From Analogue to Digital: Drawing the human form by examining creative practices, techniques and experiences of practitioners within immersive technology.
Heli Puhakka Bachelor of Arts (Design & Communication) Master of Training & Development (Education)
Supervisors: Dr Jennifer Seevinck Dr Manuela Taboada Assoc Prof Tomasz Bednarz
Submitted in fulfilment of the requirements for the degree of Master of Arts (Research)
Creative Industries Faculty Queensland University of Technology 2019
Keywords
Keywords: Digital art, disembodiment, drawing, embodiment, human-computer interaction, immersion, light, presence, transparency, virtual reality.
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Abstract
Advancements in virtual reality (VR) have facilitated a new drawing experience for digital artists. These have provided the experience for artists to have an embodied human-computer interaction (HCI) while drawing. This project focuses on exploring and understanding how analogue life drawing practices can be redefined in the digital realm of virtual reality. In this practice-led project, the analogue life drawing creative practice is the foundation for making immersive drawing artworks in the virtual environment. This is alongside theoretical research into aesthetic experience, embodiment, disembodiment and presence in conjunction with conducting semi- structured interviews to understand other drawing practitioner experiences with immersive drawing.
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Table of Contents
Keywords ...... i Abstract ...... ii Table of Contents ...... iii Statement of Original Authorship ...... v Acknowledgements ...... vi Chapter 1: Introduction ...... 7 1.1 Background ...... 7 1.2 Context ...... 8 1.3 Purposes ...... 9 1.4 Significance, Scope and Definitions ...... 10 1.5 Thesis Outline ...... 15 Chapter 2: Literature Review ...... 16 2.1 Differences Between Analogue and Digital Drawing ...... 16 2.2 Experience of Drawing ...... 20 2.3 Views On Embodiment ...... 22 2.4 Disembodiment ...... 36 2.5 Artists and Digital Practice ...... 45 Chapter 3: Research Design ...... 51 3.1 Methodology and Research Design ...... 51 3.2 Participants and Instruments ...... 52 3.3 Methods and Approach ...... 52 3.4 Semi-Structured Interviews ...... 54 3.5 Ethics and Limitations ...... 57 Chapter 4: Findings from Creative Practice ...... 59 4.1 Observations and Practice ...... 59 4.2 ‘Ready-to-hand’ While Drawing ...... 74 Chapter 5: Results and Analysis ...... 85 5.1 Participants ...... 85 5.2 Analysis and Findings ...... 85 Chapter 6: Discussion ...... 97 Chapter 7: Conclusions ...... 101 Bibliography ...... 105 Appendices ...... 109
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7.1 APPENDIX A: Research Ethics Documents ...... 109 7.2 APPENDIX B: Journal of Analogue and Digital Drawing ...... 115 7.3 APPENDIX C: Summary of Questions, Methods, Evidence and Outcomes...... 140 7.4 APPENDIX D: Research Integrity Online (RIO) Quiz ...... 141 7.5 APPENDIX E: Coursework Summary ...... 141 7.6 APPENDIX F: Interview Questions ...... 142 7.7 APPENDIX G: Interview Transcription 1 ...... 143 7.8 APPENDIX H: Interview Transcription 2 ...... 156 7.9 APPENDIX I: Interview Transcription 3 ...... 171
iv Heli Puhakka N9929380 MA (Research) Statement of Original Authorship
The work contained in this thesis has not been previously submitted to meet requirements for an award at this or any other higher education institution. To the best of my knowledge and belief, the thesis contains no material previously published or written by another person except where due reference is made.
Signature: QUT Verified Signature
Date: 21.10.2019
Heli Puhakka N9929380 MA (Research) v Acknowledgements
I would like to thank my supervisors Dr Jen Seevinck, Dr Manuela Taboada and Assoc Prof Tomasz Bednarz for all their support and guidance in this research project. Also, a very special thank you to both my daughter Krittika and my mother Marjatta. I’m forever grateful for your love and support.
vi Heli Puhakka N9929380 MA (Research) Chapter 1: Introduction
1.1 BACKGROUND
Life drawing is my passion. As a child, I started drawing as soon as I could hold a pencil in my hand, and today I continue to experiment with new techniques and technologies to improve my drawing skills. I was introduced to life drawing practices in high school when I studied art. After completing high school, I continued to study graphic design and illustration at university and soon discovered that life drawing was the creative practice that I enjoyed the most. There is something that is unique and challenging when working with the human form; considering proportion, scale and technique while also being aware of the pressure to complete the drawing as accurately as I can within a specified time frame. This idea of a time challenge is important to life drawing practices, as it involves drawing from a live model, who only holds a pose for a certain time limit.
My life drawings in the past consisted of creating artworks on paper with mediums such as charcoal, conte, pencil, graphite and paint. While my background is in creating analogue drawings, I am also interested in experimenting with digital drawing practices. The turning point for me was when I viewed a video of Glenn Keane, who is a Disney animator, redrawing his analogue characters in virtual reality. It was fascinating to view this artist transform his analogue drawings into life-size immersive computer generated images that you could walk through and view from multiple angles. This creative discovery inspired me to further explore life drawing with a new technology that I had not used before. Little did I know at the time that this would be the beginning of a digital love affair with drawing in virtual reality. The Google Tilt Brush was to become my new medium to explore the practice of life drawing in a three-dimensional space. As it was not possible to view the live human form in the virtual realm, I had to create new drawing practices in order to redefine analogue drawings in a three-dimensional immersive environment.
This monograph thesis is the research that has created new sharable knowledge from the results, findings and discussions from this project, which is also a study into my own
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drawing evolution. My transition from an analogue artist to a digital artist had begun and the creative journey continues as I experiment with virtual light drawings of the human form in an immersive environment.
1.2 CONTEXT
This practice-led Master of Arts by Research project is concerned with exploring drawing in immersive environments. There are three interrelated areas of focus: drawing practice, technologies for drawing and theories for understanding the experiences of this drawing. In the initial stages of my research, my creative practice of both analogue and digital drawing has been focused on exploring the differences and relationship between the transfer of both these mediums. I have also investigated the understandings of other practitioners’ approaches of working in the same medium. The analogue drawings are charcoal on paper artworks, which have become, as I will discuss, the foundations of the digital drawings as the VR space in my approach to drawing in VR. This is because VR does not allow drawing from a life model to be possible. I draw in the digital medium using the Google Tilt Brush. Digital drawings consist of light, and for me, also transparency. Lines of light and transparency with a three-dimensional focus cannot be re-created in the analogue realm with charcoal on paper, hence my exploration of drawing in VR.
I would position my creative practice of drawing in VR to be digital drawing rather than in the vein of contemporary art. Contemporary art has a more diverse definition which refers to art that is current or art that is of today (Hinkel et al, 2016). Contemporary art is too broad for my research topic as I am focussing on digital art as the main definition of how to describe my digital drawing practice.
Christiane Paul defines digital art as the ‘employment of digital technologies as an artistic medium implies that the work uses the digital platform from production to presentation’ also stating that some of the key characteristics are that the artworks can be interactive, participatory and dynamic (2015, p. 67). My digital drawing practice is dynamic, digital and would also be interactive if the VR artworks were showcased in an exhibition environment. Also, my digital drawing practice could be defined as virtual
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art as well, due to nature of drawing in the virtual reality space with the Google Tilt Brush equipment.
This research project has a strong focus on digital drawing techniques, processes and insights. I initially started this project as an exploration to simulate analogue drawing techniques such as charcoal and paint in the virtual environment, as my background was only in analogue drawing practices. However, I ended up exploring how I could draw with light and transparency by techniques such as light shading, hatching, using contour lines and layering of tones in the digital medium. Digital art has now become my main creative practice.
1.3 PURPOSES
This Master of Arts by Research project comprises of a thesis by monograph. The main focus of the thesis is to explore and document the art of drawing with layers of light in virtual reality and to compare the experience to analogue life drawing practices with charcoal on paper. This project is not focussed on a studio outcome however is concerned with concentrating on life drawing as a drawing experience and seeing, rather than sculpture and performance. The themes, codes and insights that my creative practice has revealed now overlap with the theory concepts that emerged in my literature review and data from interviews with creative practitioners who are also creating artworks in virtual reality. These common themes, codes and insights are based on aesthetic experience, embodiment, disembodiment, presence and drawing with light and transparency which are further discussed in the next chapter. The concepts of performance and sculpture have been briefly mentioned in the following chapters as well, especially reviewing other creative practitioner’s work, however it is out of scope for this Master of Arts by Research project. The interviews with experts in immersive drawing techniques reinforce the importance and practical applications of the theories that underpin this thesis. The virtual reality medium has become more mainstream due to the increasing affordability of the hardware, however the practice of drawing the human form in VR, is still relatively new to fine artists due to the technological limitation.
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1.4 SIGNIFICANCE, SCOPE AND DEFINITIONS
The significance of this research project is concerned with developing an understanding of a new area of art that has been largely unexplored by fine artists. In completing this project I experimented with drawing analogue images of the human form in charcoal on paper and then I re-created these images in VR, however from the photos not from the live model. Due to the nature of drawing in VR, the artist is unable to see the live human form, which is further discussed in chapter 4 with my creative practice observations. As I was unable to see the human form in VR, I then developed a new drawing practice to accommodate life drawing in VR, or more appropriately drawing the human form in VR. This research leads to an improved understanding of the artist experience of VR drawing and has the possibility of informing new future tools for drawing the human form in an immersive, three-dimensional space by drawing with layers of light and transparency. This project is not focussed on creating a studio outcome however it is concerned with exploring and documenting the artist experiences of drawing in both analogue and digital mediums.
Drawing the human form using the VR media and comparing the process of both analogue and digital drawing practices is the knowledge gap that I explored with my creative practice and research. Throughout this research project, there was no available literature that related to this practice of exploring the differences or similarities between analogue and digital drawing practices, and in particular drawing in VR. The research gap that I explored in this project, lies at the intersection of these four areas of enquiry: (1) drawing of the human form, (2) digital tools, (3) drawing experience, and (4) theory and frameworks (Figure 1). The following section provides a description and explanation of how the four areas of enquiry relate to this research project.
(1) Drawing the human form In my creative practice, I experimented with analogue life drawing techniques which involved drawing from a live model. When drawing in VR, I was unable to see the human form in order to create a life drawing, so I created a new drawing practice, which was drawing from a reference image. The analogue life drawing practice involved drawing from a live model and there was also a time frame for the drawings. Time frames varied from a few minutes to as much as 30 minutes for one single pose. Once
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the time had lapsed for an analogue life drawing, I was unable to continue drawing that particular pose, otherwise I would have been drawing from memory not from the live model. When I created artworks of the human form in VR, I drew from a photo of the original analogue life drawing. Both drawing mediums had a reference subject or object, however the analogue drawings had a live human to draw from and the VR drawings were redrawn from photos of the original analogue life drawings.
(2) Digital Tools This research project was the beginning of my journey as a digital artist. My background was predominantly one of life drawing in an analogue environment, especially drawing with charcoal on paper. By experimenting and exploring with digital tools, I discovered that I could draw in VR with the Google Tilt Brush (GTB). After a few weeks of drawing with the GTB, I developed a new type of drawing. This new creative practice was drawing layers of light in VR, which could only be achieved in the three-dimensional digital environment.
(3) Drawing experience The VR drawing experience was a new creative direction for me. During this research project, I had not discovered any literature that explained the virtual drawing process and what it feels like to draw in space. This inspired me to experiment with the VR digital tools to learn more techniques of drawing. My focus on drawing experience within this medium became a research focus, with appropriate research approach and methods. It involved me journaling, for example every time I drew in VR. I recorded the experience in my journal, which assisted with insights into my creative practice. Through analysis, themes and codes were developed from the journal entries. The practitioner reflections and observations for this research project, were derived from my creative practice and also from interviews with practitioners who were also creating digital art in VR.
(4) Theory and frameworks Some of the theory and frameworks that were explored and examined in this research project were embodiment, disembodiment, presence, immersion and aesthetic experience. When drawing in VR, the artist experiences both embodiment and disembodiment due to the nature of drawing in a three-dimensional space, also in an
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immersive environment, where the body is not viewable. The artist then has a disassociation with their body when drawing in VR. Presence activates the sensation that the participant is actually in a virtual world and they are tricked into believing they are in another environment. When drawing in the VR environment, the artist feels like they are outer space or have been teleported to another realm by the use of technology. The body disappears from view and only the digital tools are seen by the human eye. Immersion allows the participant to be convinced that they are in another world and not to existing in the room where the VR equipment is being used. The real world is then replaced with an artificial virtual world. This creates an engaging experience for the artist as they feel immersed in the VR environment. As stated above, these theories are further examined and explored in chapters 2 of the literature review and chapter 4 with my creative practice observations.
Figure 1. The research gap lies at the intersection of these four areas of enquiry.
This research project is focused on exploring the differences and similarities between analogue and digital drawing practices, in particular drawing the human form in virtual reality. While much existing research relates to the theory surrounding creating artworks in VR, very few studies have examined the similarities and differences between
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analogue and digital drawing practices. Specifically, research to date has not examined if analogue drawing techniques can be reproduced in the virtual environment.
Some insights that were discovered from the interviews included similar experiences to my own creative practice. Insights such as the challenge of drawing in VR when there is not a surface to lean on (opposite to analogue experience of drawing); the use of hatch and cross-hatching for drawing techniques in both digital and analogue practices; understanding the embodied experience when drawing in 3D virtual reality and drawing with machines. One of the main insights that I discovered from the interviews data relates to the theory of disembodiment and the challenge of not having a surface to lean on when drawing. In particular, Paula Dawson mentions this in her own creative practice and that it is one of the main challenges of drawing in VR. The challenge of not having a solid surface to draw on in VR which creates uncertainty in the artistic outcome. Also, the challenge of not being able to see your body or arms when drawing in VR. Paul Thomas has an analogue drawing practice background and his interest is more in viewing his drawings in the virtual space rather than creating the drawings in that environment. Jaymis Loveday has a film background however also draws in VR. Loveday has an extensive background in creating graphics and film videos with the Google Tilt Brush and mentioned that one of the highlights of working in VR was the unlimited 3D space and illusion of time.
By researching the theories mentioned above, plus analysing my creative practice of drawing and interviewing creative practitioners, this project has explored how analogue drawing practices can be re-defined or re-created in an immersive virtual environment by considering the following questions:
1. What are the differences between analogue and immersive digital drawing techniques when drawing the human form?
1.1 How can creative drawing challenges such as proportion, scale and technique, inform drawing practice of the human form in immersive environments?
2. What is the experience of drawing the human form in immersive environments such as virtual reality?
3. How can analogue life drawing practices be redefined in the virtual reality space?
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The research questions for this project are aimed at assisting with the understanding of the similarities and differences between analogue and digital drawing practices, such as drawing in virtual reality.
Research question 1 concerns understanding of the challenges of drawing in both mediums of analogue and digital, discussed in chapters 2, 4, 5 and 6 of this thesis. Some of the challenges included how canvas size and depth can alter the proportion and scale of the VR drawings, further discussed in chapter 4 and 5 of this research report. Chapter 4 provides insights that have been discovered from my creative practice of both analogue and VR drawing practices. Chapter 5 examines and provides insights into immersive drawing practices by interviewing creative practitioners who are creating artworks in virtual reality. This data from the interviews has reinforced my own creative practices and the theories that were initially discovered in my research of immersive and embodiment theory.
Research sub-question 1.1 provides insights into the challenges of proportion, scale and techniques when drawing in VR. This will be further discussed in chapters 3 and 4 by analysing themes and codes, which were developed through my creative practice and chapter 5 which examines theories such as depth, pressure and leaning on a surface. Chapter 6 further explains and provides a discussion on how the theoretic insights from the literature review (chapter 2), my findings from my own creative practice (chapter 4) and the data from the interviews with creative practitioners (chapter 5) have assisted with analysing the research questions.
Research question 2 examines the practice of life drawing in VR and the theories that surround the experience. As it is not possible to view the live human form in VR, the artist needs to experiment with other creative practices in order to re-create the life drawings in the virtual space. Theories such as embodiment, disembodiment, immersion, ready-to-hand and depth will be further discussed in chapters 2, 4 and 5 by discussing concepts such as feeling lost or being in outer space while creating artworks in the virtual realm.
Research question 3 explores how the artist can redefine a similar analogue aesthetic experience in the virtual environment. Is it possible to simulate the analogue drawing
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techniques and effects in VR? If not, how can the techniques be improved or changed? Are the brushes and effects similar in both analogue and VR? This will be further discussed in chapter 3 and 4 by examining the themes and codes which have been discovered through my creative practice and chapter 5 with the analysis of participant interview data.
1.5 THESIS OUTLINE
The outline of the next chapters in this thesis are as follows. Chapter 2, which is the literature review defines and explains analogue and digital drawing practices; examines what constitutes an aesthetic experience when drawing in an immersive environment and how embodiment and disembodiment can be experienced when creating VR artworks; and lastly provides a contextual review of artists who are creating artworks in the virtual reality space. Chapter 3 sets out the methodology and research design methods which were used in this project and information relating to the ethics clearance. Chapter 4 presents findings from my creative practice, which includes experiences of analogue and digital drawing plus definitions and examples of different brushes and effects in VR drawing. Chapter 5 examines the results and analysis of participant interviews and explores drawing in VR. Chapter 6 is the discussion section of my research, which provides an insight into the theories which overlap the literature review, creative practice observations and the interview findings. Lastly, chapter 7 concludes the thesis.
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Chapter 2: Literature Review
This chapter begins with a background of the definitions of both analogue and digital drawing (2.1) and reviews literature on the following topics. The concept of experience in this research project is explained as the aesthetic experience when creating artworks in virtual reality and how this experience focuses on the viewers’ pleasure response to an artwork (2.2). Embodiment is described as how engaged we are in the process of being in an immersive environment and concepts such as leaving our body behind, taking on new bodies and identities, and seeing ourselves from a different perspective when in the VR space are discussed (2.3). In this thesis, disembodiment is explained as how we can feel separate to our bodies when drawing in VR and how cyberspace culture encourages the disassociation from the body to become one with the computer and the cyberworld environment (2.4). In the contextual review, I analyse other digital artists’ practice and describe their process of creating artworks in the virtual realm (2.5). The last section highlights the implications from the literature and develops the conceptual framework for this study (2.6).
The following definitions assist with the understanding of analogue and digital drawing practices in relation to this research project and also examine the similarities and differences between both mediums.
