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The immediacy of the artist's mark in shape computation : from visualization to representation

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dc.contributor.advisor Gregory Stiny and Terry Knight. en_US
dc.contributor.author Martino, Jacquelyn A en_US
dc.contributor.other Massachusetts Institute of Technology. Dept. of Architecture. en_US
dc.date.accessioned 2007-09-27T20:17:10Z
dc.date.available 2007-09-27T20:17:10Z
dc.date.copyright 2006 en_US
dc.date.issued 2006 en_US
dc.identifier.uri http://dspace.mit.edu/handle/1721.1/37265 en_US
dc.identifier.uri http://hdl.handle.net/1721.1/37265
dc.description Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Architecture, 2006. en_US
dc.description Includes bibliographical references (leaves 105-109). en_US
dc.description.abstract Approaches to shape computation and algorithmic art-making within the fields of shape grammars and computer graphics still do not consider the immediacy of the artist's mark in drawing and painting. This research examines the canvas, or 2D picture plane, as the expressive and dynamic problem space of the artist who naturally reframes both the problem and the solution with each successive mark. The fluidity of the artist's mark is the most important element in transforming the blank canvas into an image. In this research, I use my own traditionally drawn and painted artwork as the baseline corpus for analysis. From my analysis, I define a nonsymbolic, formal grammar for the synthesis of images in the style of the baseline corpus and develop software prototype "sketches" to support the geometric representation of freehand sketching consistent with mark-making. Curve generation is critical to the expressive marks of the artist. The result of this research is a curvilinear shape grammar that supports both explicit and implicit shape recognition while affording the artist the ability to draw (shape union) and erase (shape difference) computationally. en_US
dc.description.abstract (cont.) I compare the results of the synthesis phase with my traditional sketches showing that it is possible to compute imagery consistent with the evolving style of the artist's own hand. Additionally, the analysis phase of the research supports the supposition that formal algorithmic understanding of one's artistic process has directive and positive influences on the evolution and refinement of the style. en_US
dc.description.statementofresponsibility by Jacquelyn A. Martino. en_US
dc.format.extent 119 leaves en_US
dc.language.iso eng en_US
dc.publisher Massachusetts Institute of Technology en_US
dc.rights M.I.T. theses are protected by copyright. They may be viewed from this source for any purpose, but reproduction or distribution in any format is prohibited without written permission. See provided URL for inquiries about permission. en_US
dc.rights.uri http://dspace.mit.edu/handle/1721.1/37265 en_US
dc.rights.uri http://dspace.mit.edu/handle/1721.1/7582
dc.subject Architecture. en_US
dc.title The immediacy of the artist's mark in shape computation : from visualization to representation en_US
dc.type Thesis en_US
dc.description.degree Ph.D. en_US
dc.contributor.department Massachusetts Institute of Technology. Dept. of Architecture. en_US
dc.identifier.oclc 86108413 en_US


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