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The Use of Computer Graphics in the Design Process. PUB DATE 87 NOTE 81P.; Master's Thesis, the Ohio State University

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The Use of Computer Graphics in the Design Process. PUB DATE 87 NOTE 81P.; Master's Thesis, the Ohio State University DOCUMENT RESUME ED 282 547 IR 012 696 AUTHOR Palazzi, Maria TITLE The Use of Computer Graphics in the Design Process. PUB DATE 87 NOTE 81p.; Master's Thesis, The Ohio State University. PUB TYPE Dissertations/Theses - Master Theses (042) EDRS PRICE MF01/PC04 Plus Postage. DESCRIPTORS Animation; *Computer Graphics; *Computer Simulation; Data Collection; Design; Designers; Futures (of Society); Manufacturing Industry; *Systems Approach; Three Dimensional Aids IDENTIFIERS *Computer Assisted Design; *Industrial Design; Information Management ABSTRACT This master's thesis examines applications of computer technology to the field of industrial design andways in which technology can transform the traditionalprocess. Following a statement of the problem, the history and applications of the fields of computer graphics and industrial designare reviewei. The traditional industrial design process is then described, andthe following steps in the process are examined and relatedto possible computer applications: (1) problem acceptance; (2) problem analysis and definition; (3) ideation; (4) selection of solution(s); (5) implementation of solution(s); and (6) evaluation of solutions(s). Data gathering, information management, and simulationare identified as functions that can be performed by computers in the design process. A discussion of the inevitable restructuring of the design process and ways in which this process can be enhanced through the use of a system created specifically to fit the needs of the industrial designer concludes the report. Five figuresare included in the text and a list of 47 references is provided.(MES) *********************************************************************** Reproductions supplied by EDRS are the best thatcan be made from the original document. *********************************************************************** U.S. DEPARTMENT OF EDUCATION once ot Educational Research ind Improvement EDUCATIONAL RESOURCES INFORMATION CENTER (ERIC) VThis document hab been reproducedas received trom the person or organization originating IL 0 Minor changes have been made wimose reproduction Quality - Points ol view Or opinions stated in this docu. merit do not necessarily represent ottiCial OERI position or policy THE USE OF COMPUTER GRAPHICS INTHE DESIGN PROCESS A Thesis Presented in Partial Fulfillmentof the Requirements for for the degree Master of Arts in the Graduate School of the Ohio StateUniversity by Maria Palazzi, B.S. * * * * * The Ohio State University 1987 Masters Examination Committee: Approved by Thomas E. Linehan Christian D. Wedge Adviser Department ,f Art Education "PERMISSION TO REPRODUCETHIS MATERIAL HAS BEENGRANTED BY Maria Palazzi BEST COPY AVAILABLE 9 TO THE EDUCATIONALRESOURCES INFORMATION CENTER(ERIC)." THESIS ABSTRACT THE OHIO STATE UNIVERSITY GRADUATE SCHOOL NAME: Maria Palazzi QUARTER/YEAR: Spring 1987 DEPARTMENT: Art Education DEGREE: Masters of Arts ADVISER'S NAME: Linehan,Thomas, E. TITLE OF THESIS: TheUse ofCcmputerGraphics Design Process inthe In the future, the computerhasthepossibility of becoming anintegrated andnecessary design process. component in the Thispaperexamines how industrial designers can productivelyuse computer graphics to create and design in the field of industrial design. To create, not only with the computeras a new tool to perform tradi- tional tasks, butas a partner intheprocess. aspectsof the design Certain process will necessarily be altered. with the growing use of computers in the fieldof indus- trialdesign. New steps in theprocess will be required while retaining the traditionalmethodology. Thispaper examinestheinevitable restructuring cess and suggests of the design pro- ways inwhichthisprocesscanbe enhancedthrough the use ofa system created specifically for the needs of the industrialdesigner. G Adviser's Signature 3 To My Father 4ii ACKNOWLEDGEMENTS I would like to thankmy advisor Tom Linehan forhis support and insightthroughout my professionaland academic experience. I thankCharles Csuri, the inspira- tion behind Cranston/CsuriProductions, for givingme the opportunity to work for hiscompany. I thank the staff of Cranston/Csuri Productions, pastand present, for their teamwork and creative energies. A specialthanks toMichelle L. Amato, forher friendship, encouragement andgrammatical assistance. And most especially, thanks tomy father, mother, Richard, Robert, Davidand Julia for being the rootsthat nourish my branches. 