定格动画草图外文翻译资料

Sketching with Stop Motion Animation

Unlike product designers and architects, many current interaction designers have not had design training in its traditional sense, i.e., studio work, model building, and design critique sessions. Rather, they typically come from computer science, informatics, engineering, psychology, behavioral sciences, or anthropology. Others have joined from media studies, Web design, or advertising. Some are autodidacts. Needless to say, this diversity has brought with it the skills, practices, and perspectives that together shape what we today call interaction design. Yet the diversity has one distinct disadvantage. Unlike designers from the traditional disciplines where it is considered a core skill, many of these interaction designers have not been introduced to the prominence of sketching as a way of thinking and progressing in design work or received proper training in it. Quite to the contrary, sketching is still often considered ad hoc, unsystematic, or simply unscientific—not least in academic circles—and as such unacceptable as a basis for making design decisions and evolving serious work. As the field of interaction design is growing steadily in scope, importance, and recognition within academia as well as industry, there is a need to further develop and professionalize what it means to be an interaction designer. We argue that one of the most important skills of such a designer is the ability to use and feel confident in sketching as a tool for thinking. In traditional design fields, sketching has long been recognized as a core professional skill. Sketching is even considered, by some, to be the very essence of what design work is about; some would say from the earliest stages of design work, the designerrsquo;s thinking is “mediated by the sketches or visible notes that they make to familiarize themselves with the material they are manipulating”. A rather insistent view is to think of sketching as a way to externalize “images” already present in the mind of the designer, that the form, appearance, and character of artifacts yet intangible are transferred from the designerrsquo;s mind through the hand holding of the pen onto paper. Recent design theory, however, points to the role of sketching as a tool for thinking—the designer, when sketching, is reading and interpreting the sketch, explaining it, reinterpreting it, and eventually rephrasing it. Goldschmidt notes the interplay between different modes of seeing that is needed on the part of the designer in this process, between seeing-as and seeing-that, a process Stolterman characterizes as “externalizing ideas and interpreting external representations as ideas”. The sketch itself, i.e., the artifact, still reflects the designerrsquo;s vision, but it is not a replica of that vision. In fact, the distance between the vision and the sketch provides a useful space for thinking; it provides a window of opportunity for experimentation, play, and lingering with details, wholes, and the relationship between them. Substantial effort is currently being invested in human-computer interaction (HCI) and interaction design in developing and proposing new theoretical approaches, methods, and tools that are intended to support designers in their practice. Likewise, prototyping has a long-standing history in HCI, and an interest in the role and meaning of the research prototype itself has recently surfaced. The role of sketching—the tools and techniques for practicing and improving it, and differences and similarities between sketching and prototyping—is still not a major topic. This seems rather surprising on many levels, mostly because digital artifacts generally have qualities and characteristics that are hard to capture with traditional means of sketching. Pen and paper are excellent for thinking through and catching the spirit of a new car, a table, or a building, but they cannot as effectively capture the flow of a computer interface, the seamless experience of a ubiquitous environment, or the pliable quality of a multitouch system. To find ways of dealing with some of these qualities, we have explored the potential of stop motion animation as a sketching technique.

Stop Motion Animation Stop motion animation, sometimes called stop-frame animation, is a basic form of animation typically applied to make everyday physical objects appear to be alive. It builds on moving objects in small increments between individually photographed frames; when the series of slightly different pictures is combined and played back in continuous sequence, magic happens. The illusion of movement is created. For example, to bring an ordinary object, such as an office chair, to life, stop motion animators would set up a digital camera, typically on a tripod, and prepare the scene, i.e., what the camera sees from its position. The office chair is then moved around in front of the camera in small increments, with the animators capturing a new photo in between each manipulation. Using the same step-by-step technique, the chair is not only able to move but also to jump, turn, twist, fly, stand on two legs, and so on, using relatively simple means to defy gravity: fishing lines, sticky tape, and wiring. Substitution materials such as foam, cellophane, and chicken wire can also be applied creatively to make the chair disappear in a puff of smoke, turn into fluid, or morph into another object. Stop motion animation has a long history in filmmaking, beginning in 1898 with “The Humpty Dumpty Circus”. Other milestones include “The Automatic Moving Company” (1912), “King Kong” (1933), and some famous scenes from the original “Star Wars” trilogy (1977–1983). But when stop motion animation is mentioned these days, people tend to think of clay-animated movies like “Chicken Run” (2000) and “Wallace and Gromit: Curse of the Were-Rabbit” (2005). These successes show that despite the advancements of computer animation and the recent 3-D trend, there is s

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Sketching with Stop Motion Animation