2.1 Differences between Analogue and Digital Drawing
Analogue drawing can be described as a drawing process where no computers or machines have been used to create the artwork. The artist uses natural mediums such as charcoal and pencil to create gesture, contour lines and mark making on a two- dimensional medium such as paper. Gesture drawing relates to sinuous, organic and flowing lines that represent a pose or object not in a realistic sense but as a particular energy. This energy expresses form, movement and action which has the ability to capture an emotion or feeling. Whale argues that ‘Traditionally, drawing is an activity that transforms movements from the hand, arm and body into marks on a surface’ (2002, p. 66). Contour line drawing has a certain free-ness that allows the artist to
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convey a visual message in an expressive manner by simply using a series of lines. In life drawing practice both gesture and contour lines are used to create a visual representation of the human form which has been drawn from life. This means that the image has been drawn from a live model (Figure 2) and not from an image such as a photograph.
Figure 2. Analogue life drawing with charcoal on paper (Puhakka, 2017).
Digital drawing explores the experience of drawing practice in the digital age. From the beginnings of digital art forms such as computer art (pixel and vector), Internet- based art and video art, artists have been experimenting with technologies such as VR to create digital drawings and artwork. Fine artists, such as painters and sculptors are integrating digital technologies into their art (Lovejoy, 2015, p. 27). Some of these digital drawing techniques that are explored by fine artists are for example drawing with the Wacom tablet using Adobe Photoshop or Illustrator. However I am focused on drawing in VR as this relates to my research questions of drawing in a 3D immersive environment. Most importantly my research and creative practice is based on drawing
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with light and transparency. These effects of light can only be achieved by drawing in the VR environment. Wands states that ‘virtual reality allows for the creation of an immersive experience’ (2006, p. 16). This means that the participant or viewer is transported into a new virtual world created by the artist. The virtual artwork can only be viewed by wearing a head-mounted display (HMD) or a similar type of interface device. Due to these advancements in VR drawing tools the digital artist is now exposed to more options of media and technology for producing drawings in the digital realm, such as VR. For example, an artist has the option of drawing with the HTC Vive Google Tilt Brush. VR is a digital medium where artists are experimenting with these tools and new possibilities for digital drawing. These concepts are discussed in more detail in the next section.
Digital Drawing in Virtual Reality Bryan and Pollock (2010, p. 11) define ‘virtual reality’, or VR, as the sensation of participants feeling like they are somehow being tricked into sensing and experiencing something that doesn’t actually exist in the material world. The new media artists of VR represent a new type of artist. This artist is one who explores advanced methods of creating images and also experiments with interaction plus interface design. Virtual art has links to immersion, interactivity and presence, which then creates images that are a play on the ‘aesthetic enjoyment of illusion’ (Grau, 2003, p. 17), these theories will be discussed later in this report. As stated in the introduction, digital technologies are utilised in the practice and research of this project. The main VR technology that is used for this research is the Google Tilt Brush which is defined in the next section.
Google Tilt Brush The Google Tilt Brush (GTB) is invented by Google and is a technology that directly facilitates drawing in VR. Drawing in VR (Figure 3) transforms the two-dimensional drawing experience into a three-dimensional space of light and form (Tilt Brush, 2017). Kwastek argues that the advances in three-dimensional simulated spaces allows artists to actively explore and create in a virtual space of sound, image and text (2013, p.35). The artist floats in a dream-like virtual world of life-size images, sound and interactive movable words. These alternate realities are a part of the drawing experience in VR which allow the artist to create works of art without the traditional boundaries of paper
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and 2D space. The following section explores analogue drawing practices in the digital realm and explains what the relationships are between both mediums.
Figure 3. Digital life drawing in virtual reality (Puhakka, 2017).
Drawing the Human Form with Digital Tools Hawks explains how life drawing, (drawing the human form from a live model) is a fundamental act for the fine artist (2010, p. 328). He also states that with the advancements of digital technology, artists can explore the relationships between both analogue and digital drawing while still staying true to the initial essence of both mediums (ibid.). The true essence of both analogue and digital drawing have foundations such as shape, form, perspective, anatomy, composition, lighting, proportion and scale. Life drawing techniques such as drawing with charcoal are traditional tools for the fine artist. The challenge with life drawing in the VR space is
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focused on how can the artist draw the human form without any life model reference? The act of life drawing can only be possible if a life model has posed for the artist. When drawing in VR the artist cannot view the real world through the VR lens as the outside world disappears from view. Hence, my life drawings in VR, have been drawn from my analogue life drawings which were originally drawn from a live model. In this process, I am creating a VR drawing from an analogue drawing. Hawks argues that analogue drawing practices remain current in the digital environment by examining artists who have integrated their classical drawing skills, such as life drawing, into virtual worlds (ibid.). As artists we have the technology to take analogue drawing techniques such as life drawing and we can create new visual perspectives of the human form. By taking the act of an analogue drawing practice which is a real and tangible process and representing this experience in a virtual environment, this will explore the idea that art and technology are in harmony with one another. The virtual environment creates a sense of aesthetic experience for the artist which will be discussed in more detail in the following section.
2.2 Experience of Drawing
Aesthetic Experience This research is primarily concerned with analysing the drawing experience for the artist within an immersive VR artwork however the focus is not on the final artwork as a studio outcome. For this reason, I will discuss the following concepts of aesthetics and aesthetic experience which will assist with my understanding of the artist experience. Firstly, one aspect of aesthetic theory is concerned with the perception of beauty and wonderment and whether a work of art is considered pleasing to the eye, pleasurable or unattractive and allows the viewer to judge the perfection of form (Starr, 2013, p. 72). This then evokes a response from the viewer of either delight or distress. The judgment of beauty and unattractiveness depends on the individuals’ taste.
The other approach to aesthetics is based on the philosophy of art and is more than just related to beauty, however I will be focusing on the pleasure response to an artwork. When aesthetics is expressed as a noun, the object is considered ‘beautiful, elegant and balanced’ meaning it has a ‘positive aesthetic quality’ (Fenner, 2008, p. 18). A pleasurable response to an artwork will depend on the composition, colour and words
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and will most likely be subjective to the viewer. Dewey (1934, p. 96) defines aesthetics in the context of a painting or figure drawing where all elements of colour, light, space and the placing of other objects need to be in unity in order to avoid physical distortion.
In regards to beauty and interaction in the human-computer interaction (HCI) environment, Wallace and Press (2004, p.45) explore the ideas of ‘enchantment, empathy and intuition’. Beauty is a form of enchantment and is a powerful tool to engage the user with technology. A strong connection can be created between the artist and artwork by integrating beauty into the aesthetic experience. A feeling of pleasure enables a positive experience for the artist and provides a sense of fulfilment. Dewey describes experience as a process that involves human emotions such as pain, suffering, love, sadness, enjoyment and that there is no separation between the creator and object (1925, p. 10 -11). The aesthetic experience is the merging of feelings such as enlightenment, renewal and wonder, and often the artist expects to be experiencing some sort of ‘enchantment’ or ‘magic’. Locher et al (2010, p. 71) also agree that the interactive experience with artworks has some sort of emotional connection, such as experiences of ‘fun, surprise, delight, engagement and a reward’.
When drawing the human form in the digital space there are foundations that can be extracted from analogue drawing practices, such as shape, form, perspective, anatomy, composition, lighting, proportion and scale. These foundations of drawing practices can be a remediation for the digital artworks as a basis however the final drawing has become something new. In this research project, the drawing experience in analogue is one of working on paper with charcoal, and the digital experience is drawing in the virtual realm. Both mediums require the foundations of drawing however the final outcomes, drawing and experiences are quite different. The VR drawing is a new drawing but has the foundations of drawing practices of shape, form, perspective and proportion. This section of the literature review aligns with the research question of how the analogue drawing practices are transferred or redefined to the digital space. Also how proportion, scale and techniques can be mastered or used when drawing in VR. The digital realm allows the artist to have an aesthetic experience where the user has a strong connection with the artwork due to the pleasure or satisfaction of engagement.
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The following section provides a definition of embodiment and how this creates an interaction and symbolic meaning with the tools when drawing in the VR space.
2.3 Views On Embodiment
In this section I discuss the concepts of embodiment with a focus on how it is understood for immersive artworks. I also review VR practices to explain how embodiment assists with our understanding of how we make meaning from our actions when experiencing the VR environment. Dourish (2004, p. 125) explains that meaning, theory and action is the central focus of embodiment. Embodiment theory assists us with understanding human action, and how we make meaning from our experience of the world which occurs in real time and space. Stern also states that embodiment is an active and continuously changing activity (2013, p. 2). It involves the use of an active body which we move around in, plus how we think and feel as well. This body that we have also interacts in and through relationships with other objects constantly changing and being emergent. Stern argues that embodiment is ‘moving-thinking-feeling’ (2013, p. 2). It is also how our body relates to something outside of itself. Embodied interaction relates to how we interact with computers when we create artworks which then creates meaning for the artist. This is then naturally a relationship between action and meaning. These interactions can be connected to the use of our mobile phone, desktop computers and also playing computer games either at home or online. Paul Dourish (2004, p. 18) defines interaction as being either social (the way we act in the real world) or as physical artworks (bodily presence in the world). Something to take into consideration is how these items of technology interact with us on the physical and social realm. Interaction is defined as what is being created and also how it is being created (Dourish, 2004, p. 4). Dourish also explains that ‘interaction is the means by which work is accomplished, dynamically and in context’ (2004, p. 4). From the phenomenological perspective, we create meaning through our interaction and engagement with the world and those around us.
Dourish (2004, p. 137) also states that embodied interaction places a strong focus on interaction as an activity that we act out in the physical world. With the phenomenological theory this combines action and meaning as being one and cannot be separated. You cannot mention action without giving it some sort of meaning. The
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prominent focus on using computers is that it relates to human experience, then interaction is possible by how we use or act through the computer to achieve certain effects in the world (ibid.). By acting through the computer to create drawings in VR, I am creating a representational image of the human form, based on drawings from the life model. The VR drawings cannot exist without the interaction with the computer. I am acting through the computer to achieve an effect of light drawing. These virtual drawings can only be viewed in the VR space by the computer software and headset, otherwise the human eye will see nothing in front of them. The interaction with the computer is intentional and it carries with it intentional connotations. Embodied interaction focuses mainly on interaction as an activity in the physical world. The following section explores theories focused on embodiment in the virtual space.
Embodied Experience in Virtual Reality Virtual reality (VR) started to become popular in the 1990s. The late 1980s provided the artist with more power to explore the graphics processing which also made data gloves and body suits more accessible to experiment with in the VR space. Ryan (2003, p. 1) defines virtual reality as the use of head-mounted display (HMD) and data gloves (DGs) to experience a three-dimensional computer-generated world where we can have extra powers to go to cyber places and feel like we have left our body behind. Ryan also cites Pimentel and Teixeira (2003, p. 2) in that VR can be defined as an ‘interactive, immersive experience generated by a computer’. Cyberspace was a term that was used when describing the experience of something looking like it was real, however it didn’t exist in the real world. Similar to the experience of a hallucination or a computer generated reality. This is where the computer and user interact. The user has the ability to view 3D images and to also move them around the VR space. The concept of interaction is viewed by the world of the user not from the computer. The computer becomes invisible as the user takes over to control the creative outcome.
Csordas (1999, p. 143) mentions that embodiment is an experience not just about the body but also about culture which can be understood from the point-of-view of bodily being-in-the-world. This incorporates cultural phenomenology which combines the embodied experience with some sort of cultural meaning. Csordas states that the body was traditionally considered ‘nature’ or primitive and that ‘spirit’ is considered ‘culture’
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or civilized (ibid.). It was the ‘spirit’ that had a connection to the spiritual world and the body was just a support. According to Csordas, culture relates to bodily phenomena plus physical conditions, ideas and symbols as well (ibid.). By being in an immersive virtual environment, we have created a paradigm shift in what we can experience as humans. We exist in both the physical and digital environments and our embodied selves exist in both worlds as well. This VR experience affects how we understand our own embodiment in a digital world as our bodies need to be placed within the virtual space. Our virtual bodies need both aspects of the physical and digital in order to have an embodied experience in the virtual world.
Char Davies’ artwork titled Osmose was created with nature as a metaphor for the work, which has relaxing qualities for the mind. The experience of being-in-the-world was more important to the creators as opposed to the experience of doing. The focus on the work is for the participant to ‘calm their mind and contemplate the virtual world, rather than rushing around grabbing or destroying things’ (Davies & Harrison, 1996, p. 26). Davies was also interested in creating an environment where the participant would blur the boundaries between the ‘interior self’ and ‘exterior world space’ (ibid.). By being- in-the-world the participant has an immersive and embodied experience where the body and mind become one with the environment. This involves the simple act of just being in the VR space and not having to do or complete any task in particular. By creating a strong sense of full body immersion in a fully enveloping space, the participants felt a light sensation of their physical body during their VR experience. An experience that is similar to meditation and relaxation. Davies has been influenced by her own meditation practices to then try and re-create that same sensation in the VR environment. Davies also incorporates a gentle floating experience for the participant by using a balance and breathing technique. The participant feels centred in their physical body rather than using typical VR equipment such as hand-controllers or joysticks. Participants use their breath to navigate within the VR space. This technique allows more freedom in various directions while having an awareness of the physical body being immersed in the VR environment. The deep breathing techniques create a relaxing experience within the virtual space. Disembodiment occurs when the participant needs to focus on the VR tools which are used to do tasks rather than just experiencing and enjoying the work.
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Osmose was created to be a solo inspired experience where the participant wore the head-mounted display to have a full body VR experience. Char Davies expected the participants to have a ‘sense of a full body immersion in enveloping space’ (Davies & Harrison, 1996, p. 27). A separate chamber was designed so that other participants could join in as well. This also had the option of not having an audience watch them while they experienced the Osmose environment. The Osmose experience had been limited to 15 minute sessions. This allowed the participants to feel comfortable with using the equipment and have some time to explore the VR space. “We expected immersants to become calm, and feel a loosening of the boundaries between self and world” (ibid.).
The participants were expected to feel calm and relaxed during and after the Osmose experience and the interaction was one of intuition and freeness rather than a goal- focused result, which most VR games are focused on. In this relaxed VR state the participants felt both disembodied (being able to float through objects) and embodied (due to the importance of breath and balance). The participants felt free of a body yet still centred during the Osmose experience. Davies and Harrison argued that some participants found it to be a ‘euphoric experience’ (ibid.). These participants had a sensation of being able to float through objects in space and had also had a fleeting moment of feeling that they didn’t have a physical body.
Lupton (1995, p. 98) cites Seltzer from his book Bodies and Machines in that the term ‘psychotopography of machine culture’ is how human bodies interact with machines. The psychotopography that Lupton is interested in is the relationship between computers and humans, focussing on how humans think, feel and experience their computers and the interaction that follows the connection. There seems to be a blurred boundary between the computer and the embodied self. Lupton cites Grosz as stating that when inanimate objects have been acted with for a certain period of time, they become an ‘extension of the human body and sensation’ (1995, p. 98). The computer then stops being an object, and starts becoming the medium, or tool for expression and creativity. When the user makes sense of their computer, they feel as if they are becoming one with the tools. The tools then naturally become an extension of the body, and in particular the hand and arm. This feeling of becoming one with the tools or artwork then creates an embodied experience for the artist. The next section explains
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how embodiment can assist with our understanding of how we make meaning from our actions when experiencing the VR environment.
Embodied User Experience The main focus of embodiment revolves around the connection or link between ‘action’ and meaning’ (Dourish, 2004, p. 183). The embodied interface then should by rights be able to turn action into meaning. Meanings are relative to the user, and are not dependent on the system but depends on how the tools are used. Dourish mentions that action and meaning were key concerns of Heidegger and Wittgenstein and that the focus was concentrated on the idea of action in the world (ibid.). Dourish mentions that ‘embodiment is a feature of interaction, not of technology’ (2004, p. 185). By moving away from the traditional process of computer screen and mouse, the digital age has provided a more embodied user-experience through technologies for digital drawing and painting. The artist then has a tangible interactive experience by being able to draw in space with hand-controllers, which are a direct-touch connection. The artist creates in a virtual space, which is directly touchable, even though your hand can be placed through the light drawing and painting. There is not the barrier of a mouse as a controller and a computer screen to view your creative process. It is an embodied experience due to the artist being fully immersed in the VR experience, and they can then easily forget that they are still placed in a real world environment or that the hand controllers are separate from their body. Therefore, the artist is feeling at one with the tools in order to have an embodied experience. The following section will examine how the power grip and precision grip are equally unique and how they both affect drawing ability.
Power Grip vs Precision Grip Professor Robin Hunicke states in her video that there are two types of grip categories when drawing in virtual reality. These grips are the power grip and the precision grip (Hunicke, 2016). The power grip is when we use the hand controllers and our body is telling us that we need to make an action movement, such as a punch or some sort of aggressive movement (action). This movement is a force grip, similar to using a gun in the real world environment (ibid.). The hand controllers need to be held in a grip, which is similar to the hand-held gun position, as the hand controllers are in this particular shape. Ehrsson et al also state that the power grip is like a ‘palmar grasp in which all
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fingers and thumb are flexed together to provide maximal force’ (p. 949, 1998). When using the force grip, the user is required to use their fist, lower arm, shoulder, bicep, back muscles and torso. These muscles are used when making an action movement in VR. This action stresses the body by using all your force. Vainio et al also agree that one of the most common human actions is a manual reach-to-grasp an object (p. 195, 2007). The power grip is one where the object is grasped between fingers and the palm and held steadily in the grip. In contrast, the other grip pattern is the precision grip, where the user is forced to use mainly the hand and possibly the back of the arm (Hunicke, 2016). The user has the same grip action as if they are holding a brush or pencil. These are similar actions to drawing with a pen and tablet as opposed to drawing with a mouse, this process engages the mind (thinking). Ehrsson et al also agree that the precision grip is used for ‘grasping and manipulation of small objects with the finger tips and depends on independent finger movements’ (ibid.). This grip action is refined and used for creating artworks that have a need for detail and accuracy to control the artistic outcome. Vainio et al agree that the precision grip is usually used to pinch a small object between the index finger and thumb, and to manipulate such objects (ibid.). When drawing with the VR tools, it is a different experience to drawing with a pen, as the user is creating an image with their fist closed in a grasping motion. Hunicke (2016) also explains that the tools replicate the action of holding a gun, which is the power grip (action), which is difficult to replicate the action of holding a pen which is precision grip (thinking). Drawing in VR with the GTB, is a similar movement to the action movement with the power grip. Is it possible for the GTB hand controllers to be refined and redesigned to be more of a precision grip (similar to a pen) rather than the power grip (similar to a gun)? This alteration to the design of the tools, would allow for a simulated experience of drawing with a pen, which is more precise.