5 VITA March 18, 1959 Born - Pittsburgh, Pennsylvania 1982 B.S., The Ohio State University, Columbus, Ohio 1983-Present. Technical Director/ Senior Animation Artist Cranston/Csuri Productions, Columbus, Ohio FIELDS OF STUDY Major Field: Industrial Design Fields of Study:Studies inComputer Graphics and Animation iv 6 TABLE OF CONTENTS Acknowledgements iii Vita iv Table of Contents List of Figures vi Chapter 1: Introduction 1 Chapter 2: Computer GraphicsHistory/Applications 5 Chapter 3: Industrial DesignHistory/Applications 10 Chapter 4: The Design Process 14 Chapter 5: Problem Analysis andDefinition 23 Information Banks 26 Visuals Banka 28 Data Gathering 30 Information Hierarchy 31 Chapter 6: Ideation 33 Tools of the Designer 39 Simulation/Previsualization 40 Multiple Direction 44 Chapter 7: Selection 50 Chapter 8: Implementation 52 Three-Dimensional Design 55 Two-Dimensional Design 57 Chapter 9: Evaluation 59 Chapter 10: Sumnary 62 List of References 66 Bibliography 70 7 LIST OF FIGURES Figure 1. Circular System Design Approach 15 Figure 2. Linear System Design Approach 16 Figure 3. Branching System Design Approach 16 Figure 4. Constant Feedback System Design Approach 17 Figure 5. General Algorithm Path 19 vi CHAPTER 1 INTRODUCTION Industrial designencompasses the fields ofproducts and product systems; interior space, thedevelopment of interior environments forhumanactivity; andgraphics, the translationof±deas and concepts into visualmes- sages. Today's industrial designerrepeatedly has been . promised, warned, threatened and prophesiedto about the effects high-tech electronicswill have onthe fieldof industrial design. To date, most are speculationson the impact of change the designerwill experience. Initial investment in the equipment,changing advancements inthe electronics hardwaremarket and lack of softwarecreated specifically forindustrial designers' needs, haveham- pered a faster acceptanceof the computer as anecessary part of the design industry. As prices of hardware andsoftware decrease and users demand more efficientsoftware, the integration ofcom- puter technology and industrialdesign is fastapproach- ing. The effects it will have on the traditionaldesign process are only spemation, but itcertainlywill have an effect. Mostdesigners have felt the introductionof technology in some way in their field. 9 2 Viewing the computeras a tool that only mimics trad- itionalpractices of the designerresults in the computer and its software being modeledafter existingtools. The limitationsof the traditional tools alsobecomes part of the system. The system is justa faster tool. Though the computer inherently increases 'speed, it doesnot assure quality. That is a characteristic ofthe product thedesigners alonecanbring. Computers in designshouldnotbe looked at as justa way to produce the same products quickly, butas a way to gainmore insight into.whatare the needs of the individualor group being designed for, howcan they can best beserved ahd does the product reflect theseneeds. To ease the adjustment to theuse of technology it is important tode-emphasize the technologyand concentrate on developing newtechniquesandstrategies indesign methodology. [1] Unique features of the technologymake it more than a tool to mimic the traditional tools ofthe designer. Tho- mas Linehan of The Ohio State UniversityComputer Graphics Research Groupidentifies three of these uniquefeatures as concreteconcepts of computergraphics: The (-.3n- materialnature of the medium, the digital descriptionof the image and tha algorithmic requirements for manipula- 10 3 tionof the image. All ofthese require additional knowledge and new skills for the designer. [2]Thephysi- :al laws of nature donot exist in thisnew technology. Computer graphics is thefirst field to mergea quan- titative descriptionand a qualitativedescription in order to create a numericdescription for aestheticquali- ties. Thisjunction is termed a display algorithm, in which each process describes the other andcan be used to reconstruct the other. [3]Algorithms must be developedto create new forms. The computer becomesmore than atool, it is a resource. Crucial decisionsthataffectthe successor failure ofan entire product lineare often made during the earlieststages of the designprocess. It is at this fragile, creativestage - when an idea may be nomore than a seriesofimpressions in a designer's mind- where the impact of comput- er graphics andcomputer animationhasyet to reach its full potential. from the earliestmo- ment of conceptualization.[4] Design professionalsand studentsmust realizethe assets afforded by thisnew technology. Computerscan offer designers more in-depthand complete designs. com- puter graphics have providedthedesigner with anew medium and environment inwhich to create. Designers are offerednewcreative avenuesthrougha technology not bound by the laws of nature. 11 4 This paper will provide a brief history of bothcom- putergraphics andindustrial design. The traditional design process, as practiced by industrialdesigners, will be discussed and each step will be examinedand related to the possible
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