape
When creating a drawing people use techniques like
tracing paper as support. The supporting techniques for
a novice carver creating 3D shapes are limited. Often
carvers draw guiding lines on the workpiece that are
carved away immediately, hence using 2D solutions
for a 3D problem. When interviewing makers we
discovered that – especially for beginners – there is
Figure 1: Diagram showing the different steps of the often the fear of carving away too much from the
concept from downloading a 3D model to carving it carving material. By printing guiding dots in the base
out and using VR to change perspective material, drawing lines becomes obsolete and
confidence is fostered. As the novice carver starts to
The user is inspired to carve out the iconic Swedish carve out the printed block, a visual imprint of the
Dala horse (Swedish: Dalahäst) and downloads or horse inside the block emerges. This acts as feedback
builds her own CAD model (see fig. 1.1). In a software that helps the carver to stop carving in time, thus
similar to current 3D printing software, she imports the overcoming the challenge of carving in too deep.
model that is embedded in a virtual cube (see fig. 1.2). Further for intermediate users we envision various
Control elements let her choose how much of the horse levels of support by limiting the guides indicating the
should be visible when later cutting through the border of the shape adjusted in software (see fig. 2,
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Embodied Material Guidance: Augmenting Material for Carving
center image). In this way we aim to support the turbulences will lead to uniform coloring. Higher
learning process. We also envisioned embedding a levels of turbulences will cause multi-color 3D
color gradient changing the color from a surrounding gradient patterns (see fig. 3). In the same way material
boundary box to the object inside. When the novice density could change as well. This is an attempt to
carver sees the change in color, she is made aware that mimic natural material qualities characteristic to wood.
the enclosed object is starting to surface (see fig. 2, The same way the wood’s growth direction can inspire
right image). Other ways of showing when the carver the wood carver to carve different shapes, artificial
gets close to the object could be to use variable randomness can hint towards a shape that the creator
densities of material, a property that can be set for 3D has not thought of before.
printers. By increasing the density of the object inside
(the Dala Horse) as compared to the surrounding 3.3.2 Changing Perspective: Using Virtual Reality
carving block tactile feedback can be provided.
In a last step we experimented with the virtual
3.3 Creative Reflection on the Material representation of the initial shape using VR. A good
practice in (abstract) painting is to physically step back
We focus on the relationship between the user and the from the painting to see how the latest brush strokes
material, almost trying to allow for a reflective have changed the overall composition. It is a state of
conversation, where the material provides rich observation and reflection that allows for constant
feedback on how it is treated. To achieve this, we acting and reacting on the painting. Other than this
propose change in material through adding randomness example of a two dimensional canvas, the 3D object
in the color gradients and providing the option to allows us to explore the material also from the inside.
change perspective in VR. With the help of a virtual reality headset the user
can place herself inside the box with the object in front
of her. This makes her aware of the parts that are not
carved out yet and may open up for changing the
direction she wants to pursue. By adding a small
inertial measurement unit (IMU) the workpieces
orientation can be tracked and transmitted to a VR
headset using wireless technology. The physical model
acts as controller for the user to navigate in 3D space,
where the user can move around the virtual
Figure 3: Different turbulences within the gradient environment by moving the physical object (see fig. 4).
We created a prototype in Unity & Arduino to
communicate ways to navigate in virtual space and
presented it to people (see next section). Since the user
holds the partially carved out object in her hand she
gets rich tactile feedback while at the same time seeing
the model from the inside. This disruptive experience
might encourage the user to change the way she thinks
about the workpiece. After establishing the experience
of the inside view, the user will return to the physical
Figure 4: View from the inside of the carving block world continuing to carve, having the possibility to
revisit the virtual space at any time during the process.
3.3.1 Fostering Creativity by adding Randomness 4 Evaluation & Reflection
As described before guides can be printed in form of
guiding dots or color gradients. However the guiding 4.1 Interviews
color gradient doesn’t have to be linear. By enabling
the user to add gradient turbulences, the embedded We proceeded to interview four makers to gain
object becomes slightly distorted. A low level of color qualitative feedback on our concept. The interview
participants were chosen based on their background
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Embodied Material Guidance: Augmenting Material for Carving
and skill in craftsmanship. We interviewed a teacher that this material could be manufactured easily. Also
for making physical prototypes, a product design research suggests that this kind of material can be
student and passionate maker, a prototyper in a design produced (Compton & Lewis, 2014).
consultancy who likes to tinker in his free-time, and an
owner of a 3D printing shop. The participants were 4.3 Beyond Carving
asked questions around their personal experience with
making at the beginning of each interview. Some We feel confident that there are advantages in
recurring topics in all the conversations were: augmenting material by adding additional information
Sources of inspiration and the reason for making as part of the manufacturing process. Changes within
including: Solving a specific problem through making, the material can provide extra information e.g.
inspiration by different materials or inspiration through considering abrasion and wear of material or inside
finding interesting projects (online). We also learned predetermined breaking points. We hope that this
that the tool plays different roles for different people concept inspires others to explore new possibilities on
ranging from being the center of the activity to being how to physically augment material.
mere means to achieve a goal. Lastly we got to know
different drivers for making that can either be outcome 5 Conclusion
driven vs. process driven as well as making as
purposeful vs. making as artistic expression. Especially In this paper we present a concept to support novice to
the distinction between drivers has implications for our intermediate skilled people interested in carving. As a
design, as our concept is not meant to focus on creating main incentive to carve we assume artistic self
to fulfill a need but is a learning tool for expression in expression and the learning/ skill building of carving as
3D physical objects. When presented with the concept handicraft. Our proposal focuses on the dialog between
the interviewees saw great value in the material having the learner and the material and how the material can
an embodied object and agreed that the concept could be augmented to be more expressive. We show this in
definitely work to train and encourage people to carve. three parts of our concept: First, the materialization of
The concept of variable gradients as a guide to stop guidance manifested in a 3D printed block (embodied
carving and start sanding was highlighted positively. guidance). This allows the user to fully concentrate on
While the prototyper and the product designer saw the material and the learning process. The embodied
value in using VR to gain a different perspective, the guides aim to reduce fear of making mistakes and to
teacher did not agree and stated that the shift in encourage training, since the final product is already
medium causes disconnect and the user should not be part of the workpiece. Second, to support for more
made to leave the material at any stage of the carving creative exploration of the material we envision the
process. The print shop owner suggested that the functionality to change the inner structure (color
density of material should also vary along a gradient gradients and density) of the material by adding
along with the colors. randomness. Both embodied guidance and the creative
reflection with the material allow learning how to
carve by making use of the digitally enhanced material
4.2 Technical Limitations
while staying in the physical world interacting with it
Adding the virtual reality feature would lead to in a tangible way. Third, we offer a way to use the
multiple problems. The first one concerns the sensor digital realm for changing the perspective to see inside
unit embedded in the work piece. To our knowledge it the physical workpiece using VR. We created
is currently not possible to print the sensor at the same prototypes used in discussions with four makers. In
time as the carving block. One way to work around this those discussions we found that the makers were
could be to add the electronics manually in the printing generally enthusiastic regarding various levels of
process. The second problem is the changing shape of support and they could see value in random changes of
the module that cannot be tracked easily with available the material structure. However, not everyone agreed
sensor technology. However research in this direction on the importance of switching between VR and
has already been conducted (Reed, 2009, Smith, physical world while carving.
Thomas & Piekarski, 2008).
To our knowledge there is currently no material
available that supports carving. However, when
interviewing an 3D printing expert he felt confident
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Embodied Material Guidance: Augmenting Material for Carving
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