Embodiment is defined as the use of an active body, which we move around in, plus how we think and feel as well. This body that we have, also interacts in and through relationships with other objects, constantly changing and being emergent. When drawing in VR, there are two types of grip when holding the tools. These grips are power grip and precision grip. The power grip is similar to holding a gun, such as the grip on the GTB hand controllers. The precision grip simulates the action of holding a pen, which would naturally be the most comfortable grip for fine artists, as it is similar
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to holding a paint brush or drawing pencil. This section of the literature review closely aligns with my research question of ‘what is the overall experience of traditional drawing techniques and drawing in virtual reality plus what are the differences between both mediums when drawing the human form’. This research examines how the foundations of drawing and painting, such as using a paint palette, brush or pencil, is the remediation of drawing, however with digital tools there will be a different outcome. The analogue drawing is created with charcoal and the digital drawing is created with digital light. The following section explains the differences between ‘ready-to-hand’ and ‘present-to-hand’ when using drawing and painting tools to experience a oneness with the equipment.
‘Ready-to-hand’ and ‘Present-at-hand’ Heidegger defines the phenomenology of cognition theory as the differences between ‘ready-to-hand’ (zuhanden) and ‘present-at-hand’ (vorhanden) (1927, p. 99). Heidegger explains that this is how we experience the world plus act in it or through it and provides the definition of being-in-the-world (ibid.). These concepts can be used to understand the experience of both analogue and digital drawing tools. In regards to using an analogue paint brush the experience of painting could be considered to be ‘ready-to-hand’, where the brush disappears and the artist can focus on the artwork. Depending on the painting experience of the artist, the brush can be ‘ready-to-hand’ as the painting practice has become second-nature. One where the artist doesn’t have to think about using the tools, as the creative experience is one of a natural process.
By acting through the VR tools (technology), which has become ‘ready-to-hand’, then the technology itself disappears from our obvious interpretation. We are then more concerned with the performance of the work and the final artwork, therefore the equipment disappears into the background. When the artist is a novice, then the brush will be ‘present-at-hand’ meaning that the artist is more aware of the tools and does not feel at one with the brush, as it still feels un-natural for the use of the tools. The next section explains how drawing can become an unconscious effort and tacit knowledge can be experienced when the drawing process is natural to the artist.
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Michael Polanyi states in his book The Tacit Dimension that tacit knowledge is the idea that we have an unconscious feeling about certain things that we know, such as embodied skills, for example drawing a scribble or riding a bike. However we might not be able to explain how we do these activities, or we might not be able to explain in detail the actual task (p. 24, 1983). We do these tasks naturally, without giving it much thought. Trying to explain what it is you are doing as opposed to how you do it are two different types of ways of processing information. Polanyi separates the ‘proximal’ and ‘distal’ concepts (p. 34, 1983). Proximal is close to you and distal is in the distance. This can also be illustrated through the use of analogue paint brushes where it is a natural task to paint for an artist. Similarly when using VR tools, this can be explained as you can view the virtual drawing that you have just created in space (distal), while at the same time you are experiencing sensory impressions by holding the tools or hand controllers (proximal). The VR drawing experience could be proximal, however your viewing and attention is focused on the distal phenomenon. Polanyi also states that we may think distally but act proximally (ibid.). This change of focus of our attention, is a semantic shift. By using the VR hand controllers, this creates a barrier between the drawing and space. The following section discusses how coupling is used to create a connection between objects and also with our body and mind, in order to make meaning of the experience.
Coupling Dourish states that coupling relates to the connection between how a reference can be made effective (2004, p. 138). For example, by using VR tools, I will be coupling my hand and the handset (tools) and then coupling with the final VR drawing, which is viewed in space. This coupling can also be observed as a chain of couplings, meaning from one thing to another to another again. I act on the VR drawing by acting on the handset tool. I act on the drawing by acting on the handset tools. As far as I am concerned, I am acting on the drawing; from my point of view, the drawing and the VR handset tools are coupled. My act of drawing, is then created through a chain of associations. By coupling, we can analyse how we create and dissect connections between entities, gathering them together or separating them in regards to our actions.
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When the VR tools are separate from me, they are seen as ‘present-at-hand’, however when my arm and hands are seen as one with the drawing tools, then it is seen as ‘ready-to-hand’ and can be observed as a single activity, this is also known as being coupled. The VR tool is seen as separate to me, but in order for an effect to occur, I need to engage with the tool and consider it to be ‘ready-to-hand’. In order to become one with the tools, I need to see the handset becoming invisible in the activity of drawing. I cannot be constantly aware of the drawing tools in my hand, or how the tools sit in my hand. I need the tools to disappear into the act of drawing. The user needs to engage and disengage with the equipment in order to consider the tools to be an entity within itself. When I have the VR headset on, the act of drawing in is ‘ready-to-hand’ and I am feeling at one with the equipment and there isn’t any separation between my hand and the VR drawing tools. However, when I have the VR headset off, the equipment is ‘present-at-hand’ meaning that I can see how the tools are not an extension of my hand or arm, but are separate and I feel the disconnect. Most of the time I will be focused on the VR drawing that I am creating, which is ‘ready-to-hand’ as the tools become invisible and seem to be an extension of my hand or arm (meaning that the tools disappear). Coupling can also be possible, as the use of the VR tools could then also become a part of the user’s body, feeling like an extension of the participant’s hand or arm. This coupling experience can create a stronger connection and bond with the tools, compared to the use of drawing tools such as charcoal and pencils. Drawing and painting in the virtual environment creates a sense of drawing in time and space for the artist, which will be discussed in more detail in the following section.
2.3.1 Drawing in Virtual Reality Riley (2004, p. 300) states that drawing has the elements of point, line, shape (2D), texture, tone, colour and plane. These elements when combined produce contrast, proportion, scale, pattern and rhythm (ibid.). Riley also states that these elements have physical and emotional experiences of the world, such as spatial depth, force, direction, movement, volume (mass), weight, balance, symmetry, structure, form (3D), surface properties and the observer’s position, mood and attitude (ibid.). Prior to VR, paintings are two-dimensional and flat looking, such as artworks from the pre-Renaissance period. The paintings are more symbolic than realistic interpretations (Ryan, 2003, p. 2). As the paintings become more perspective focused, this allowed the viewer to be more
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immersed in the artwork. The laws of perspective allowed the viewer to feel more inclusive in the viewing experience. Ryan also states that ‘perspective painting immerses a virtual body in an environment that stretches the imagination far beyond the confines of the canvas’ (2003, p. 3). The embodied gaze of the spectator, observes the objects as being virtually present even though there is a barrier of 2D flatness, which separates the viewer and the painting from becoming one. By the twentieth century, artworks had become immersive so that the viewer could walk in and around the artwork, such as art installations, which were life size (Ryan, 2003, p. 4). Ryan argues that the viewer or spectator could walk around the installation plus having the option to engage in some sort of action to activate data (ibid.). This then created the perfect environment for the merging of immersion and interactivity which formed the ideal VR technology (ibid.). Ryan also explains how there is an ‘aesthetic of illusion’, which shows that the medium can be exposed for what it can and cannot do (ibid.). The next section will explain how the analogue process of creativity can be experienced in the digital realm of virtual reality.
Drawing Tools, Substances and ‘Ensembles’ The different material and tools that an artist can use, either in traditional drawing or digital environment, relate to a range of uses and embodied experiences. Firstly, an artist will typically use a variety of different materials to draw and paint. Within the analogue practices of drawing and painting, the artist creates marks on a flat surface with paint, charcoal, pencil, pastel or conte. Other materials that the artist uses are brushes, pens and pencils. Brushes in the traditional sense of painting are considered a tool and paint is the substance. Wentworth argues that each has a different role in the creative practice and how the artist chooses to execute their ideas (2004, p. 26). Most often a brush will consist of a wooden implement with bristles. The artist will then use the brush with paint on it, to transfer their ideas on to a two-dimensional flat surface such as a canvas or paper. Various brushes have different effects, such as broad brushes for applying large areas of paint and fine brushes for more detailed work. Charcoal can be considered both a tool and a substance. Since the charcoal is in the shape of a brush or pencil and it can also be used that way.
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Similar to the analogue practice of painting, in digital painting there are different shaped brushes to give various mark making outcomes. However, the experience of drawing or painting on a flat surface such as a canvas or paper, differs to drawing and painting in the VR space. By drawing in the virtual realm for example, the artist is creating with light as a substance, rather than physical paint or charcoal as a substance. The VR brush is the tool and the substance is colour and light, rather than physical paint or charcoal. Both the analogue and digital artist will be drawing and painting by using a tool (analogue brush with bristles or the digital VR hand controllers) and the substance is paint and charcoal (analogue) or light (digital). As is discussed later, brushes and substance can also become at one with the final art created by the artist.
Wentworth also states that the brush can be defined by how it has been used (2004, p. 26). For example, the brush could have been used to open a can of paint rather than the creative practice of painting on a canvas. The brush can then be considered independent to an expected generic use. The brush is then an object and by detaching from our own experience of how we would use it, we can observe from an independent view. A paintbrush can therefore be considered both a single tool, but with many different uses. Wentworth agrees with Heidegger to discuss this and explains that the brush does not exist as a paintbrush when is alone (p. 27, 2004). Rather it must have paint and a canvas to exist as a creative tool. As mentioned in the previous section, the ‘ready-to-hand’ experience can only happen when the artist has mastered the paint brush tool and can focus solely on the artwork, only then the tools will disappear from view. However, if the artist is a novice, then the creative experience will be ‘present-at-hand’, and the focus will be predominantly on the tools, which is the paint brush.
Wentworth also explains that when there is a collaboration of all tools and equipment this is regarded as ‘equipmental whole’ or ‘ensemble’ (2002, p. 27). The brush is then only considered a paint brush when it is combined with paint, canvas, paper, and any other extra mediums such as impasto paint, an easel and turpentine. With watercolour painting, the equipmental whole would consist of watercolour paints, brushes, watercolour paper and paint, easels and palettes. In the VR space, the tools are considered paint brushes when they are combined with the computer, software, headset, hand controllers and the VR room detectors. There are also dynamic brushes for drawing and painting with light, animated stars, snow, smoke, thick paint (oil paint
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texture simulation) and hypercolour (animated rainbow strokes of paint). What is important is that none of the above mentioned equipment in each ensemble can be understood without the reference to the other items and the relationship between all of them by the user, or artist. True understanding is developed when each item is considered part of the ensemble and each has a role to play in the overall creative practice. By examining the use-description, in other words, what the role of each item is within the whole. In order to understand the nature of the painting brush, we need a use- description of all the materials and equipment that have been used and the relationships that they have to one another. All the items in the ensemble combine together to create a single practice of painting, be it either analogue or digital painting. Each part of the ensemble can then be understood by observing the individual roles within the whole. Wentworth argues that this is examined by the objectivist point-of-view, which aims to narrow down the importance of the actual brush in order to understand what the physical object is (2004, p. 29). The following section examines theories that relate to traditional processes of painting, drawing and mark marking in the analogue realm.
Drawing Tools as Phenomenal Objects In the traditional sense of painting, drawing and mark marking, the analogue brush stroke can remain relatively invisible in the final artwork. You cannot see the actual brush marks in the painting. Some artworks can be so realistic that the viewer could mistake it for a photographic representation of the physical object. The paint brush is pretending that it is not a paint brush. The paint brush is then not obvious to have been the instrument in the creation of the painting, but simply a channel for ideas that have passed from the mind to the hand and then the canvas. Wentworth states that the paint brush can be observed more as a ‘wand rather than a tool’ (2004, p. 30). Life drawing artworks do not have invisible brush marks. Instead they characteristically have dominant marks created by charcoal and paint which are obvious and a part of the final creation. The final artwork is the charcoal and brush marks. The charcoal and paint brush are not simply being separate as the tools in the ensemble. Instead the charcoal and paint brush, as embodied through the marks, become one with the artwork since that consists so clearly of the marks. The mark making equipment forms part of the actual physical artwork, which has been created by the artist. The brush mark manifests itself in the final product as being either visible or invisible, and the brush can be
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considered to be a phenomenal object intertwined into the creative practice of drawing and painting. This process then involves the artist, the audience and the artwork. An analogue brush compared to the virtual brush can be compared as different experiential or phenomenal objects. Wentworth states that the phenomenal object is defined as an object that has been experienced by the user in a practical activity and is relatable to being-in-the-world (2004, p. 31). This phenomenal aspect can be measured by how the brush has manifested in the artwork (visible or invisible), meaning that it becomes a part of the final work. When we view the painting, we not only see the artwork, but we are seeing the brush that was used to create the artwork as well. The nature of the brush is broader than how the tool was used by the artist. The nature of the brush also lies in how it has become a part of the final painting or artwork.
Wentworth argues that analogue and digital paint can be considered ‘paint before’ and ‘paint after’ (2004, p. 35). The texture of paint changes as it is transferred from the raw state to the final image on the canvas. When in the initial stages, the paint has form, being either thick or transparent. Once the painting is complete, the paint has become one with the final image and the raw state has soon been forgotten. Once the painting is complete, the paint is no longer considered just paint, but is now a painting. In the VR environment, the paint effects are no longer recognised as the different effects on the digital palette, but have merged and become one with the final image that has been created in space. In the virtual environment, the paint before-use and paint after-use only exists as a visual cue when viewing the colour palette in the hand-controllers. The raw state of the VR paint exists as a light palette, where various colours of light can be mixed on the hand-controllers and then applied to the virtual canvas, which is a 3D space. Without the brush being a tool for both analogue and digital, neither images are possible to manifest in the physical and virtual realms. The brush is locked into the creative process and neither can break free or exist without the other. Therefore, the final artwork is a painting about paint, and in the virtual world, the final digital painting is a painting about light. The final image isn’t just paint on a canvas, or light in space, both are still paintings in their true essence. Wentworth argues that ‘The brush is the tool which is worked with and the paint is the substance which is worked upon’ (2004, p. 38).
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Practitioner Insights and Virtual Art This capacity to become one with the painting also characterises digital drawing and painting in VR technology. Here one can similarly argue the VR brushes have become one with the final image in the virtual environment. The brushes are no longer considered separate to the final virtual image but are all part of the whole. In this way, the drawing process involves the creative idea flowing from the artist and passing through the brush. This also includes the physical aspect of the brush as the process doesn’t pass around or avoid the brush. By using the brush for painting on a canvas is different to using the brush in VR, only by the final outcome being either analogue (paint and charcoal) or digital (painting with light), otherwise the cognitive process is the same and all the tools are considered part of the one whole. As in the analogue counterpart discussed in the literature review, the nature of the VR drawing tools is also informed by the digital paintings. The brush marks in virtual reality have a smooth flowing effect with elements of light being the main focus. A spray can effect can be easily simulated in the VR environment, due to the nature of the hand controllers being more similar to the shape of a can rather than a paint brush. The digital VR brushes seem to disappear as a brush tool, and seem to be more like a mark making tool due to the physical nature of the hand-controllers. The following section examines the evolution of virtual art practices in order for fine artists to experiment with techniques to create an embodied experience.
In this section, I discuss how virtual art has evolved to provide new tools for the artist. With advancements in technology, the fine artist now has the opportunity to experiment with drawing in VR. This broadens the creative practice of analogue drawing to a medium which is immersive, 3-dimensional and provides the artist with options to draw and paint with light. I have created 3D immersive drawings in VR for the purposes of understanding concepts such as embodiment, disembodiment and presence, however the VR artworks will not be displayed in a public environment.
My research relates to my research questions of redefining the drawing practice from analogue to digital and in the process, creating a new type of artwork. My drawings are created in VR with the technique of drawing with light and colour. Due to the advances in technology, the digital artist has more tools to work with, for example drawing in VR. Popper states that virtual art can be described as a 'new and refined version of
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technological art' and is related and based on art from the electronic era (2007, p. 1). This genre of electronic art is a humanisation of technology and there has been more of a focus on interactivity between humans and the computer. Popper also mentions that the artists who are working and practising in virtual reality, also have a lot in common with the traditional artists (ibid.). In contrast he argues the electronic artist has separated themselves by having a vision of their 'techno-aesthetic creative commitment', which is interface design, equipment such as screens, head-mounted displays and data equipment, this has now allowed the electronic artist to have a more immersive experience, where the virtual reality images can be interacted by the participant (ibid.).
The ‘techno-aesthetic creative commitment’ is when an artist stays true to their electronic aesthetic techniques, such as working with computers and designing interface systems that are not only practical but also are visually appealing when creating for interactive environments. Popper argues that our reality could possibly be distorted by our own vision and hearing plus other bodily senses (2007, p. 2). Therefore, the virtual experience can be represented as a presence, with both the idea of what is real plus what is the simulation of reality. Popper mentions that media art has been taken over by other creative practices, such as ‘video, computer graphics, animation, Net art, interactive art, virtual art, telepresence art and genetic art’ (2007, p. 3). The computer as a tool has provided the user with many more opportunities. Not only can the user create digital images but we can also interact with the artwork by being able to enter the artwork as well (ibid.). The following section will explain the concept of disembodiment and how the computer can provide humans with the opportunity to disconnect with their body while in the virtual space.
2.4 Disembodiment
Lupton (1995, p. 100) states that the human body stands in the way of experiencing true embodiment. For participants in virtual environments, the organic body gets in the way of being able to be at one with the cyberworld and ‘the body is often referred to as the meat, the dead flesh that surrounds the active mind which constitutes the authentic self’ (ibid). The idealic utopia of the cyberspace culture is to be able to leave the body behind and to become one with the computer and the cyberworld environment. This is where
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the computer, human organic body and the human mind can become intertwined in the virtual inner space of the computer.
Lupton states that the ideal virtual body exists as a computer, and for survival does not need to eat, drink, sleep and most of all will never age or die (1995, p. 101). The human body will always be reminded of their embodied reality of having an empty stomach, sore muscles or tired eyes, from spending hours in front of a computer. When separating the body from the mind, the body is represented as weak and passive and the mind has been represented as spiritual and abstract. The mind is constantly fighting against the demands of embodiment. The cyborg represents the human body in the virtual world, and provides an escape from the earthly confinements. In films such as Terminator and Blade Runner, the cyborg is represented as a super human form, with powers and strong body. A cyborg body that cannot get ill and is considered more powerful that the human body. Balsamo (1995, p. 215) states that the cyborg is also known as the ‘technological- human’. This is the merging of the biological with the technological, which has become popular in postmodernity. The human body can be viewed from two perspectives of ‘the organic/natural’ and the ‘technological/cultural’ (ibid.). There is then a natural duality between both worlds of the organic and technological, meaning a struggle between the physical body and the cyber body. Once the physical body disappears, then embodiment can truly be experienced as the cyber body exists in virtual space. The cyber body or machine, takes over the experience of the physical body or the natural body. Balsamo also mentions that the ‘techno-body is strong, healthy and fully functional, being more real than real’ (1995, p. 216).