定格动画草图

Unlike product designers and architects, many current interaction designers have not had design training in its traditional sense, i.e., studio work, model building, and design critique sessions. Rather, they typically come from computer science, informatics, engineering, psychology, behavioral sciences, or anthropology. Others have joined from media studies, Web design, or advertising. Some are autodidacts. Needless to say, this diversity has brought with it the skills, practices, and perspectives that together shape what we today call interaction design. Yet the diversity has one distinct disadvantage. Unlike designers from the traditional disciplines where it is considered a core skill, many of these interaction designers have not been introduced to the prominence of sketching as a way of thinking and progressing in design work or received proper training in it. Quite to the contrary, sketching is still often considered ad hoc, unsystematic, or simply unscientific—not least in academic circles—and as such unacceptable as a basis for making design decisions and evolving serious work. As the field of interaction design is growing steadily in scope, importance, and recognition within academia as well as industry, there is a need to further develop and professionalize what it means to be an interaction designer. We argue that one of the most important skills of such a designer is the ability to use and feel confident in sketching as a tool for thinking. In traditional design fields, sketching has long been recognized as a core professional skill. Sketching is even considered, by some, to be the very essence of what design work is about; some would say from the earliest stages of design work, the designerrsquo;s thinking is “mediated by the sketches or visible notes that they make to familiarize themselves with the material they are manipulating”. A rather insistent view is to think of sketching as a way to externalize “images” already present in the mind of the designer, that the form, appearance, and character of artifacts yet intangible are transferred from the designerrsquo;s mind through the hand holding of the pen onto paper. Recent design theory, however, points to the role of sketching as a tool for thinking—the designer, when sketching, is reading and interpreting the sketch, explaining it, reinterpreting it, and eventually rephrasing it. Goldschmidt notes the interplay between different modes of seeing that is needed on the part of the designer in this process, between seeing-as and seeing-that, a process Stolterman characterizes as “externalizing ideas and interpreting external representations as ideas”. The sketch itself, i.e., the artifact, still reflects the designerrsquo;s vision, but it is not a replica of that vision. In fact, the distance between the vision and the sketch provides a useful space for thinking; it provides a window of opportunity for experimentation, play, and lingering with details, wholes, and the relationship between them. Substantial effort is currently being invested in human-computer interaction (HCI) and interaction design in developing and proposing new theoretical approaches, methods, and tools that are intended to support designers in their practice. Likewise, prototyping has a long-standing history in HCI, and an interest in the role and meaning of the research prototype itself has recently surfaced. The role of sketching—the tools and techniques for practicing and improving it, and differences and similarities between sketching and prototyping—is still not a major topic. This seems rather surprising on many levels, mostly because digital artifacts generally have qualities and characteristics that are hard to capture with traditional means of sketching. Pen and paper are excellent for thinking through and catching the spirit of a new car, a table, or a building, but they cannot as effectively capture the flow of a computer interface, the seamless experience of a ubiquitous environment, or the pliable quality of a multitouch system. To find ways of dealing with some of these qualities, we have explored the potential of stop motion animation as a sketching technique.

不同于产品设计师和建筑师，目前许多交互设计师没有在传统意义上进行设计培训，即工作室工作、模型构建和设计批判研讨。相反，他们学习的是计算机科学、信息学、工程学、心理学、行为科学或人类学。有些人学习的是媒体研究、网页设计或广告。有些是自学者。毋庸置疑的是，这种多样性带来的技能、实践和观点共同塑造了今天我们所说的交互设计。然而，多样性有一个明显的缺点。不同于核心技能的传统学科的设计师，许多互动设计师不了解作为设计工作中的一种思维方式和进步方式的草图的重要性，也没有适当的培训。相反，草图通常被认为是特设的、非系统的或仅仅是不科学的，尤其是在学术界，而作为制定设计决策和发展重要工作的基础是不受欢迎的。随着交互设计领域在学术界和行业中的机会、重要性和认可度的平稳增长，需要进一步发展和专业化其作为交互设计师的意义。我们认为，交互设计师最重要的技能之一就是能够使用并对作为思考工具的草图有信心。在传统设计领域，草图长期以来被看作是核心专业技能。一些人甚至认为草图是设计工作的本质；有些人从设计工作的最初阶段来说，设计师的想法是“通过草图或可见的注释调解，使他们熟悉正在操做的材料”。一种坚持的观点视草图为使设计师脑海中已经存在的“图像”外部化的一种方法，即无形的手工艺品的形式、外观和特性通过手中的笔从设计师的脑海呈现到纸上。然而，最近的设计理论指出草图作为思维工具的作用— 设计师草绘的过程，即阅读和解读草图，解释它，重新诠释，并最终重新表达的过程。 Goldschmidt指出，在这个过程中，设计师需要不同观看模式（看作和鉴于）之间的相互作用，即Stolterman表征为“外部化想法和将外部表征诠释为想法”的过程。草图本身，即手工艺品，仍然反映了设计师的愿景，但不是该愿景的复制品。 事实上，愿景与草图之间的差距为思考提供了有效空间；它提供了试验、绘图，以及挥之不去的细节、整体和它们之间的关系的机会窗口。目前投入大量努力于人机互动（HCI）和交互设计，以开发和提出新的理论方法、研究方法和工具，旨在帮助设计师实践。同样，原型设计在HCI中也有着悠久的历史，最近也显露出研究原型本身的作用和意义的兴趣。草图的作用 — 用于实践和改进其作用和技术，以及草图和原型之间的异同 — 仍然不是一个主要话题。这在许多层面上似乎相当令人惊讶，主要是因为数字制品通常具有传统的草图绘制方法难以捕捉的性质特征。笔和纸非常适合思考和捕捉新车、桌子或建筑物的精神，但不能有效地捕捉计算机接口的流动、普适环境的无缝体验，或多点触控系统的柔韧品质。为了找到处理这些品质的方法，我们探讨了定格动画作为草图技术的潜力。

Stop Motion Animation Stop motion animation, sometimes called stop-frame animation, is a basic form of animation typically applied to make everyday physical objects appear to be alive. It builds on moving objects in small increments between individually photographed frames; when the series of slightly different pictures is combined and played back in continuous sequence, magic happens. The illusion of movement is created. For example, to bring an ordinary object, such as an office chair, to life, stop motion animators would s

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