To complement studies on design sketching within particular phases of design processes in specific design domains, this paper analyzes descriptions of design processes given by designers from a wide variety of fields. This research forms part of a wider project on comparisons across design domains and draws attention to the many types and properties of sketches in different contexts. Further, it focuses on the multiple roles that sketching can take in idea generation, as well as in reasoning and communicating design ideas. In particular this paper examines how the different types and roles of sketches can be more or less formal and how this can lead to misunderstandings.

This paper explores the relationship between the quality of a sketch and how others perceive the creativity of the idea portrayed by the sketch. In this study, sketch quality is characterized through its line work, perspective, and proportions. Four different toaster ideas were each sketched by four people with different backgrounds and levels of sketching proficiency. Then, 360 reviewers ranked the toasters for idea creativity, referring to a set of four sketches: one sketch for each toaster concept. The level of sketch quality for each toaster concept was varied among one of four quality levels. Higher quality idea sketches were found to correlate with higher creativity rank (p > 0.005), and lower quality sketches correlated with a lower creativity rank (p > 0.0005). A toaster idea portrayed with the highest quality level of sketch was 2.3 times more likely to be ranked as the most creative idea within the given set of idea sketches. The results underscore the importance of how an idea is presented, and support the need for sketching instruction in engineering and design curriculum.

The goal of this paper is to reexamine assumptions about sketch-based interfaces for modeling in the context of designers' needs and practices. Research questions examine (a) the type of sketch support and (b) the timing of support. Both concepts try to determine when, what, why and how to augment design processes in a way that is useful to designers. Two experiments (one in architecture and one in product design) based on ergonomics theory are conducted and intend to question some of these assumptions. The Port Zeeland experiment examines how 20 novices perceive and copy a blurred architectural sketch, which provides clues for a sketch interpretation system. The “Tragere” experiment studies how 12 professional product designers, some of whom are “idea generators” and others “idea pursuers,” perceive, recognize, and handle a design sketch. The results take a designer's point of view in assessing the timing and value of sketch assistance in product design. The quantitative data analysis provides rich clues about when, why and how product sketches should be supported. The paper explores the strategies developed by designers to perceive and recognize graphical content and discusses the generation of three-dimensional volumes, the univocity state between sketches and three-dimensional models, and the treatment of features in freehand sketches. The paper concludes with observations on the timing and value of support, as first integrated in NEMo, a tool for early stage architectural design, and then in PEPS3, an early stage framework for product design.

The value of sketching in engineering design has been widely documented. This paper reviews trends in recent studies on sketching in engineering design and focuses on the encouragement of sketching. The authors present three experimental studies on sketching that look at (1) sketching assignments and their motivation, (2) the impact of a sketching lesson, and (3) the use of Smartpen technology to record sketching; overall these studies address the research question: Can sketching frequency be influenced in engineering education? Influencing sketching frequency is accomplished through motivation, learning, and use of technology for sketching, respectively. Results indicate that these three elements contribute to the encouragement of sketching in engineering design.

This paper presents a preliminary comparison between the role of computer-aided design (CAD) and sketching in engineering through a case study of a senior design project and interviews with industry and academia. The design team consisted of four senior level mechanical engineering students each with less than 1 year of professional experience are observed while completing an industry sponsored mechanical engineering capstone design project across a 17 week semester. Factors investigated include what CAD tools are used, when in the design process they are implemented, the justification for their use from the students' perspectives, the actual knowledge gained from their use, the impact on the final designed artifact, and the contributions of any sketches generated. At each design step, comparisons are made between CAD and sketching. The students implemented CAD tools at the onset of the project, generally failing to realize gains in design efficiency or effectiveness in the early conceptual phases of the design process. As the design became more concrete, the team was able to recognize clear gains in both efficiency and effectiveness through the use of computer assisted design programs. This study is augmented by interviews with novice and experienced industry users and academic instructors to align the trends observed in the case study with industry practice and educational emphasis. A disconnect in the perceived capability of CAD tools was found between novice and experienced user groups. Opinions on the importance of sketching skills differed between novice educators and novice industry professionals, suggesting that there is a change of opinion as to the importance of sketching formed when recent graduates transition from academia to industry. The results suggest that there is a need to emphasize the importance of sketching and a deeper understanding as to the true utility of CAD tools at each stage of the design process.

The hierarchical construction of solid models with current computer-aided design systems provide little support in creating and editing free-form surfaces commonly encountered in industrial design. In this work, we propose a new design exploration method that enables sketch-based editing of free-form surface geometries where specific modifications can be applied at different levels of detail. This multilevel detail approach allows the designer to work from existing models and make alterations at coarse and fine representations of the geometry, thereby providing increased conceptual flexibility during modeling. At the heart of our approach lies a multiscale representation of the geometry obtained through a spectral analysis on the discrete free-form surface. This representation is accompanied by a sketch-based surface editing algorithm that enables edits to be made at different levels. The seamless transfer of modifications across different levels of detail facilitates a fluid exploration of the geometry by eliminating the need for a manual specification of the shape hierarchy. We demonstrate our method with several design examples.

Although many approaches to digital ink recognition have been proposed, most lack the flexibility and adaptability to provide acceptable recognition rates across a variety of problem spaces. This project uses a systematic approach of data mining analysis to build a gesture recognizer for sketched diagrams. A wide range of algorithms was tested, and those with the best performance were chosen for further tuning and analysis. Our resulting recognizer, RATA.Gesture, is an ensemble of four algorithms. We evaluated it against four popular gesture recognizers with three data sets; one of our own and two from other projects. Except for recognizer–data set pairs (e.g., PaleoSketch recognizer and PaleoSketch data set) the results show that it outperforms the other recognizers. This demonstrates the potential of this approach to produce flexible and accurate recognizers.