Moire states that the relationship between body and experience is ‘direct and immediate even entwined’ (2007, p. 126). Our bodies are like channels for sensory experience, where the body has taken on the particular experience of an activity. This experience will then change the way we think, feel and make sense of the world around us. In an immersive environment, we naturally experience embodiment, however we know very little about what our body experiences in this virtual space. How can we describe the experience of leaving our bodies behind when we enter the virtual reality realm? We have a living body which exists in a room, however what is the body actually experiencing in the 3D virtual space? Where do these two worlds collide? The participant is experiencing two different bodies and worlds at the same time. Moire
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argues that we don’t actually leave our bodies behind when entering the VR space, as the virtual world is not fully a physical world, the body becomes subsumed (2007, p. 127). The physical self enters the virtual space, via a computer, which has created a 3D reality based on how we see and perceive the virtual self with our mind from the experience that our body interprets.
Moire also mentions that this virtual world is similar to the spiritual world that shamans enter, when doing their ‘out-of-world’ rituals (2007, p. 127). This experience can be considered one of a phenomenon and can have a shift in one’s awareness and way of seeing the world. In this virtual world, our body and mind are both existing in a different space, one which is not comparable to our physical world. The actual space does not exist in the physical, but only in our mind. For example, being immersed in the VR environment, we can see the artwork that we have created in front of us with the headset on, however when we remove the headset, the VR drawing disappears in front of our eyes. There is nothing in front of us, but vacant space. The VR drawing can then only be viewed on the computer screen, or by placing the headset on our heads, once again to view. Even though the virtual space does not physically exist, some how our senses believe it is there, as we can only see it with the VR equipment. An interesting aspect of drawing in VR, is the experience of being in the virtual world and still being aware of our physical body. By drawing in the virtual space, the participant is in fact in two spaces simultaneously.
When drawing in an immersive VR space, the participant is not able to see their physical body when in activity. The physical body is shielded from the view by the physicality of the headset and the body becomes space. Moire explains that we have a ‘disembodied hand’ when working in the VR space (2007, p. 129). The disembodied hand is related to a physical hand, however the real hand cannot be seen when drawing in VR. In a sense, the real hand has disappeared, and the artist can only view the tools and palette. In order to access the colour and brush palette, the user needs to create a swipe motion in order to change the effect. The user cannot however view their own hand but can intuitively swipe to change effects, without the usual vision of their real physical hand. With this technology, we have been moving towards a digital representation of the traditional brush and palette system. The user is in a virtual world, where they are visually detached from their hand and body. Immersion can be so
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powerful that the user could forget that their own body exists in the VR space. When drawing with VR tools, the user has no view of their own body or hand and can easily forget that they have a physical body, which is in the room existing in the same time and space.
Popat also presents another disembodiment theory that is termed ‘missing in action’ (2016, p. 359). Meaning that the embodied experience in a VR environment can be seen as our bodies being both 'present and absent' plus 'together and separate' in the experience, as we cannot physically view our bodies with the VR headset on (ibid.). The sensation of being there creates a disembodiment experience with our bodies, and creates the illusion that we are no longer in a room with a computer, but have been transcended into a space-like environment. Popat discusses the concept of the body being experienced as 'missing' (2016, p. 360).
This experience for the participant, can be viewed as an 'internal connectivity', which is looking into qualities of space and action, for example still being able to move your hands and know where they are in the virtual environment even though you cannot see them. Popat also argues that the notion of 'perception and presence' in the virtual space can then also be taken into consideration, in order to understand 'visual and embodied sensation and bodily memory' (2016, p. 360).
When being engaged in the VR space, the sensation of touch has also been eliminated, when touching objects in VR, as they are objects of light not mass or matter. The body needs the sensation of touch when experiencing presence, and the only objects that the participant can touch are the hand controllers and any physical objects that maybe available in the room (ie: chairs and wall). The embodied experience can also cause confusion to the mind and body.
When drawing in VR, the artist’s body appears to be missing, as there is the absence of a virtual body or representation of the human body. The participants can still feel the actions that they were doing and experiencing in VR, which were physical responses to the visible virtual world, however there is a sensation of the body being missing (Popat, 2016, p. 360). Popat also explains that the sensation of not seeing your physical body in the VR space, can be compared to a similar experience of when a person has lost a limb,
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for example an amputee (2016, p. 365). Popat continues to mention that the participant in VR, can have the sensation of a missing or phantom limb. In relation to using VR technologies to create artwork, there is a sense of disembodiment, where the user is unable to feel their hands or arms when in the virtual space. The focus is then on the artwork and the experience of creating art, rather than the focus being on the physical body which is creating the artwork. Also, this sensation of the body being missing, allows the artist to focus on the feeling that they are in outer space or situated elsewhere, other than a room. When drawing in the VR space, there is a sense of not having a body, which then creates the sensation of weightlessness. The following section gives a definition for the term weightlessness and how our bodies can have a sense of lightness when placed in the VR environment.
Weightlessness Doyle explores the notion that the art practice which is developed in the 3D virtual world is one that isn’t a physical existence, yet to the user and participant it looks and feels very real and that our bodies are the barometer to measure the experience of being in space (2015, p. 2). Doyle also explores the similarities between ‘being in outer space’ such as an astronaut, and ‘being in virtual space’ (ibid.). A concept that is further explored in Doyle’s research is weightlessness. This idea is how we can feel lightness in a cyberspace environment. A feeling of not having a body and being weightless. An experience that can be developed when using VR technology. There seems to be a link between the space world and virtual world. Doyle also states that this connection changes the relationship that we have with our bodies, whether it involves taking on a virtual body such playing a VR game, or when we are in engaged in an activity such as drawing in VR, and we have the experience of our body disappearing from our view in the virtual space (2015, p. 3).
Doyle argues that there has been a strong connection between ‘art, embodiment and technology’ since the early 1990s (2015, p. 2). Artists such as Char Davies, Brenda Laurel, Rachel Strickland, Toni Dove, Michael Mackenzie, Diane Gromola and Yacov Sharir have been examining how the body can be the main focus when exploring virtual environments, art and technology since the 90s. By leaving our normal physical state (such as sitting in a room), we enter the virtual environment where we can experience worlds that don’t exist in our everyday existence. We don’t change the physical aspect
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of our being, we change the perception of it, as we are viewing another world which doesn’t exist when we don’t have the VR equipment on. The experience of less gravity within the body creates a sense of presence in the universe, which defines our sense of self in the world. Doyle states this experience is known as ‘near-earth space exploration’ and explains how this can allow a ‘new state of mind’ by using our imagination and spiritual perspectives (2015, p. 4). The idea that we don’t have a body when engaged in the VR space, gives the user a weightlessness experience and this changes the way we view our body, as we don’t see or feel the body. Due to this weightlessness experience, the user is forced to enter a new realm, one where the focus is on the inner body.
When using VR tools, the artist has an experience of weightlessness, where the body disappears and becomes space and the use of tools and brushes, seem weightless and light. Also the viewing of hands and arms, disappears in the VR space, this again tricks the brain into thinking that the body is not there, and then the feeling of lightness and weightlessness is prominent in the experience. The handsets have a certain weight, however when they are held by the user, they seem to be lighter as you cannot view your physical hands holding the tools. Once again, tricking the brain that the body is not present and is not controlling the drawing activity in virtual space. The physical consciousness knows that there is a hand controlling the tools, however there is a feeling of decreased gravity for the user, due to the sense of weightlessness. The following section will examine how presence can enhance the embodiment experience for the artist.
2.4.1 Presence The concept of presence, as defined by Biocca relates to a sense of ‘being in a mediated space’ rather than being where the actual physical body is placed (1997, 5.1.1). In the VR environment, the user feels that they are no longer in a room, but that they have been transformed into an outer space experience. Presence provokes the sensation of being teleported or transported to another place by the use of technology. This is another space where the physical body is not actually situated. Mestre explains that in the virtual environment, immersion has the ability to produce a sensation of presence and that the VR technology allows participants to have ‘unique experiences’, such as ‘standing inside a molecule’ (2005, p. 1). While drawing with VR tools, the artist is
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transported to an outer space experience, where the physical room and body disappears from view. The VR environment has been transformed into a dark space, where only the digital drawing tools are visible. These tools are viewed as light amongst a dark void. The user is unable to see into the distance, as there is not a horizon, unless one is created. The boundaries and walls of the room have also disappeared into the void of darkness. Only the tools, palette and brushes are visible to the user.
In the VR space, we interact with the virtual entities and we also become an entity ourselves in the virtual realm. Heim argues that telepresence is the ‘cyberspace where primary entities are transported and transfigured into cyber entities’ (1995, p. 70). Cyberspace is where the entities meet and connect, as this is another form of reality. When immersion is experienced in the virtual environment, the user will feel that the space they are in is real to them. Heim also states that ‘The user inhabits the world and interacts with virtual entities’ (ibid.). The artist can easily forget that they are in a room with a computer, as they are suddenly existing in virtual reality as a cyberbody in cyberspace. The cyberworld is a real experience for the artist while they interact with the virtual entities and environments.
Balsamo (1995, p. 220-229) states that there are four types of postmodern embodiment in the cyberspace environment, which are based on the cyberpunk novel Synners written by Pat Cadigan (1991). These are the ‘labouring body, marked body, repressed body and the disappearing body’ which are explained in the following section.
‘Labouring body’ is the working or maternal body, which is the reproductive body which is needed for the continuation of the human race. These bodies are however invisible in the postmodern cyberspace world. This body is needed for the reproduction of the human race. We can only exist in the physical world, from being a foetus that has been protected in the labouring body.
‘Marked body’ is the idea that bodies are cultural signs. In the western world, we are addicted to transforming the physical body. By using computer programs, we can manipulate and improve the visual representations of our bodies. The electronic image can then be manipulated on the screen to show the possible transformations that can occur. The material body can be changed on screen, before any physical transformations
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have taken place. By this procedure, the physical body is resculpted and the material body is a ‘sign of culture’.
‘Repressed body’ is the sensation of when the body becomes so used to the world of simulation, that the real world seems alien and unfamiliar. The user is living in a fantasy world and is unaware of their physical body. When the repressed body reawakens, this when the user can feel their physical body once again. The physical body is then excess baggage for the cyberspace traveller. Virtual reality has the ability to give the user a sense of illusion and fake reality plus a detachment from the physical body. The body may temporarily disappear from our view when in the virtual space, and we may try to repress it, however it doesn’t disappear materially in the interface with the VR equipment.
‘Disappearing body’ is when the physical body disappears from view when the user has entered cyberspace. When existing in the disappearing body state, the material body does not have gender identity but has become neutralised. When entering the VR environment, the participant cannot view their physical body, however can view the virtual tools or equipment. The following section will discuss how sense of embodiment is interconnected with presence when experiencing the VR environment.
Sense of Embodiment (SoE) Kilteni et al state that the ‘sense of embodiment’ in the light of cognitive science, is the experience of how our body interacts within a certain environment (2012, p. 373). We have an attachment to our body and we cannot disassociate from our physical body as it has been coupled with our everyday experiences in life. Presence has been interconnected with embodiment, in that we need the virtual reality equipment of a head-mounted display to be able to experience the virtual location (Kilteni et al, 2012, p. 374). The authors further argue that presence is ‘the relationship between one’s self and the environment’ and that we are the ‘author of our body’s actions’ (Kilteni et al, 2012, p. 375). When researching the phenomenology of embodiment, there are 5 illusions that Kilteni et al (2012, p. 374) state as how we define and experience ourselves in the virtual space.
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‘Sense of self-location’ is the feeling of ‘being there’. This sensation is experienced when we feel we are in another location, and where we physically exist does not match the virtual experience, once we remove our VR head-mounted display equipment. The barrier between the location and our physical body is our skin (Kilteni et al, 2012, p. 375). Kilteni et al also cite Halligan et al and Vaishnavi et al (2003, 2001) in articulating the space that surrounds us is ‘personal space’; the space which is within our arms length as our ‘peripersonal space’; and a space that is unreachable in the distance is known as ‘extrapersonal space’ (2012, p. 375).
‘Sense of agency’ refers to ‘the sense of having “global motor control, including the experience of action, control, intention, motor selection and the conscious experience of will” (Kilteni et al, 2012, p. 375). When you have action, then ‘agency’ will be experienced. The feeling of ‘agency’ can be achieved when the ‘visual feedback’ of the action, when working in the virtual space, matches the actual ‘physical’ movement or action. When these actions are in-sync, then the feeling of ‘agency’ will be strong.
‘Sense of body ownership’ is achieved when there is for example, a human-likeness to give the user a feeling of realness that the artificial body can actually be their own body (Kilteni et al, 2012, p. 377). The illusion of ownership can be distorted when the artificial hand or body is out of proportion or doesn’t resemble the real hand or arm. In fact, when using the VR tools, the user is unable to see their physical body, so the sense of body ownership is very low. The only sense of body ownership while using the VR tools, is the experience of feeling that the tools are an extension of the hand, even though the arms or body cannot be seen in VR. Embodiment can only be experienced with the VR equipment when there is a sensation of detachment from the body, which is further explained in the next section.
Embodiment can be described as the sensation of blurring the boundaries between our bodies and the VR environment, which is a merging of our interior self and exterior world. This is where disembodiment can be experienced when the sensation of having a body disappears. Disembodiment can occur with both analogue and digital drawing practices. However, disembodiment could be stronger in the VR environment, as the artist has been visually removed from the room or outside world and has then entered a
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3D space of virtual illusion. When drawing in a room or studio, the physical realm is harder to disconnect from due to not being visually removed from the environment. When drawing in VR, the artist has a head-set on, which automatically takes them to another world, which is not the physical room which the body exists in.
‘Ready-to-hand’ is the experience of where the artist’s tools (ie: paint brush or hand- controllers), seem to disappear from view, and the artist can only see the artwork being created. ‘Present-at-hand’ means that the artist is still too focussed on the tools than the artwork. This could be due to the artist being a novice and the drawing tools are still being explored with due to inexperience with the equipment. This then creates a coupling connection between how the reference can be made effective. When creating an artwork, this connection exists between the user’s hand and the coupling experience with the tools (ie: paint brush in analogue or hand-controllers in digital). Both ‘ready-to- hand’ and ‘present-at-hand’ can alternate between analogue and digital drawing practices, depending on the experience of the user. The more experienced the user is with the tool, then less emphasis will be on the equipment and the focus will be on the drawing.
When examining from an embodied point of view, our action with tools and objects can change the nature of our relationship with the tool. For example, we can become so engaged in activity with a particular tool (ie: drawing with a pencil), that we forget its’ existence. In this way, it has become embodied, so as to become a part of you, similar to how a master has a connection with their artistic tools and equipment. Then a seamless connection has been created between the digital and physical worlds. This section of the literature review focuses on the research question of understanding the experience and informing the practice of drawing in VR and AR. In the next section, I will explore common themes and codes that are reoccurring in the following artists’ work.
2.5 Artists and Digital Practice
In this section I review practitioners working with digital drawing technologies and identify themes in their work. One common aesthetic theme that I have discovered I this research, is digital artists who are experimenting with the Google Tilt Brush and drawing with light. This concept isn’t a new idea, as Picasso was drawing with light in
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1949, with his images using photographic light (Figure 4). Picasso’s light drawings were photographed by Gjon Mili, who was a lighting innovator and photographer for LIFE Magazine (Cosgrove, 2012). The light streaks were designed to swirl through space, which is similar to the modern day experience of drawing with light and space with the Google Tilt Brush tool. Cosgrove also mentions that the Picasso light drawings were created by the technique of drawing with a small electric light in a darkened room (2012). The light drawings that were created by Picasso had disappeared as soon as they were created, as there was not any permanence to the artist’s tools. The only evidence of the light drawings are the photos that were taken by the photographer. Mili used the technique of long exposure photography to capture the moving lines of light. The long duration shutter speed allowed for shooting exposures that were several minutes in length.
Figure 4. Pablo Picasso drawing with light in 1949. Photo was taken by Gjon Mili who was a photographer for Life Magazine. (Cosgrove, 2012).
There are currently digital artists who are also experimenting with VR drawing and drawing in space with light. Sherman & Craig state that by being immersed in the virtual reality artworks, we can use our imagination to take us to outer body places, and we then have the ability to share our worlds with others (2003, p. 8). These virtual
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worlds can teleport the artist and audience into outer body experiences. The following artists are creating innovative artworks in VR by drawing with light and space.
Glen Keane is an artist and animator who has a traditional drawing background and is now creating interactive drawings with light in the VR space. Keane has spent the last 38 years drawing Disney characters such as Little Mermaid, Pocahontas and Aladdin, and is now well known for his traditional drawing skills being integrated into the digital realm of VR by using the Google Tilt Brush (Figure 5). Keane (2015) explains that when he is working in VR, his artworks come to life and that he feels like he is drawing in space, which is more like a dance. Keane describes his drawn characters in virtual reality to be turning around in space, meaning that you can walk around the drawing and see the front, back and side profiles, creating a mental and physical experience of embodiment by the use of the whole body and mind. You can walk inside the drawing, which creates an active participant experience. The viewer is no longer a passive spectator but has become one with the drawing by being able to walk around the artwork and interact with his drawings of light.
Figure 5. ‘Little Mermaid’ virtual reality drawing (Keane, 2016).
Other artists who are also creating light drawings with themes such as performance are Eleanor Gates-Stuart and Sougwen Chung.
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Gates-Stuart is an electronic artist who is experimenting with concepts of art, science and technology using the Google Tilt Brush. She is redrawing scientific illustrations in virtual reality and her artworks consist of images that are light-infused in a life size three-dimensional space (Figure 6).
Figure 6. ‘Abstracts’ (Gates-Stuart, 2016).
Sougwen Chung has been exploring the drawing experience in virtual reality and merges art, performance and technology. Her work explores analogue drawing (mark made by hand) and digital drawing (mark made by machine). As a researcher and artist, this approach assists with her understanding the interaction between humans and computers. Her drawings in virtual reality explore themes such as chiaroscuro, dark and light aesthetics, drawing with transparency combined with contoured 3D lines, mark making and drawing as dance (Figure 7).
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Figure 7. “Drawing in VR’ (Chung, 2016).
Insights from Practice One of the main insights that was reoccurring in my research of artists working in VR, was the concept of drawing lines with light and transparency. When drawing in the VR space, the artist has a black background to work with, so the effect of drawing with light is prominent due to the dark backdrop. Also, when drawing in space and time, this relates to theories of embodiment, disembodiment and presence. It is the feeling of entering a VR space and feeling that you are in another world, and not existing in the physical room anymore. Blurring the boundaries of the physical and illusionary worlds. Another insight in the examined artist works is drawing life size 3D drawings. The VR space allows the artist to create larger than life size drawings in space and time, where the only limitation to the height or depth of the canvas depends on the room size and the height of the creator. The VR canvas can be viewed from the front, back and side which allows the artist to create artworks that can be viewed from all angles.
