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dc.contributor.advisorGregory Stiny and Terry Knight.en_US
dc.contributor.authorMartino, Jacquelyn Aen_US
dc.contributor.otherMassachusetts Institute of Technology. Dept. of Architecture.en_US
dc.date.accessioned2007-09-27T20:17:10Z
dc.date.available2007-09-27T20:17:10Z
dc.date.copyright2006en_US
dc.date.issued2006en_US
dc.identifier.urihttp://dspace.mit.edu/handle/1721.1/37265en_US
dc.identifier.urihttp://hdl.handle.net/1721.1/37265
dc.descriptionThesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Architecture, 2006.en_US
dc.descriptionIncludes bibliographical references (leaves 105-109).en_US
dc.description.abstractApproaches 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.statementofresponsibilityby Jacquelyn A. Martino.en_US
dc.format.extent119 leavesen_US
dc.language.isoengen_US
dc.publisherMassachusetts Institute of Technologyen_US
dc.rightsM.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.urihttp://dspace.mit.edu/handle/1721.1/37265en_US
dc.rights.urihttp://dspace.mit.edu/handle/1721.1/7582
dc.subjectArchitecture.en_US
dc.titleThe immediacy of the artist's mark in shape computation : from visualization to representationen_US
dc.typeThesisen_US
dc.description.degreePh.D.en_US
dc.contributor.departmentMassachusetts Institute of Technology. Department of Architecture
dc.identifier.oclc86108413en_US


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