Product designers extensively use sketches to create and communicate 3D shapes and thus form an ideal audience for sketch-based modeling, non-photorealistic rendering and sketch filtering. However, sketching requires significant expertise and time, making design sketches a scarce resource for the research community. We introduce OpenSketch , a dataset of product design sketches aimed at offering a rich source of information for a variety of computer-aided design tasks. OpenSketch contains more than 400 sketches representing 12 man-made objects drawn by 7 to 15 product designers of varying expertise. We provided participants with front, side and top views of these objects, and instructed them to draw from two novel perspective viewpoints. This drawing task forces designers to construct the shape from their mental vision rather than directly copy what they see. They achieve this task by employing a variety of sketching techniques and methods not observed in prior datasets. Together with industrial design teachers, we distilled a taxonomy of line types and used it to label each stroke of the 214 sketches drawn from one of the two viewpoints. While some of these lines have long been known in computer graphics, others remain to be reproduced algorithmically or exploited for shape inference. In addition, we also asked participants to produce clean presentation drawings from each of their sketches, resulting in aligned pairs of drawings of different styles. Finally, we registered each sketch to its reference 3D model by annotating sparse correspondences. We provide an analysis of our annotated sketches, which reveals systematic drawing strategies over time and shapes, as well as a positive correlation between presence of construction lines and accuracy. Our sketches, in combination with provided annotations, form challenging benchmarks for existing algorithms as well as a great source of inspiration for future developments. We illustrate the versatility of our data by using it to test a 3D reconstruction deep network trained on synthetic drawings, as well as to train a filtering network to convert concept sketches into presentation drawings. We distribute our dataset under the Creative Commons CC0 license: https://ns.inria.fr/d3/OpenSketch.
Digital technologies have enabled design sketching to expand into new applications and domains. Inevitably, these new forms of visualisation require re-evaluating how we use drawing to see, visualise, understand, and fabricate products and services in design education and the profession. This paper presents a selection of discoveries after the authors performed research, made presentations and mediated workshops when face-to-face collaborations and travel were impossible because of the Covid-19 epidemic restrictions. Findings add to work intending to build a modern taxonomy for design sketching and visual knowledge while accounting for immersive virtual collaboration and distributed workflows from sketching to 3D CAD and 3D printing. These are among the first indications of a drive towards synthesising historically demarked design process stages into a singularity of actions that merge and move simultaneously among ideation, design, and production. Participants in two international conference workshops shared ideas and discussed their local circumstances relating to the potential use and acceptance of new technologies already researched and adopted in other disciplines such as computer science and entertainment. A critical consensus was that the challenge of new technologies for our design education and profession is not as much about technology and its tools as the process and steps that enable change. Significantly, conversation pointed towards a strategy that enhances and augments habits in design education and the profession as the means to modify and transform culture and practice.
Today's global context of mass-produced items has resulted in an increasing ‘distance’, or alienation, between people and the origins of the items they buy and use: an unhealthy human-product relationship.This observation permits the search for an alternative interpretation of well-being: a transformation that would support resilience and self sufficiency, and a better human product relationship or ‘a new partnership’, as advocated by various scholars.In this paper, this new partnership is considered through supporting ‘Do-It-Yourself’ (DIY) product design: a scenario in which professional designers facilitate laypersons to design for themselves. Anticipating (1) the designer's responsibility, and (2) the layperson's innate desire to create, this paper introduces a ‘Design for DIY’ framework method to help bridge the knowledge gap between the product designer and the layperson.The initial starting points of this study, complemented by a range of ‘Design for DIY’ studies, and an exploration of existing design frameworks and design models, resulted in the design of a ‘Design-for-DIY’ framework. This paper concludes with recommendations for the testing and further development of the Design-for-DIY framework.
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