Keane, Gates-Stuart and Chung all mention that drawing in VR, is like drawing and creating a dance at the same time. Performance and drawing is a way to enhance mark marking of gesture and lines, as the movement of the body will affect the smoothness of the lines in space, especially when working in large scale. When experiencing performance, embodiment, space and artistic practice in the VR space, there are insights of disappearing and reappearing body, the state of being in-between worlds, experience of no time and the playfulness of space. The insights of drawing with light and
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transparency, in space and time and as a dance are all themes that have been discovered in these artists works. These insights are then combined with theories of embodiment, disembodiment and presence, which create immersive, 3D artworks of light and space.
When drawing in the digital realm there are techniques and effects, which cannot be replicated in the analogue space. For example, analogue drawing practices, such as paint effects (ie: oil paint, watercolour texture) can be simulated in the digital space of VR. However, digital effects such as drawing with layers of light, which are transparent, cannot be replicated in the analogue space of drawing on paper with tools such as pencil, charcoal or paint. This is one key advantage of the digital environment, where drawings of light and transparency can be created, which is the focus of my research.
To conclude, as the evolution of technology continues to advance, analogue drawing practices have the ability to be transferred into the digital realm by VR tools such as Google Tilt Brush, which then creates an experimental medium for fine artists to explore. The artist then needs to consider and define the new paradigm for aesthetics in human-computer interaction, plus the experimentation in virtual environments with concepts such as gesture, contour line, mark making and drawing with light which create an engaging 3D experience for the creator. The immersive artwork creates an experience of aesthetics, embodiment, disembodiment, presence and immersion for the artist. As mentioned in the introduction, virtual reality has become more mainstream, however fine artists using this medium to redraw their analogue life drawings is still relatively limited, therefore this will be the knowledge gap that I will be exploring in my research. The following section provides a description of the research methodology.
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Chapter 3: Research Design
This chapter describes the research design and its role in achieving the project aims and objectives. Discussion of the methodology used in the study, the stages by which the methodology was implemented, and the research design is examined; the participants in the study are introduced; the instruments used in the study; how the data was analysed and finally, the last section discusses the ethical considerations of the research and its problems and limitations.
3.1 METHODOLOGY AND RESEARCH DESIGN
I have conducted qualitative research following a practice-led approach. This draws on ethnographic approaches, specifically for naturalistic inquiry, which aligns with the Constructivist epistemological position. As Crotty states, we all have different ways of sense making and each opinion is just as important as others (1998, p. 58). I have used semi-structured interviews in my research project to assist me with exploring other creative practitioners’ definitions and experience of immersive virtual drawing practices.
My reason for using the Constructivist approach is that it explores the idea that everyone will have a different opinion or point of view, depending on our various backgrounds, and we will construct meaning through context and experience, which is unique to each individual. Constructivism is based on Relativist ontology where we all have different understandings of the world, and what one person thinks is true for them, another might disagree. Ultimately there is no singular truth. When conducting research from a Constructivist perspective, this allows the researcher to understand that the participants all come from different backgrounds therefore their responses to the questions will be based on their experience, which will be unique to each person.
The semi-structured interviews I conducted allowed each individual’s experience to be expressed through their own point of view. This method of interviewing is more like a conversation in a casual environment and allows the researcher to gather the qualitative data. The participants are encouraged to express their thoughts in their
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own way rather than being forced to respond to a preconceived analytical framework which has been created by the researcher. This qualitative data is then ‘investigational evidence’, where the researcher talks with the participants who can provide the required information (Smith & Dean, 2014, p. 4). By conducting the semi-structured interviews, the data can then be related to my research questions as I am seeking other artists’ experience of drawing in VR. Some of these theories I have also discovered in my own research, however I am interested in other creative practitioners’ point of view in relation to their practice of digital drawing.
3.2 PARTICIPANTS AND INSTRUMENTS
The participants in my research are Associate Professor Paul Thomas, Associate Professor Paula Dawson and Mr Jaymis Loveday. All creative practitioners are experimenting with digital drawing practices from either a theoretical or practical approach. Both Paul Thomas and Paula Dawson are electronic artists and academics based at UNSW Sydney (University of New South Wales). Jaymis Loveday is a digital artist and VR film maker who is based in Brisbane. When recruiting for this study, a total of ten people were contacted however only these three practitioners were available to be interviewed and stated they could discuss their creative practice of digital drawing. My interview questions were conducted online using Zoom, with the data evidence being audio recordings from the participants.
3.3 METHODS AND APPROACH
This is a practice-led research project where I have experimented with both analogue and digital drawing practices to create immersive 3D artworks to document my drawing process and experience. The artworks that were created were not to be used as evidence for a creative work submission for this project, but to assist my research and understanding with theories relating to embodiment. Three journals have been created to document the drawing process and also screenshots of the VR artworks have been included in these books. My creative practice of drawing was required to answer my research questions that relate to exploring the differences and similarities between and analogue and digital drawing when drawing the human form. The interviews with creative practitioners also assisted with discovering a new
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understanding of drawing in both analogue and VR environments. Candy states that practice-led research is about practice leading to research insights (2006, p. 3). In particular, this research has assisted me to discover new understandings and processes about my practice. My creative practice of analogue and digital drawing revealed insights into theories such as embodiment, disembodiment, immersion, presence and drawing with light. Without my practice of drawing in analogue and VR plus journaling these experiences, I would not have discovered these themes, codes and insights from my creative practice.
The methods and approach have been divided into two phases, which consist of an analysis of the artist interviews and my creative practice (Figure 8). Phase 1 involved interviewing digital artists who are experts in digital drawing practice and exploring themes and codes that relate to my research questions. Phase 2 examined the differences and similarities comparing analogue and VR drawing practices, by reviewing the themes and codes from my journals that relate to the research questions in this project.
Figure 8. Methods and overview of approach where the theory informs the analysis.
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Data Collection The data collected in this research project are audio recordings from the three interviews and my own journal notes of my creative practice.
Insights from creative practice Reflective practice revolves around the idea that the creator needs to have critical self-reflection during the fieldwork and the importance of self-awareness (Patton, 2002, p. 299). By journaling about my creative practice, I have been able to explore my drawing experiences and compare the analogue and VR techniques. This highlighted common themes and codes in my work. I also compared the themes and codes by thematic analysis of my practice with the insights generated from my interviews with other practitioners who explored the same mediums.
3.4 SEMI-STRUCTURED INTERVIEWS
I conducted semi-structured interviews with creative practitioners who have experience in both analogue and digital drawing. Clifford et al (2016, p. 143) state that semi-structured interviews are a ‘verbal interchange where one person, the interviewer, asks information from another person by asking questions’. The semi- structured interviews allowed for discussions to explore VR drawing practices. Even though there is a planned list of questions to ask, the interview is more of a conversation so that the participant feels comfortable and the answers are delivered in a casual manner. Semi-structured interviews are used when the researcher has sufficient knowledge of the topic, in order to ask the participant questions, but is still open to the diversity of the answers (Morse, 2012, p. 197). The researcher knows the questions that need to be answered however does not know all the possible responses. The questions are planned in advance and can also include prompts. The responses are set to open-ended questions where all participants are asked the same questions. Probing questions can also be asked so that the participant can explain in more detail of their personal experience. The interview questions can be asked either face-to-face, in written format or by an internet survey (ibid).
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Galletta & Cross (2013, p. 45) state that the semi-structured interview, valued for the accommodation to a range of research goals, typically reflects variation in the use of questions, prompts and accompanying tools and resources to draw the participant more fully into the topic under study. Semi-structured interviews have both open- ended and more theory-driven questions, which are designed to explore and discover the experience of the participant (Galletta & Cross, 2013, p. 45). Galletta & Cross also state that the semi-structured and broad questions need to be established in a manner which creates a comfortable environment for the participant, in order for a story to be told, which has a narrative and allows the interviewee to speak from his or her personal experience (2013, p. 47). The practice of recording a visual journal also assists with discovering themes and codes, which will be further explained below.
Journaling Law states that the visual journal is a ‘platform where active engagement between concepts, materials, mediums, and tools can take place’ (2007, p. 1). By collecting ideas and screenshots or even photos of artwork, this provides a record of the artist’s journey from early concept drawings and sketches, to photos and screenshots of final artworks and designs. The journal is a visual journey and a tangible record of the artworks that have been created. Along with the visual aspect of the journal, the artist also provides insights and critiques of the experience of drawing or painting, which can be recorded as a written component of the journal.
Since commencing my research, I have been journaling my drawing practice in both analogue (charcoal life drawings) and VR (Google Tilt Brush). The journals contain photos of the charcoal life drawings and screen shots of the VR drawings. In one year I have completed three journals. These journals have allowed me to discover themes, codes and insights in my creative practice that align with the theories in my research, literature review and research questions. Some of these insights and theories include discoveries with embodiment, disembodiment, presence, immersion and drawing with light, which align with my research questions. The data from the interviews and evaluations from my creative journals, assisted me with examining experiences and discovering common themes in theory and practice.
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The following section will provide a definition and examples of thematic analysis and how the researcher can discover these common characteristics of themes and codes in research data.
Thematic Analysis of Data. Boyatzis defines thematic analysis as a ‘process for encoding qualitative information’ and that the encoding requires an explicit code that could be a list of themes, indicators and something that is causally related (1998, p. 4). A theme is a ‘pattern found in the information that somehow describes and organises the observations and interprets aspects of the phenomenon’ (Boyatzis, 1998, p. 4). Boyatzis also describes coding as something that can be thought of as a way of relating our data to our ideas about this data. When a number of codes in a study have been complied, then this is considered a codebook. Thematic analysis has purposes such as being used as ‘a way of seeing; a way of making sense out of unrelated material; a way of analysing qualitative information; a way of observing a person or group and a way of converting qualitative information into quantitative data’ (Boyatzis, 1998, p. 4).
There can also be more than one theme in one single interview, depending on the complexity of the interview. The researcher needs to look at certain themes or signs that are common throughout the data. Morse (2012, p. 197) states that themes can be hidden or not obvious. The researcher is then searching for common characteristics in the data that has been collected. Once these common themes are identified, then the category can be labelled and then the relationship to the other categories can be identified as well (ibid). Morse also states that, ‘themes are more interpretive and used for interpretive description’, as the analysis can be described differently by each individual interviewer’ (2012, p. 198). The researcher also needs to be able to see patterns or occurrences, only then can the data be classified or described (Boyatzis, 1998, p. 4). Boyatzis also explains that ‘the encoding of the information can be called ‘seeing as’.
The Constructivist approach takes into consideration how the participants make sense and construct meanings from their experiences. I have interviewed creative
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practitioners and from the audio interview transcripts have analysed the similarities between each artist’s approach to both analogue and digital drawing techniques. I have also compared these theories to my own creative practice to see if there are similarities or common themes.
3.5 Ethics and Limitations
I have an approved ethics clearance for my interview sessions, which was approved November 2017, and the QUT ethics approval number is 1700001015. The ethics application is in appendix A and the open-ended questions used in these interviews are included in appendix E.
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Chapter 4: Findings from Creative Practice
Chapter 4 provides insights into my creative practice of drawing in VR. As analogue life drawing cannot be re-created in the virtual realm due to not being able to see the human form, I discovered a new drawing practice. This is where I redraw existing life drawings in an immersive environment. These VR drawing artworks in my research project were drawn with the Google Tilt Brush from photos of my charcoal drawings on paper. I practiced this new method for ten months, keeping journals with my reflections from each VR drawing session. Appendix B shows some examples of the VR drawings from the journals. Once a week, from March to December 2016, I created drawings and documented these in three journals, which consisted of three hour VR drawing sessions at QUT. I also attended a weekly life drawing session to create the analogue drawing component of this project. For this research project I subsequently conducted a thematic analysis of those journal entries, coding for emergent themes. The methods of journaling, reflective practice and thematic analysis were discussed in the previous chapter. This chapter reports on the themes and insights that were discovered from that reflective data and collected during my practice of drawing in VR.
4.1 OBSERVATIONS AND PRACTICE
With my practice of life drawing, I use charcoal and paint as my main mediums to create images that represent the human form. The charcoal and paint mark making are the predominant focus of my artworks, as the images are not a photographic representation of my subject but a refined symbolic representation of the human form of a gestural nature.
The virtual images that have been created using the GTB are not like the life drawings that I have created with charcoal on paper. The virtual drawings are a graphic representation of the life drawings. My drawing practice is a balance between having one foot in the analogue world of life drawing with charcoal on paper, and the other foot in the digital world of drawing in VR.
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There are benefits and challenges when working with both mediums, however from my experience, not one mode has an advantage over the other. Some key differences I have identified include canvas size, depth, drawing from the real and from memory, permanence, brushes and effects, aesthetic techniques and the experience of ‘ready-to-hand’.
Canvas size and depth An advantage of drawing in VR is that the canvas size is not limited to a page or canvas, as the VR space is unlimited to a certain height or depth, depending on the size of the room. The VR drawing or painting has unlimited canvas size to work with in regards to height which is more commonly known as the Y axis. The canvas size is usually set for the artist to work on however in VR the body can be used to work as high as the artist could reach vertically. This means there is no limit to the VR canvas height as the only limitation is the artist body height. The taller the artist then the higher the Y axis will be in the artwork. The canvas depth is however limited in the VR space due to the size of the room but still has more options than the analogue drawing or painting.
The analogue artwork depth is created by layers of charcoal, whereas the VR painting is created by layers of light and transparency. Light relates to depth by allowing the artist to see into the drawing through the layers. The artist has the ability to view the front and back of the artwork while standing at the front of the drawing. The layers of light in the artwork create the depth in a VR drawing. This depth of layers will depend on the overall size of the room, which the VR equipment has been set up to detect. The depth, or x axis has more drawing space to work with in VR compared to analogue drawing.
The curve of a VR drawing The side view of the VR artwork will have a natural curve, due to the nature of how we draw without a solid surface in the virtual canvas. This embodied gesture of the arm while drawing is a reflection of the body movement. When drawing large scale without a surface to lean on, the created artwork will not be situated on a flat surface, but will be viewed from the side as a curved canvas. Once a surface is removed, the artist then draws by following the natural curve of the arm. As the VR
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artworks consist of layers of light, the artist has the ability to walk through the drawings, which creates an embodied immersive experience. This same embodied experience is not possible in analogue drawing practices due to the physical density of paper. The following images compare the original analogue charcoal drawing (Figure 9) with the front view (Figure 10) and side view (Figure 11) of same drawing created in the virtual space.
Figure 9. Analogue charcoal on paper drawing (Puhakka, 2017).
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Figure 10. Digital drawing from front view (Puhakka, 2017).
Figure 11. Digital drawing from side view shows curvature in figure which illustrates embodied gesture of arm while drawing (Puhakka, 2017).
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The analogue charcoal drawing has been drawn on paper, which has a solid surface allowing for more control of the medium, as the hand and arm have something to lean on. The VR drawings have been drawn with the Google Tilt Brush, so the artist is drawing in space. Figure 12 shows the front view of the digital drawing where as Figure 13 shows the side view of the same drawing. The side view presents the layers of light as depth in the image. Figure 14 is the back view of the drawing and this shows the process of starting the image with the highlights first and then adding the darker tones last. As the VR drawing involves drawing in space, the artist creates various layers of lines that consist of light, to create an artwork. The side and back view of a virtual drawing show the process and embodied gesture of the arm, as it presents the drawing curve created by the movement of the body.
Figure 12. Drawing showing the front view using the Google Tilt Brush (Puhakka, 2017).
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Figure 13. Digital drawing from side view shows curvature in figure which illustrates embodied gesture of arm while drawing (Puhakka, 2017).
Figure 14. Drawing showing the back view using the Google Tilt Brush (Puhakka, 2017).
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Drawing from the real When creating a life drawing in an analogue medium such as charcoal, paint or pencil, the artist will be drawing from a live model, and will have first-hand experience of viewing the model in a three-dimensional form. This 3D view consists of lighting which focuses on the highlights and shadows of the bodily form. The final drawing is a two-dimensional representation of the human body, if the canvas is paper or a flat surface. Drawing from a ‘live’ model is not possible in VR due to the nature of the tools and environment. In the VR environment the artist cannot see their own body or any other living body. The only viewable element in the virtual space is the drawing tool which is seen as light.
When redrawing the life drawings in VR, the experience is one of copying from the photo of the analogue drawing. This is seen as second-hand visual information, as the artist isn’t drawing from a live model. The relationships between both mediums can be thought of as two parallel worlds existing side-by-side and the effectiveness of each medium depends on the vision of the creator. The artworks that are created in VR are drawn by the process of viewing the reference photos. The reference image assists the artist to recreate the pose and lighting in the virtual realm as accurately as possible. In fact, my creative practice of redrawing photos in VR is not life drawing at all. The analogue practice is life drawing, as I’m drawing from a live model, however my VR drawing practice is redrawing the human form from photos by using layers of light and transparency. When redrawing the life drawings in VR, my conceptual approach to this was to redraw the figurative images from the original photos, which are viewed in the VR environment (Figure 15). Figure 15 shows the positioning of the photographic reference image in the VR environment.
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Figure 15. VR drawing shows the process of viewing the original analogue life drawing photo and then recreating a new drawing with the Google Tilt Brush (Puhakka, 2017).
There are multiple approaches to drawing the human form in VR. When creating life drawing in analogue, the artist draws from viewing the live model. The live model will be placed in front of the artist so that the drawing experience is in real time and there are restrictions to the duration of the pose. For example, the pose may be restricted to twenty minutes and the artist needs to complete the drawing within this time frame. Life drawing is not possible in VR, as the human body cannot be seen. In order to redraw the life drawings in VR, the artist needs to either draw the human form from existing drawings, draw from memory or draw from actual photos of models. The following section provides an insight into creating VR artworks that have multiple points of view due to the nature of being three- dimensional.
Multiple views of a VR drawing As I have shown and pursued in this research, analogue drawings can be redefined in the digital realm by redrawing the human form in VR from photos of original life drawings. Some questions that occurred to me during this practice are about the experience of the light in these digital drawings, and if it is possible to recreate this effect in the analogue realm? In the case of drawing in VR with the Google Tilt
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Brush, the technique of creating light drawings is more challenging to recreate by analogue techniques such as using charcoal, pencil or paint. The artist could possibly simulate light in their drawings. However, how does the artist create the same transparency where the participant or user can physically walk through a VR drawing? The VR artwork has been created with light rather than a medium such as charcoal. This transparency of colour and light can only be created by the assistance of a computer. Drawing in VR allows the artist to create an artwork, which is three- dimensional and immersive.
The audience has the option to walk around the VR drawing to view the front, back and sides, which creates an embodied experience for the artist and audience. This process of viewing all angles of the drawing, creates an embodied experience for the artist and audience as the viewer has the ability to walk through a VR drawing which consists of light and transparency, however you cannot walk through an analogue drawing created on paper. A key difference between the VR and analogue drawing is that in the analogue drawing the viewer and artist cannot walk through the artwork. This is only possible in the VR artwork as it has been created digitally. An analogue drawing on paper provides a two dimensional visual experience that allows viewing from the front and a limited view of the side. The artwork can only be viewed from the back if the artist has drawn on the back of the paper and if the artwork has not been framed and mounted on a wall which only allows a front view to be possible.
