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Bi-Manual 3D Painting: An Interaction Paradigm for Augmented Reality Live Performance

Bi-Manual 3D Painting: An Interaction Paradigm for Augmented Reality Live Performance

Alexis Clay, Jean-Christophe Lombardo, Nadine Couture, Julien Conan
Copyright: © 2014 |Pages: 8
ISBN13: 9781466644908|ISBN10: 1466644907|EISBN13: 9781466644915
DOI: 10.4018/978-1-4666-4490-8.ch038
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MLA

Clay, Alexis, et al. "Bi-Manual 3D Painting: An Interaction Paradigm for Augmented Reality Live Performance." Advanced Research and Trends in New Technologies, Software, Human-Computer Interaction, and Communicability, edited by Francisco Vicente Cipolla Ficarra, IGI Global, 2014, pp. 423-430. https://doi.org/10.4018/978-1-4666-4490-8.ch038

APA

Clay, A., Lombardo, J., Couture, N., & Conan, J. (2014). Bi-Manual 3D Painting: An Interaction Paradigm for Augmented Reality Live Performance. In F. Cipolla Ficarra (Ed.), Advanced Research and Trends in New Technologies, Software, Human-Computer Interaction, and Communicability (pp. 423-430). IGI Global. https://doi.org/10.4018/978-1-4666-4490-8.ch038

Chicago

Clay, Alexis, et al. "Bi-Manual 3D Painting: An Interaction Paradigm for Augmented Reality Live Performance." In Advanced Research and Trends in New Technologies, Software, Human-Computer Interaction, and Communicability, edited by Francisco Vicente Cipolla Ficarra, 423-430. Hershey, PA: IGI Global, 2014. https://doi.org/10.4018/978-1-4666-4490-8.ch038

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Abstract

The rise of gestural interaction led artists to produce shows or installations based on this paradigm. The authors present the first stages of the “Sculpture Numérique” (Virtual Sculpture) project. This project was born from a collaboration with dancers. Its goal is to propose bi-manual interactions in a large augmented space, giving dancers the possibility to generate and manipulate virtual elements on stage using their hands. The first set of interactions presented in this chapter is 3D painting, where the user can generate 3D virtual matter from his hands. The movement of the hand defines a stroke, and shape is controlled by the shape of the hand. Changing the shape and orientation of the hand allows switching between three interaction modes to produce volumes, surfaces, or curves in space. The authors explore the applicative case of dance, with the goal of producing a plastic creation from choreography.

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