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Figure 16. These two images show the initial process of drawing with the Google Tilt Brush by starting the drawing with contour lines first and then adding highlights in white (Puhakka, 2017).
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Figure 17. Drawing from the side view shows the curvature in the figure which illustrates embodied gesture of the arm while drawing (Puhakka, 2017).
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These different angles of the front view (Figure 18), back view (Figure 19) and side view (Figure 20) of a VR drawing, show multiple different views of the same drawing. The audience then has the choice of which view, or drawing is more aesthetically pleasing for them. There are multiple views that show that there is more than one viewable drawing within the artwork. The artist then has less control of what is viewed of their artwork. Therefore, the audience has the option to choose a different view of the VR artwork, which creates an open-ended experience for the spectator. Analogue drawings are more controlled and limited. The VR drawings can be perceived from different angles to show different drawings. Is there a view that the artist has not seen that the audience has preferred to look at? The artist may never experience the same view as the audience as only one person can view the artwork at a time in VR. Therefore, the VR audience experience will never be the same as the artist’s view due to the three-dimensional aspect of the artwork.
Figure 18. Image shows the front view of a VR drawing (Puhakka, 2017).
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Figure 19. Image shows the back view of a VR drawing (Puhakka, 2017).
Figure 20. Image shows the side view of a VR drawing. Digital drawing from side view shows curvature in figure which illustrates embodied gesture of arm while drawing (Puhakka, 2017).
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Rewind and replay From my experience, the creative act of mark making (making lines, shapes and forms), is similar whether it is analogue or digital. However, one key difference that I have discovered in my creative practice when comparing the creative process of analogue and VR drawing, is that if you are not content with your mark making result in VR, then you can rewind the process and start again by deleting the lines that you have created. To do the same process in an analogue drawing with charcoal or paint, the artist would need to start again with a new piece of paper, or paint over the existing work. The rewind and play option in VR is instant and it is easy for the artist to start working on any changes to the artwork.
The VR artist has the option to be able to edit an artwork easily and this process allows for more flexibility to amend and re-visit drawings. As the image elements are created in the 3D space, the artist can individually select sections of the drawing by stepping into and through the layers to either delete or change the lines or shapes. This option of editing is distinctive from digital painting in software such as Adobe Photoshop. Photoshop only allows the creator to edit the artwork in the 2D environment or through the history palette. The history palette or tool, is chronological and can only be edited via a series of deletions in the exact order that they were originally created. Drawing in VR with the Google Tilt Brush allows for deletion of any sections of the artwork due to the nature of seeing all the layers at the same time. The artist has the ability to step into the layers, this provides the experience of being able to walk through the drawing in order to edit or delete sections.
Another related difference is that when creating a VR drawing with the Google Tilt Brush, the artist can re-play the drawing process to examine and view how the artwork was initially created. This ability to view how the artwork was created allows for the audience to see the process work involved. Analogue drawing practices do not allow for the viewer to see the process of how the artist has worked, however the viewer in VR has the ability to re-play the creation of the artwork. This rewind experience has the potential for a performative aspect for the audience, however this is out of scope for this research project.
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VR Brushes – Soft Highlighter vs Oil Paint The main brush that I used in my VR drawings was the soft highlighter. After experimenting with other brushes such as the oil paint brush (Figure 21), which had a hard edge and was not as transparent, I discovered that the soft highlighter tool was the best brush for my drawings. I wanted to blend colours with shadows and highlights, and the soft highlighter brush gave me the ability to do that (Figure 22). The other brushes weren’t as easy to blend due to the solid hard edges compared to the transparency of the soft highlighter brush. This soft effect is difficult to create with most other VR brushes, as the edges are solid and the mark making result is more of a contour line, which is solid. The transparency effect assists with the overall three-dimensional aesthetic when drawing with light.
Figure 21: Example of oil paint effect in Google Tilt Brush.
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Figure 22. Example of soft highlighter brush in Google Tilt Brush (Puhakka, 2017).
4.2 ‘READY-TO-HAND’ WHILE DRAWING
The tools and palette are an extension of my hand as I select various brushes, effects and colours. In regards to using the Google Tilt Brush, the tools are connected to the computer, and I act through the hand controllers. The hand controllers become a part or an extension of my hand and arm, which feels familiar and creates a full body interaction, leading to a ‘ready-to-hand’ experience with the tool. In Heidegger’s terms, the drawing tools are described as being ‘ready-to-hand’ when I feel a connection to the equipment. This ‘ready-to-hand’ is experienced when the equipment becomes one with my body. The only restriction with using the tools is that the virtual space has been controlled to work in a certain area of a room, and I need to stay within those parameters in order to create in the virtual environment. As I become aware of the restrictions of the virtual space, it reminds me that I am still working in a real-life room. The VR tools and hand controllers become the object of my attention as I draw in time, space and light. When I focus on the hand controllers as an object, and this object assists with my activity of creating a drawing in VR, then the tools are ‘present-at-hand’. As the hand controllers are ‘ready-to-hand’ (recognised as equipment) they then disappear from
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view. The more natural that the drawing experience is, then this attributes to the ‘ready-to-hand’ process of forgetting that the tools exist as a separate entity. The ideal goal is to have a natural connection to the drawing tools so that they feel that they are connected to your body.
When drawing in analogue there is more of a chance of experiencing ‘ready-to- hand’ as it is more familiar for the drawer, to hold a paint brush or pencil in their hand rather than the gun shaped GTB tool, in VR. This ‘ready-to-hand’ experience can be observed as a single activity and can be explained as being coupled with the tools. In order to become one with the VR tools and feel the ‘ready-to-hand’ experience, the artist needs to be comfortable with the equipment.
When the tools disappear during the act of drawing, then ‘ready-to-hand’ is experienced. Coupling occurs when the use of either analogue or VR drawing tools become a part of the artist’s body. This feeling of connectedness feels like the tools are an extension of the hand or arm. Only then do the tools become one with the artist when they disappear from view. This coupling experience only occurs when the artist has become an expert rather than a novice with the drawing tools.
Differences between analogue and virtual drawing practices This research project began as a means to evolve my drawing practice. My research took many turns and loops during this study. Initially I thought that I could simulate and re-create the analogue drawings in the virtual, but I realised that this was not possible, and this was what I had intended to do originally in my research. The VR drawings are not the same as analogue drawings and the analogue drawings cannot be re-created in VR to have the same aesthetic. The VR drawings are a new type of drawing. Some of the differences that I discovered in my creative practice are as follows.
The canvas size and depth differs from both analogue and virtual drawings. My analogue drawings are created by using charcoal on paper which has limitations of paper size and depth. The VR drawings have a canvas size which is the depth of the room where the tools and equipment are set up, and the height of the canvas relates
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to the height of the artist. Analogue drawings have layers of charcoal and paint, while the VR drawings have layers of light and transparency. Due to the depth within 3D of the virtual artworks, the side view will be a curve. This is a reflection of the artist’s embodied gesture of the arm, caused by the arced movement of the arm from the shoulder. The VR drawing’s side view will be curved, while the side view of the analogue drawing will be flat on a surface. The front, side and back views of the VR drawing show three different views which can also be considered different drawings. In fact, there are multiple views and drawings within the one drawing, and the audience viewing experience is open ended in this way.
Drawing from the real is only possible when creating a drawing from a live model. This process is achievable in the analogue environment, however not in the VR realm. In the VR space, the artist is unable to view their own body or that of anyone else existing in the same room. Only the VR tools and equipment are viewable in the virtual environment, and these are seen as light. When drawing the human form in VR, the artist has the option of drawing from memory or drawing from a reference image. My creative practice in VR was drawing from a reference image, i.e. from a photo of my life drawing. Rather than drawing from the real, I was redrawing the same image in VR. The process was recreating the charcoal analogue drawing as a virtual drawing of light and transparency.
Throughout this research project, I have mentioned both drawing and painting in VR. When I create artworks in analogue, I draw with charcoal on paper. I sometimes add paint to the artworks, however they are not paintings of the human form, they are drawings. When I create artworks in VR, are they drawings or paintings? I would argue that they are both. I am drawing with light, and the lines are drawn as contour, but I am adding highlights and sections of colour which are painted.
Light and transparency is one of the key differences between analogue and digital drawing. My analogue drawings are created with charcoal on paper and the VR drawings are created with light, which is transparent. You can walk through a virtual drawing however you cannot walk through an analogue drawing. The VR drawing allows the artist and audience to have an immersive embodied experience
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while walking through an artwork. The participant feels like they are outer space and have left their body to be in the virtual realm. Light and transparency allows for viewing of the layers of light and depth, which shows the process work. The side and back view of the artwork can also be viewed as transparency allows for all angles to be seen.
Drawing with the Google Tilt Brush allows for the experience of permanence. VR drawing also provides the opportunity for the artist to rewind and play back the drawing process. To be able to re-play the drawing experience allows the artist to go back and redraw sections of the artwork that may need refining or improvement.
Brushes and effects have different results in analogue and virtual drawings. The analogue brushes and effects are organic and natural, such as charcoal and paint, where as the brushes and effects for VR artworks consist of artificial light. Can the analogue effects be re-created in the virtual? In my experience, the end results were not similar. Analogue charcoal effects could not be simulated in the VR realm. The charcoal effect could not be created as that particular brush effect was not available in the Google Tilt Brush palette. Luckily, this forced me to experiment with different brushes that were light infused and I created a new type of drawing. The soft highlighter brush was a new tool that I learnt to use. This brush effect was the best option for blending colour, light and shadows as it allowed for transparency and soft edges.
As mentioned in the introduction, virtual reality has become more mainstream, although fine artists using this medium to draw the human form in VR, is still relatively limited. Analogue drawing practices can be a foundation for exploring immersive digital drawing experiences. This gap has been a personal focus for me, and directs this research project.
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Figure 23. Image shows the variations in brush texture ranging from hard edge contour brushes to the soft highlighter brush when drawing in VR (Puhakka, 2017).
Figure 24. Side view of drawing created with Google Tilt Brush. Digital drawing from side view shows curvature in figure which illustrates embodied gesture of arm while drawing. (Puhakka, 2017).
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Figure 25. Analogue life drawing created with charcoal on paper (Puhakka, 2017).
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Figure 26. Image shows the initial process of creating the analogue drawing with the Google Tilt Brush by starting with contour lines first (Puhakka, 2017).
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Figure 27. Image shows the initial process of creating the analogue drawing with the Google Tilt Brush by adding hatch techniques after the initial contour lines (Puhakka, 2017).
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Figure 28. Image shows the initial process of creating the analogue drawing with the Google Tilt Brush and the effect using the soft highlighter brush (Puhakka, 2017).
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Figure 29. Front view of VR drawing created with Google Tilt Brush showing soft highlighter effect (Puhakka, 2017).
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Chapter 5: Results and Analysis
This chapter examines the results and analysis of the participants’ experience of drawing and painting in VR by reviewing interview data. Associate Professor Paul Thomas, Associate Professor Paula Dawson and Mr Jaymis Loveday are all digital artists. The focus of these interviews was to explore the participants’ creative practice in analogue and VR drawing and to examine the technologies that they have used to create artworks. Online meetings using video and audio recordings in Zoom were conducted as the participants were either based interstate or unavailable to meet in person. The following section examines both the analogue and digital drawing experience of the participants involved in this research.
5.1 PARTICIPANTS
Paul Thomas is an electronic artist, fine artist and academic who has a background in transdisciplinary practice. Thomas gains inspiration from nanoscience and quantum theory and relates these themes to his digital artworks, and he is also a professor in the fine arts program at UNSW Art and Design. During the interview process I discovered that Thomas was not an expert in VR drawing practices, however he does have theoretical knowledge of the subject and in particular analogue drawing practices. Paula Dawson is a holographer, sculptor, performance artist, electronic artist and academic who is creating artworks in VR with a focus on art-holography. Dawson has been creating holograms and exhibiting her digital works both nationally and internationally since the late 1980s. Jaymis Loveday is a filmmaker and video director in Brisbane, who experiments with VR and mixed reality to create visuals for music videos, advertising and corporate videos. Loveday is interested in electronics, 3D printing, music, computer gaming, lighting, programming, animation, performance and robots.
5.2 ANALYSIS AND FINDINGS
Painting and sculpting with light All three participants who were involved in the interviews stated that creating VR artworks is like painting and also sculpting in a 3D space. When drawing and
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painting in VR, Paula Dawson explained that when an artist is working with white in the virtual environment, then they are working with light. “ … it's important to look at that because drawing with white is not the same as drawing with a dark tool. In fact, it's completely different.” (P. Dawson, Zoom Interview, May 29, 2018). Traditionally artists would draw or paint on a white surface with a dark colour. However, in creating artworks in VR the process has been reversed so that the VR artist is working with white or lighter colours in a black 3D space. When drawing with white in the VR space it is used more as a highlighter as the background is black by default. Figure 30 shows a holographic artwork created by Paula Dawson, where the image has a dark background and white is used as highlighter to create contrast with light. This contrast effect separates the images in the background from the foreground.
Figure 30. Image is a screenshot from Paula Dawson’s holographic digital artwork titled ‘Hyperobject: Homeland (Dawson, 2013).
One of the differences is that when the artist is working with white, they are working in negative space or in a reversed visual process. It is more of a natural process to draw on a white surface with a dark medium, as it is what the eye will see by default. Paula Dawson states that You see that in artists who use - who've used white you know in say three tone drawings, you see it quite often where white's used for the highlights and then there's black. But it really is important to have a dark colour. I found that working with white on a black background made the drawings look very unusual. It was really hard for people mentally to make sense of it just simply
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because there's such a long tradition of the dark line defining from the white paper. (P. Dawson, Zoom Interview, May 29, 2018).
When the drawing is reversed, the artist needs to envision what the final outcome would look like as it is not the natural realm of how our eyes would view it in the real world. What the artist would see as dark in the real world, this would be portrayed as light in the VR world due to the nature of working in reverse or opposites.
Sculpting with light is a term that Loveday used to describe drawing in VR. Loveday explains that using the GTB was like painting with a light brush.
It’s such a magical thing that we’ve all done in our heads. Playing with sparklers when you’re a kid... this idea of painting with light. To be able to actually do it and it stays and it’s more permanent is really magical. (J. Loveday, Zoom Interview, July 19, 2018).
The use of a light brush in VR creates an experience that has a permanent result for the artist and viewer. As discussed in the literature review in chapter 2, Picasso created light drawings however the images were not permanent. Photos were taken of the light drawings to create a sense of permanence. With the Google Tilt Brush the artworks are permanent, however only while the viewer is in the virtual space and wearing the VR headset.
Digital Tools Loveday explained that drawing with light with the Google Tilt Brush was similar to drawing with the program Adobe Photoshop, as the colour blending tools used the same technique with the digital brushes and palettes. It was a natural progression for Loveday to evolve from digital painting in Photoshop and to advance to drawing in VR with Google Tilt Brush. Due to the similarity of the tools, Loveday mentioned that the transition from digital painting in Photoshop to VR painting in GTB was intuitive and effortless. This progression was easy due to his experimentation with Photoshop when he was studying art at high school. Loveday’s VR sketches were used as concepts and visuals to show clients what the final artwork will look like. Loveday states that “Whereas something like Tilt Brush where you can sketch it out and then fly a camera through, I think that really helps people
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understand spatially what’s going on.” (J. Loveday, Zoom Interview, July 19, 2018). As Loveday points out, the Google Tilt Brush allows a spatial view of the artworks and drawings, and when artist and audience enter the VR environment they can easily visualise what the final design would eventually look like in real life. This suggests they are having an immersive experience of embodiment. The participants will feel the sensation of a disappearing body, where the physical body disappears from view and only the VR environment can be viewed. When entering the VR realm, the participants cannot view their physical body but can see what is situated in the virtual space.
Interaction with a surface and ‘feeling lost’ The challenge of not having a surface to work on in VR creates a feeling of ‘being lost’ in the 3D space. As Dawson states
Without a surface you just can't compare because that's really what defines drawing is that friction, that interaction with the surface. Once the surface is taken away, you're out there in space and you can't - all the tricks of the trade in drawing rely on that solid planar surface. (P. Dawson, Zoom Interview, May 29, 2018).
As there is not a surface to lean on in the VR space, the arm is used as support for drawing. The start and end of a line or mark will not be connected due to not knowing exactly where it continues. When there is some sort of force or pressure on the device this provides a connection to the surface. If an artist is drawing without a surface then there is an element of feeling lost in the 3D environment. As discussed in the next section, pressure and leaning on a surface are intertwined.
Pressure, ‘leaning on’ a surface and proportion Dawson continues to describe the role of drawing ‘pressure’ in line quality.
The other thing that you can't get when you don't have something to lean on, you get - you derive a lot of fluidity in your line and expressiveness in your line by how much pressure you apply. (P. Dawson, Zoom Interview, May 29, 2018).
Pressure relates to the pressure of the device. The leaning on effect and how much pressure you apply allows for expressiveness in a line. A related, and key, insight
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from the interview data concerns how this pressure relates to proportion. For example: That's because you have no sense of the Z axis. That's what I was saying before is that you really need to be able to have something which orients you in terms of the Z axis otherwise your drawing is not readable from more than one position. (P. Dawson, Zoom Interview, May 29, 2018).
Paula Dawson mentioned that it was difficult to draw the human form in VR and especially understanding where her body existed within the Z axis, as the overall virtual experience was one of feeling lost. The VR drawing experience is like drawing in space where there is no sense of the Z axis. Dawson states that “If you take away the surface entirely… it becomes a completely different world” (P. Dawson, Zoom Interview, May 29, 2018). When drawing on paper, the artist does not have to be concerned with depth. The paper or canvas is the solid surface which the artwork is drawn upon. In the VR space, the artist cannot measure the Z axis, as the depth of the artwork changes to where the artist is situated in the room. The depth and the angle of the view changes in VR as well, as the artist is creating in a three- dimensional environment. This means that the artwork may be viewed from many angles, such as the front, side and back view. The artist may create the drawing in proportion from their own view, however the image will be distorted unless it is viewed from exactly the same angle as the artist.
Drawing Practice As Paul Thomas has a theoretical background in digital drawing, it was a different point of view to explore his opinions and experiences of drawing in VR. In the interview that I conducted with Thomas, he stated “I’m interested in drawing and in the act of capturing something by the means of drawing that can be displayed by a VR” (P. Thomas, Zoom Interview, May 21, 2018). Thomas has a strong background in analogue drawing with graphite and traditional fine art painting techniques and preferred to have his artworks projected on a screen in a virtual environment, rather than creating them in VR. With this idea in mind, Thomas was interested in “using a laser beam to bounce light off an object and then to capture the light that was reflected from it” (P. Thomas, Zoom Interview, May 21, 2018). The investigations from Thomas explored the notion of going back in time and experimenting with objects that can be created by a drawing machine. These concepts of using light in
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creativity are not directly aligned with my research in this Masters thesis, but the theories of how light is created, measured and signalled would be useful to investigate in my future research projects.
In the past, Thomas’ interest has been to create a drawing machine fitted with a plotter that can ultimately draw or can construct a 3D sculptural object. This would create a 3-dimensional drawing that was created by a 3D printer. Thomas also states “What I have done which is not again VR, but is to do with the relationship to drawing” (P. Thomas, Zoom Interview, May 21, 2018). Paul Thomas also suggested that I try to draw the VR in analogue, which is a different process to what I had developed in my creative practice. “Do you ever try to create a VR and then draw it in an analogue state, without being able to see it”? (P. Thomas, Zoom Interview, May 21, 2018). This process could possibly be worth exploring in the future. Thomas suggests “drawing it on a piece of paper, but while you are looking at the thing. A bit like old contour drawing used to do”. This practice of contour drawing and not looking at the paper while drawing is what I have practiced in my analogue life drawing practice. Contour drawing is the practice of drawing where the artist sketches the subject by drawing lines that start with essentially the outline. The lines are solid and are the simplest form of linear expression. A solid contour drawing has strength and simplicity. This contour drawing process could also be adapted in VR. While drawing in VR, the artist could only be focused on the object and not look at the actual drawing. This practice encourages the artist to see in the moment, rather than to ‘remember’ what they saw when creating a drawing. Thomas also mentions that “I just love the idea that you could draw from this world and not that world, because what Peter Viables once said is when you are in a virtual world, the question is where does memory exist. If drawing, to some extent, is post- gaze, in other words, you make a mark after you’ve comprehended the light waves hitting your eye, the back of your retina and going to your brain. Then it’s after you’ve seen the mark is then obviously a memory of what you’ve seen. The question of where memories exist, when you are making marks, becomes interesting in a virtual world because your memories aren’t of anything real.” (P. Thomas, Zoom Interview, May 21, 2018).
Thomas is interested in the idea of where memories exist when the artist is situated in the virtual realm. Artists who draw with the Google Tilt Brush will create artworks
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from memory if they do not have a reference image to work from, as you cannot view the live human form in VR. As my digital drawing practice in VR is drawing from a reference image that I have drawn in analogue and from a live model, then I am drawing from the photo of the analogue drawing which I can see in front of me in VR. Therefore, I am not drawing completely from memory, as I am drawing from a past captured moment, by the use of a photo. I use this uploaded drawing in VR as a point of reference so that I can look back and forth when redrawing the image. I draw from the reference image because I cannot see the live human form in VR and I do not want to draw from memory, as I want to create an accurate drawing that has detail from the actual life drawing session that I attended (ie: correct lighting and positioning of model). The uploaded image also assists me with adding shadows and highlights, as I cannot remember those details from the original life drawing session. If I was to draw from memory, the final VR drawing would be very basic (with very little detail) and most likely not in proportion as I cannot remember the finer details of the life model pose. In thinking about this idea of drawing from memory in relation to my project, I believe that it is possible to relate it to both life drawing practice in analogue form, and to my VR life drawing practice. That is, when the life model has moved from a particular pose, then the memory or post-gaze exists, as this pose cannot be reproduced again. However, when drawing in VR it is compounded in another way – it is impossible to draw from the live human form because of the inability to see them. Therefore, here I draw from photographed analogue life drawings that I have imported into the Google Tilt Brush application. When drawing from memory in VR the subject matter is limited to the skill set of the artist and how well they know how to draw the human form without any reference. My particular type of drawing practice is not drawing the subject matter from memory but drawing from a reference image, which is real and tangible. That is I would consider drawing from a reference image, and the VR drawing itself, to be real. For example, same as light rays hit the retina in my eye when I’m doing analogue life drawing in charcoal, light rays in the VR goggles are also emitted from the electric light source and hitting the retina in my eye.
Paul Thomas also mentions that the act of drawing is an act of discovery, as opposed to an act of representation, and in his opinion, that is the interesting part of the practice (P. Thomas, Zoom Interview, May 21, 2018). Our discussion revolved
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around the idea that drawing in VR can be clumsy and the medium is not as easy to create detail in a digital drawing. Thomas states that it’s also important to appreciate the limitations of drawing with the Google Tilt Brush equipment as it has its’ own aesthetic. Similar if drawing with an oil pastel which is clumsy and difficult to control detail, however it has its’ own aesthetic of solid, matte, saturated colour which cannot be simulated by other dry mediums such as pencil or pastel which are more transparent. Thomas also mentions “Yeah, it’s crude, it’s clumsy, but the beauty of oil pastels is that they are crude and clumsy. That’s their beauty. If you try and make them look like a pastel drawing or something, it’s ridiculous” (P. Thomas, Zoom Interview, May 21, 2018).
This applies to the aesthetic of drawing in VR as well, where tools can be clumsy to use and it is difficult to control the detail. It’s a completely different experience to drawing with a pencil, when the drawing equipment is shaped like a gun. As mentioned in chapter 2, Robin Hunicke (2016) states that when using a pencil, this is known as the precision grip as the artist is using mainly their fingers and wrist. This type of grip is refined and is used for creating artworks with detail. The power grip is used when drawing with the GTB and this grip entails the artist to use an action movement, such as a force grip. The force grip is similar to the grip when you hold a gun. When using this force grip the user will use their fist, lower arm, shoulder and back muscles. Due to the nature of the power grip, it is a challenge to control mark making and detail in VR artworks.
The control of the GTB medium is limited and, like Thomas and I argue, the aesthetic has its’ own beauty. When drawing with a pencil, the drawing action is refined and the artist can easily draw detail as they have more control of holding the pencil. When drawing in VR with the GTB, the artist needs to become familiar with the grip. However, the VR drawings have their own unique style and the focus is on texture, light, layers and transparency rather than the same detail that can be achieved in analogue charcoal drawings on paper.
Hatching techniques in VR Paula Dawson’s experience of drawing is both analogue and digital. Dawson also studied Michelangelo’s drawings as she was interested in the hatching technique that
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was used in his drawings. In particular, Dawson was interested in using the hatch and cross-hatch technique for figurative drawings which have open areas to fill for shade and tone. Dawson also studied Michelangelo’s work at the Louvre, in Paris, France. The intricate and detailed work was of interest to Dawson and this influenced her drawing practice. “I made studies of several of his drawings however when his technique was so finely tuned to the material with a quill, a lot of the time with ink, and even down to using the way that the feather starts to disintegrate, he was even actually able to use that phenomena that occurred while the drawing was happening to make it more expressive” (P. Dawson, Zoom Interview, May 29, 2018). Dawson stated that the work was so incredibly refined for the two-dimensional surface that sadly it was too difficult to simulate in her own work. The hatching technique was the main influence that Dawson had gained from researching and examining Michelangelo’s pen and ink drawings (Figure 31).
“The only thing that I could say that I was able to use was the fact that Michelangelo did a lot of hatching just on one side of the figure and left the other side of the figure fairly open with just say a single line to enclose the boundary. I was able to do that kind of thing you know where you have a lot of detail built up on just one section of the figure and the other is left open. Hatching and cross-hatching is a technique that I have used in both my analogue life drawings and my digital VR drawings as this adds depth, tone and shading to a two dimensional contour drawing. (P. Dawson, Zoom Interview, May 29, 2018).
With my creative practice of drawing, I have also adapted the hatch and cross-hatch drawing technique in both my analogue and digital drawings. As Dawson also states, the hatch technique works well to add depth and tone to large areas of space, where adding the shading as contour lines works better to express shadows and highlights. The hatch technique of drawing includes a series of lines that may overlap, however do not cross over. Cross-hatching is when the technique of lines in drawing are used to create an area of shade with intersecting sets of parallel lines drawn closely together to create the illusion of texture (tone or shade). The more skilled that an artist is, then this determines the accuracy of all of the parallel lines placed on the surface, either on paper or the virtual canvas. Cross-hatching is often used to create tonal effects, by altering the spacing of the lines or by adding extra layers of lines to
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create depth. This technique is useful if the medium used does not allow blending, for example pen and ink which are a solid medium.
Figure 31. Image shows the pen and ink hatching technique of Michelangelo’s drawing in the Louvre, Paris, titled ‘Mercury (with overdrawing transforming it into an Apollo), and another nude study’, c. 1500-02 (Buonarroti, 1979).
Applications of virtual drawing for other domains Alternative applications for virtual drawing also came out of the interview with Jaymis Loveday. Loveday has a background in film making, however he also has experience with drawing, and in particular creating graphics with the HTC Vive Google Tilt Brush (Figure 32). Some of the prototyping for Loveday’s mixed reality and film projects would commence with the process of drawing with pen and paper which would then be created with 3D tools such as the Tilt Brush. Loveday takes into consideration mixed reality techniques such as working with sculptors who are working with the GTB and then the use of a drone to fly the geometry of the strokes
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to paint with light. Jaymis states that “what I do is not as primary creator of doing illustration, it’s more I’m figuring out the techniques that we can use to do mixed reality, to do filmmaking” (J. Loveday, Zoom Interview, July 19, 2018). Loveday also states that he does a lot of mechanical drawings when asked about his drawing experience and in particular there is an interest in cameras, robots and 3D printing. “Now I’m able to do things like spatialise the room and figure out the dimension of things, and then mock up and sketch in real space. Then be able to use that as my draft to put together in 3D, which is something for 3D printing” (J. Loveday, Zoom Interview, July 19, 2018). By using the GTB first to plan and sketch his ideas, Loveday then has the option to experiment with 3D printing techniques, which gives his clients a clearer picture of the creative outcome.
Figure 32. Image is a screenshot from a music video titled ‘Whipping Boy’ that Loveday created for the band Ball Park Music (Loveday, 2019).
Loveday also mentions that his earliest experience of digital art is with drawing and painting with Adobe Photoshop, however he has spent a lot of time drawing and still enjoys the traditional drawing experience. As Loveday’s mother was an art teacher when he was in primary school, he spent a lot of time working with paint, pens and various kinds of analogue media. Loveday’s skills in drawing with Photoshop brushes didn’t progress until his high school years and he mentions that this was the beginning of his digital art journey. Loveday explained that it was easy to learn how to use the Tilt Brush due to his background in painting in Photoshop.
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Interestingly, Loveday’s experience with VR is similar to mine, in his thinking that the GTB brush looks similar to a light brush. I also have a background in creating artworks with Adobe Photoshop. Both the GTB and Photoshop have similar brush techniques and visual effects with painting. The main difference is that an artist can create 2D images in Photoshop that can be viewed on a computer screen. However, the GTB allows the artist to create immersive 3D images in the virtual realm, that can be walked through by the participant and also viewed from multiple angles not just from the view of the flat computer screen
This section has examined some of the insights from the interviews that were similar experiences from my own creative practice. When drawing in analogue, the artist has a solid surface to lean on, however when drawing in VR, the artist is drawing in outer space without a surface. Paula Dawson mentioned that drawing in space was a challenge due to not having a surface to lean on. Without a surface to draw on the artist feels lost in the virtual canvas. Dawson also used the drawing technique of hatching and cross-hatching in her drawing practice. This is a technique that I have used in both my digital and analogue drawing practices to create depth and space by using only lines. Jaymis Loveday explained that he used the Google Tilt Brush to create 3D concept drawings for clients to view. The conceptual sketches allowed his clients to experience embodiment by being able to walk through the drawings to understand the three-dimensional aspect. Paul Thomas had a strong focus and interest in drawing practices, in particular with graphite pencil. He also had an interest in the act of capturing something by the means of drawing that can be displayed in VR, rather than drawing in VR and the idea of drawing with a machine, such as 3D printing which is sculptural. The participants in my interviews agreed that creating artworks in VR can also be described as painting however they mentioned that it can also be considered sculpting in VR as well.
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Chapter 6: Discussion
This chapter discusses the intersection between theoretical insights from the literature review, findings from my own creative practice and the interviews with creative practitioners. I also review the differences, similarities and challenges of analogue and VR drawing from the perspective of my own and other artist’s creative practice and the theory that I have discovered in this research project, highlighting how the processes, tools, levels of engagement and outcomes differ in both mediums. The following sections also provide insights into how analogue drawing practices can be redefined in VR as well as how the experiences of embodiment and disembodiment occur at the same time when in the VR environment.
Organic vs Electronic As my analogue creative practice is drawing with charcoal on paper, the texture of the line is solid, rough, dirty and organic. When creating analogue drawings in charcoal, the artist will have stained hands and fingers due to the nature of the organic medium. It is difficult to not get dirty when working with charcoal. Embodiment occurs in both the analogue and virtual environments when the artist becomes one with the medium. However, this same analogue organic texture is difficult to re-create in VR. The VR artist is working with light, not charcoal, and does not get dirty when creating artworks. At the start of this research project, I intended to re-create the same organic mark making in VR, but I soon discovered that the simulation of the charcoal effect was not possible. This early discovery forced me into a new direction of experimenting with light in VR rather than trying to re-create the organic nature of charcoal in the virtual realm. Some more of the key differences between the organic drawing on paper and digital drawing in VR are explained in the following section.
Drawing on and drawing in The traditional, analogue drawing practice is drawing on paper not drawing in paper. When drawing in VR the artist is drawing in space as there is not a surface. As discussed in the previous chapters, having a surface to lean on while drawing assists
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the artist to achieve proportion as the artwork is only ever viewed from one angle. This is especially the case when drawing human figures where the intention is to create a realistic interpretation. Surface and proportion have a connection for the artist. If there is not a tangible surface to work on then proportion is difficult to achieve as you cannot control the view of the audience. This is because the artwork can be seen from multiple angles, which then distorts the proportion. The audience may never view the artwork from the same angle as the artist. When drawing in VR, it is more like drawing in outer space where the end result is not always what the artist had envisioned. The analogue artist draws or paints on a surface, however the VR artists draws in a virtual space. This is one of the key differences between drawing on analogue paper and drawing in VR. There were various challenges of drawing in the virtual space which are mentioned in the next section. Some of these challenges were due to the limitation of analogue brushes and effects in VR.
Challenges of drawing in VR The brushes in VR are smooth, soft, clean, transparent and made of light. In VR there are brushes that simulate the texture of paint, however there were not any brushes that were similar to charcoal, which is the main medium of my analogue drawings. The VR texture consists of light, which is transparent. When redrawing the life drawings in VR, it was a challenge to draw from a photo of a drawing, rather than drawing from a model who is standing in front of you. The reference photo was small in size and difficult to view in VR. When creating analogue life drawings, the model is life size and it is easier to draw detail. When drawing in VR, the artist is unable to view the human body, so therefore life drawing from a ‘live’ model is not possible. The only option of re-creating the life drawings in VR was to draw from an existing image. My initial idea for this research project was to create charcoal ‘looking’ life drawings in VR that could be viewed from multiple angles in 3D. As it was not possible to re-create the charcoal effect with the Google Tilt Brush, my creative practice evolved to be focussed on drawing the human form in VR with light. This process allowed me to experiment with a new type of drawing which is further explained in the following section.
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Figure 33. Image demonstrates the smooth, soft and transparent texture of the soft highlighter brush when drawing in VR (Puhakka, 2017).
New type of drawing practice After a few weeks of drawing with the Google Tilt Brush, I had developed my own style of drawing with light using the soft highlighter brush (Figure 33). It took some time to adapt to the new technology and the VR tools, as I had never drawn with this equipment before this research project had commenced. Initially it was a challenge to redraw the analogue life drawings in VR and this was explained in chapter 4 of my creative practice insights. I wanted to extend my drawing experience even though it was a challenge. After three months of drawing with the Google Tilt Brush, I started to feel the ‘ready-to-hand’ experience of forgetting about the tools and only focussing on the drawing. This was a huge learning curve for me as my background had predominantly been analogue life drawing practice. At the same time I had discovered a new type of drawing practice. This new drawing practice was not life drawing in VR; it was drawing the human form with light and transparency in a virtual space. With this new type of drawing practice, I also encountered new theories, which are explained below.
Embodiment and disembodiment Drawing in VR creates an experience of embodiment, disembodiment and immersion, where the artist forgets about time and space due to feeling that they have
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left their body behind. This is further discussed in chapter 2 with the disembodiment theories of Popat (2016, p. 359), Balsamo (1995, p. 220) and Moire (2007, p 129). These theories relate to the concept of leaving the body behind when in the virtual environment. Due to not seeing the body in VR, the artist experiences a stronger connection with the tools rather than feeling separate from them. The VR tools become an extension of the artist’s own hand however only when drawing expertise has been reached. When drawing in VR, the artist also experiences the missing in action syndrome, as discussed by Popat. Popat (2016, p. 359) examines the idea of missing in action when in the VR environment. The embodied experience can be seen as our bodies being both present and absent. This creates disembodiment and the illusion that we are no longer in a physical room but have been teleported into outer space. As discussed by Popat, the missing body experience is when the artist is unable to feel their arms and body. As mentioned previously, this is similar to Moire’s theory of leaving the body behind. Both theories describe disembodiment as the sensation of being unable to view the physical body in VR. Through my VR creative practice I have discovered that embodiment and disembodiment occur at the same time. In the first place, this VR experience created a sensation of feeling as if I did not have a physical body, as I could not see my hands when drawing. At the same time, I felt a oneness with the VR tools.
This chapter provided insights into comparing the experiences and challenges of analogue and digital drawing practices, by exploring how analogue drawing can be redefined in VR and how theories of embodiment and disembodiment can occur at the same time when drawing in the virtual environment.
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Chapter 7: Conclusions
As advancements continue with VR drawing software and tools, the digital artist has more opportunities to experiment with drawing in the virtual space. This project has focused on exploring and understanding how analogue drawing practices can be redefined in the digital realm of virtual reality. The three interrelated areas of my research have been drawing practice, technologies for drawing and theories for understanding the experiences of this drawing. This practice-led project has been the foundation for creating immersive 3D drawings in VR and the research has assisted in my understanding of theories such as aesthetic experience, embodiment, disembodiment and presence.
As discussed in chapter 2, Picasso’s light drawings were created by a small electric light in a dark room, however the drawn images disappeared as soon as they were created. The light drawings were photographed by using long exposure techniques and that is how they are viewable today; as photographic evidence of a moment in time. When drawing in VR, the images have permanence as you can view them in the VR space over and over. Permanence is achieved in VR and the artist has the option to rewind and play the artworks. The images are no longer just a fleeting visual, which have been saved in our memory or a static image. Another limitation with Picasso’s light drawing process was that he could not see the detail, could not revisit the drawing and also had to rush the drawing process in order for the photographic evidence to be taken. Drawing in VR allows for detail in the artwork to be seen and time is not an issue. The artist can revisit and amend the drawing if needed. This topic of permanence and performance is of interest to me for possible future research, as it was out of scope for this project.
VR drawings are different to analogue drawings. Both mediums have some similarities and differences, but ultimately the VR drawing process is different to the analogue drawing practice because one is drawing in space, without a surface, and drawing with layers of light and transparency, which creates depth. When drawing in
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VR, the artist also experiences both embodiment and disembodiment at the same time, oscillating between moments of immersion and feeling lost in outer space.
In the future, advancements in technology will assist to improve the overall use of VR tools for artists. These improvements will allow for more artistic freedom for creative practitioners to experiment with tools, brushes and effects. Over time, the line quality, proportion and scale could be mastered due to the evolution of the software and tools for the digital artist. From this research project, I have discovered that digital art has opened up a vast field of innovation from the point of view of the digital artist. Digital art allows for new ways of expressing artistic creativity. There is a knowledge gap in comparing the drawing experience of VR to AR (augmented reality). Is the AR drawing process similar or different to VR? As the AR artist can view their body in VR, will this change the sensation of embodiment and disembodiment? Is it possible to draw the ‘live’ human form in AR? Most importantly, does the AR environment allow the artist to draw with light and transparency? This area of research is also relatively new to fine artists and it would be worthwhile to pursue in future research into digital drawing practice.
In this creative practice project of drawing the human form in the virtual reality space, I have been researching how to create drawings that are three-dimensional play of lines of light. The drawings that I had been creating were not for the purpose of an exhibition as such, but instead focused on developing a deeper understanding of my own practice and the theories that support this practice in my research of drawing in virtual reality. Due to the nature of working with light and transparency, I am not interested in creating artworks that have a sculptural 3D nature, but artworks that have shadows, highlights, depth and transparency. When the layers of light have been combined as a whole drawing, this aesthetic creates a sense of depth by the use of shadows and highlights. The layers of light are formed to create an immersive VR artwork that has depth and transparency due to the nature of drawing with light tools. The depth has been created by using light layering shadows and highlights. This VR creative practice would be worth further development in the future with a focus on the effects of colour and colour psychology in an embodied state. I have an interest in creating room sized mandalas that relate to colour psychology and how colour affects our moods and emotions. I had experimented with this concept during my
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creative practice sessions with the Google Tilt Brush. I have documented mandala drawings in my journal which show different variations of light and colour. This VR drawing practice would be worth exploring with further study such as a doctorate however is out of scope for a Masters research project.
As far as my own creative practice is concerned, in the future I would consider creating further VR artworks however next time having the focus on audience experience rather than practitioner experience. The research would involve conducting audience participation of drawing in VR and documenting the experiences of immersion, embodiment and disembodiment by conducting participant interviews. Would the VR experience be the same for novices of drawing compared to artists who have a solid background in drawing? This research project would be of interest to me if I was to consider further study in this area of digital drawing. The experience of stepping into a three-dimensional artwork can be powerful, however viewing VR drawings as flat two-dimensional print outs is not the same experience as in real life where the audience can overcome physical limits and create spaces that never existed before. Immersive environments can now be experienced in VR galleries. In these VR art galleries, the audience wants to be there in real-time especially when the art is being created in order to have a whole body connection. I would also consider presenting my VR artworks in a gallery exhibition in order to invite participants to share and contribute to the virtual artwork. My focus would not necessarily be on life drawing as such, however I do have an interest in drawing the human form. This further research in the future, is where the concepts of performance, dance, sculpture and story telling could be examined and explored as it was out of scope for this Master of Arts (Research) project.
As the next generation of electronic artists take to the stage, VR and AR will assist with empowering and inspiring creative practitioners world wide. The virtual and augmented reality worlds will provide a holistic environment which incorporates social, emotional and creative endeavours through visual experiences, storytelling and simulation. Traveling to other times, places, spaces and dimensions will become a part of our every day existence. In the last decade, VR and AR have unlocked limitless applications for new creative industries such as the merging of virtual worlds with artificial intelligence (AI), 3D printing and computing advancements.
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These technologies will continue to advance in the future and at the same time will provide digital artists with more creative experiences where the merging of analogue and digital practices have the possibility to merge as one.
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Biocca, F. (1997). The Cyborg's Dilemma: Progressive Embodiment in Virtual Environments. Journal of Computer-Mediated Communication, 3: 0. doi:10.1111/j.1083-6101.1997.tb00070.
Boyatzis, R.E. (1998). Transforming Qualitative Information: Thematic Analysis and Code Development. California, London, New Delhi: Sage.
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Appendices
7.1 APPENDIX A: Research Ethics Documents
CONSENT FORM FOR QUT RESEARCH PROJECT Interview
From Analogue to Digital: The study of practitioner insights into interactive VR-based artworks that are informed by practitioner use of analogue life drawing techniques
QUT Ethics Approval Number 1700001015
RESEARCH TEAM Heli Puhakka [email protected] Jen Seevinck [email protected] 07 3138 5589 Tomasz Bednarz [email protected] 07 3138 7235
STATEMENT OF CONSENT By signing below, you are indicating that you: Have read and understood the information document regarding this research project. Have had any questions answered to your satisfaction. Understand that if you have any additional questions you can contact the research team. Understand that you are free to withdraw without comment or penalty. Understand that if you have concerns about the ethical conduct of the research project you can contact the Research Ethics Advisory Team on 07 3138 5123 or email [email protected]. Agree to participate in the research project.
Please tick the relevant box below: I agree for the interview to be audio recorded. I do not agree for the interview to be audio recorded.
Name
Signature
Date
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PLEASE RETURN THE SIGNED CONSENT FORM TO THE RESEARCHER.
SAMPLE APPROACH EMAIL
Subject Title: Exploring Drawing in the Digital Age.
Dear colleagues
My name is Heli Puhakka from the QUT Creative Industries and I’m studying a Master of Arts by Research. My research is based on exploring drawing practices in the digital age. This practice-led project will answer the question: How can analogue drawing practices be redefined in the digital realm of virtual reality? The project will comprise of an interactive artwork that I have created, by using the Google Tilt Brush as a tool in virtual reality plus an accompanying research exegesis on the above topic.
I am proposing to interview industry practitioners, who are experts in drawing in virtual reality with the Google Tilt Brush to answer questions about their work and creative practice.
Please view the attached Participant Information Sheet and Consent Form for further details on the study.
Should you wish to participate or have any questions, please contact me via email.
Please note that this study has been approved by the QUT Human Research Ethics Committee (approval number 1700001015).
Many thanks for your consideration of this request.
Heli Puhakka MA (Research) Student [email protected]
Dr Jen Seevinck Supervisor Senior Lecturer +61 7 3138 5589 [email protected] School of Design, Creative Industries Faculty Queensland University of Technology
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PARTICIPANT INFORMATION FOR QUT RESEARCH PROJECT – Interview –
From Analogue to Digital: The study of practitioner insights into interactive VR-based artworks that are informed by practitioner use of analogue life drawing techniques
QUT Ethics Approval Number 1700001015
RESEARCH TEAM Principal Researcher: Ms Heli Puhakka MA (Research) student Associate Dr Jen Seevinck Principal Supervisor Researchers: Associate Professor Tomasz Bednarz Associate Supervisor Creative Industries Faculty Queensland University of Technology (QUT)
DESCRIPTION This project is being undertaken as part of a Master of Arts by Research for Heli Puhakka.
The purpose of this project is to explore how analogue drawing practices can be transferred to the digital realm by using tools such as the Google Tilt Brush in virtual reality.
You are invited to participate in this project because you are an expert in this field, having created virtual reality artworks with tools such as the Google Tilt Brush.
PARTICIPATION Your participation will involve a Skype audio-recorded interview that will take approximately one hour of your time. The required window of time is any time of your choosing between December 2017 and February 2018. The audio recording will be transcribed and will be available for you to review.
Questions will include: Could you discuss the technologies you use in your digital drawing practices? What do you like about it? Could you also tell me about your analogue or other drawing practices and what media or materials do you use there? Could you tell me a bit more about the experiences of drawing in the different media, for example analogue and VR drawing?
Your participation in this project is entirely voluntary. If you do agree to participate you can withdraw from the project without comment or penalty. After the interview has been transcribed, you will be emailed a transcript, and you have up to two weeks from the date of the email to request any changes or withdraw from the project
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without comment or penalty. If you withdraw from the project, within two weeks from receiving your interview transcript, any identifiable data will be destroyed. Your decision to participate or not participate will in no way impact upon your current or future relationship with QUT.
EXPECTED BENEFITS Drawing with the Google Tilt Brush in virtual reality (VR) is a relatively new medium for fine artists and the research in this area is currently developing and expanding. It is expected that this project will most likely not benefit you directly, however, it hopes to benefit the future development of VR drawing projects by exploring the similarities and transfer from analogue drawing practices to digital drawing practices. As there is no immediate benefit to you, as a participant in this study, however, as a practicing electronic artist working in VR, you may find insights of value when the research is published.
RISKS The research team has identified the following potential risk in taking part to this research project: Inconvenience in taking the interview; you will have to set aside time to participate in the research, however the interview will be organised at a time and venue convenient for you. Discomfort in participating in the interview; you might be uncomfortable with any of the questions that might be asked or uncomfortable with the interview being audio recorded. You can skip any question you do not feel comfortable with plus also request to not have any audio recordings. The interview can be paused (or ceased) at any time. At any time, you have the option of withdrawing from the process and, if necessary, discontinue your participation if discomfort or inconvenience is caused. There is a risk of misrepresenting the ideas of participants and so cause them a reputational or image risk. A debrief of each session will be conducted in case any uncomfortable issues were discussed during the interview process. You will be provided with transcripts of your session so that you can review and, where required, amend your statements to minimise any risk of misinterpretation. You will be named as an interview subject in this work.
PRIVACY AND CONFIDENTIALITY To acknowledge your insights and contribution to this research, you will be acknowledged by name in my Master’s thesis and any publications that arise from this research.
As the project involves an audio recording: You will have the opportunity to verify your comments and responses prior to final inclusion. The audio recording will be destroyed 5 years after the last publication. The audio recording will not be used for any other purpose. Only the named researchers will have access to the audio recording. It is possible to participate in the project without being audio recorded.
Any data collected as part of this project will be stored securely as per QUT’s Management of research data policy.
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CONSENT TO PARTICIPATE We would like to ask you to sign a written consent form (enclosed) to confirm your agreement to participate.
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QUESTIONS / FURTHER INFORMATION ABOUT THE PROJECT If you have any questions or require further information please contact one of the listed researchers:
Heli Puhakka [email protected] Jen Seevinck [email protected] 07 3138 5589 Tomasz Bednarz [email protected] 07 3138 7235
CONCERNS / COMPLAINTS REGARDING THE CONDUCT OF THE PROJECT QUT is committed to research integrity and the ethical conduct of research projects. However, if you do have any concerns or complaints about the ethical conduct of the project you may contact the QUT Research Ethics Advisory Team on 07 3138 5123 or email [email protected]. The QUT Research Ethics Advisory Team is not connected with the research project and can facilitate a resolution to your concern in an impartial manner.
THANK YOU FOR HELPING WITH THIS RESEARCH PROJECT. PLEASE KEEP THIS SHEET FOR YOUR INFORMATION.
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7.2 APPENDIX B: Journal of Analogue and Digital Drawing
Since commencing my research in February 2017, I have been journaling my drawing practice in both analogue (charcoal life drawings on paper) and VR (Google Tilt Brush). The journals contain photos of the charcoal life drawings and screen shots of the VR drawings. In one year I completed three journals, with each journal consisting of 250 pages. These journals have allowed me to discover themes and codes in my creative practice that align with the theories in my research and literature review. Some of these insights and theories include discoveries with embodiment, disembodiment, presence, immersion and drawing with light.
Links to GTB animations: https://www.behance.net/helipuhakka
Puhakka, H. (2017). Journals of analogue and digital drawing. Selected samples from the journal. Drawing conducted at QUT Kelvin Grove, using the Google Tilt Brush. Drawings dated March to December 2017.
Figure 34. Photo of three completed journals. Each journal is 250 pages in length (Puhakka, 2017).
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Figure 35. Photo of three completed journals. (Puhakka, 2017).
Figure 36. Drawings from journal (Puhakka, 2017).
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Figure 37. Drawings from journal (Puhakka, 2017).
Figure 38. Drawings from journal (Puhakka, 2017).
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Figure 39. Drawings from journal (Puhakka, 2017).
Figure 40. Drawings from journal (Puhakka, 2017).
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Figure 41. Drawings from journal (Puhakka, 2017).
Figure 42. Drawings from journal (Puhakka, 2017).
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Figure 43. Drawings from journal (Puhakka, 2017).
Figure 44. Drawings from journal (Puhakka, 2017).
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Figure 45. Drawings from journal (Puhakka, 2017).
Figure 46. Drawings from journal (Puhakka, 2017).
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Figure 47. Drawings from journal (Puhakka, 2017).
Figure 48. Drawings from journal (Puhakka, 2017).
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Figure 49. Drawings from journal (Puhakka, 2017).
Figure 50. Drawings from journal (Puhakka, 2017).
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Figure 51. Drawings from journal (Puhakka, 2017).
Figure 52. Drawings from journal (Puhakka, 2017).
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Figure 53. Drawings from journal (Puhakka, 2017).
Figure 54. Drawings from journal (Puhakka, 2017).
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Figure 55. Drawing with Google Tilt Brush (Puhakka, 2017).
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Figure 56. Drawing with Google Tilt Brush (Puhakka, 2017).
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Figure 57. Side view of drawing created with Google Tilt Brush. Digital drawing from side view shows curvature in figure which illustrates embodied gesture of arm while drawing (Puhakka, 2017).
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Figure 58. Side view of drawing created with Google Tilt Brush (Puhakka, 2017).
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Figure 59. Side view of drawing created with Google Tilt Brush. Digital drawing from side view shows curvature in figure which illustrates embodied gesture of arm while drawing (Puhakka, 2017).
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Figure 60. Front view of drawing created with Google Tilt Brush (Puhakka, 2017).
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Figure 61. Front view of drawing created with Google Tilt Brush (Puhakka, 2017).
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Figure 62. Side view of drawing created with Google Tilt Brush. Digital drawing from side view shows curvature in figure which illustrates embodied gesture of arm while drawing (Puhakka, 2017).
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Figure 63. Life drawing created with charcoal (Puhakka, 2017).
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Figure 64. Front view of drawing created with Google Tilt Brush (Puhakka, 2017).
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Figure 65. Drawing created with charcoal on paper (Puhakka, 2017).
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Figure 66. Drawing created with charcoal on paper (Puhakka, 2017).
Figure 67. Front view of drawing created with Google Tilt Brush (Puhakka, 2017).
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Figure 68. Three-quarter view of drawing created with Google Tilt Brush (Puhakka, 2017).
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Figure 69. Front view of drawing created with Google Tilt Brush (Puhakka, 2017).
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7.3 APPENDIX C: SUMMARY OF QUESTIONS, METHODS, EVIDENCE AND OUTCOMES.
The below table summarises the questions, methods, evidence and corresponding outcomes for this project.
Research Question Outcomes Primary Section where this is discussed method for achieving outcome
Chapter 4: RQ1: What are the Insights into Journaling differences between VR drawing alongside my Observations from my creative practice analogue and practices. creative immersive digital practice. Chapter 5: drawing techniques Evidence and Interviewee insights when drawing the findings from Interviewing human form? interviews. other artists Chapter 6: Discussion
SQ1.1: How can Insights into Memoing. Chapter 3: creative drawing VR drawing Themes, codes and journaling challenges such as practices. Analogue proportion, scale and drawing with Chapter 4: technique, inform Interactive charcoal. Observations from my creative practice - drawing practice of VR drawings. Canvas size, depth, transparency, light, the human form in VR drawing brushes and effects. immersive Practitioner practice. environments? considerations for creating Chapter 5: drawings. Interview data – proportion, scale, techniques, digital tools, depth, layers of light, pressure, leaning on.
RQ2: What is the Insights into Interviewing Chapter 2: experience of drawing VR drawing experts. Literature review the human form in practices. immersive Thematic Chapter 4: environments such as Practitioner analysis of Observations from my creative practice - virtual reality? considerations creative Similarities and differences of analogue and for creating practice for digital drawing, canvas size, depth, drawings. experts. transparency, light, brushes and effects
Interactive Chapter 5: VR drawings. Interview data – digital tools, depth, layers of light, pressure, leaning on. Evidence and findings from interviews. RQ3: How can Insights into Memoing. Chapter 3: analogue life drawing VR drawing Themes, codes and journaling practices be redefined practices. Analogue in the virtual reality drawing with Chapter 4: space? charcoal. Observations from my creative practice - Canvas size, depth, transparency, light, Practitioner VR drawing brushes and effects. considerations practice. for creating Chapter 5: drawings. Interview data – digital tools, depth, layers of light, pressure, leaning on.
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7.4 APPENDIX D: Research Integrity Online (Rio) Quiz
Research Integrity Online for Students
Research Integrity Online
Heli Puhakka
18 March 2017
7.5 APPENDIX E: Coursework Summary
KKP601 Approaches to Research in the Creative Industries Assessment 1 – Oral Presentation completed 18 April, 2017. Assessment 2 – Research Report completed 26 May 2017.
IFN001 Advanced Information Research Skills Assessment 1 – AIRS completed 26 April, 2017.
RIO Research Integrity Online Assessment 1 – RIO completed 18 March, 2017.
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7.6 APPENDIX F: Interview Questions
These are the questions for the creative practice participants who I interviewed in my research:
1. Could you tell me a bit about your creative practice? How would you describe what you do? What do you call it?
2. Could you discuss the technologies you use in your digital drawing practices? What do you like about it?
3. Could you also tell me about your analogue or other drawing practices and what media or materials do you use there?
4. Could you tell me a bit more about the experiences of drawing in the different media, for example analogue and VR drawing?
5. Can you talk about a bit about any themes in your drawing practices? I’m particularly interested in any that might be relating across analogue and VR drawing practices.
6. Can you talk a bit about the creative practitioners who have inspired you? Are these artists practicing in both analogue drawing practices and VR drawing practices? What do you like about their practice?
7. Do you have anything else you would like to add?
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7.7 APPENDIX G: Interview Transcription 1
Interview recorded on 29/05/18 with Paula Dawson.
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7.8 APPENDIX H: Interview Transcription 2
Interview recorded on 19/07/18 with Jaymis Loveday.
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7.9 APPENDIX I: Interview Transcription 3
Interview recorded on 21/05/18 with Paul Thomas.
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