{"id":{"repo_id":"mit","oai_identifier":"oai:dspace.mit.edu:1721.1/37265"},"canonical_url":"https://search.dev.ndltd.org/etd/mit/oai:dspace.mit.edu:1721.1/37265","repository":{"repo_id":"mit","name":"MIT","base_url":"https://dspace.mit.edu/oai/request"},"display":{"title":"The immediacy of the artist's mark in shape computation : from visualization to representation","abstract":"Approaches to shape computation and algorithmic art-making within the fields of shape grammars and computer graphics still do not consider the immediacy of the artist's mark in drawing and painting. This research examines the canvas, or 2D picture plane, as the expressive and dynamic problem space of the artist who naturally reframes both the problem and the solution with each successive mark. The fluidity of the artist's mark is the most important element in transforming the blank canvas into an image. In this research, I use my own traditionally drawn and painted artwork as the baseline corpus for analysis. From my analysis, I define a nonsymbolic, formal grammar for the synthesis of images in the style of the baseline corpus and develop software prototype \"sketches\" to support the geometric representation of freehand sketching consistent with mark-making. Curve generation is critical to the expressive marks of the artist. The result of this research is a curvilinear shape grammar that supports both explicit and implicit shape recognition while affording the artist the ability to draw (shape union) and erase (shape difference) computationally.","abstract_html":"Approaches to shape computation and algorithmic art-making within the fields of shape grammars and computer graphics still do not consider the immediacy of the artist's mark in drawing and painting. This research examines the canvas, or 2D picture plane, as the expressive and dynamic problem space of the artist who naturally reframes both the problem and the solution with each successive mark. The fluidity of the artist's mark is the most important element in transforming the blank canvas into an image. In this research, I use my own traditionally drawn and painted artwork as the baseline corpus for analysis. From my analysis, I define a nonsymbolic, formal grammar for the synthesis of images in the style of the baseline corpus and develop software prototype "sketches" to support the geometric representation of freehand sketching consistent with mark-making. Curve generation is critical to the expressive marks of the artist. The result of this research is a curvilinear shape grammar that supports both explicit and implicit shape recognition while affording the artist the ability to draw (shape union) and erase (shape difference) computationally.","abstract_has_math":false,"creators":["Martino, Jacquelyn A"],"institution":"Massachusetts Institute of Technology","degree_name":null,"degree_level":null,"degree_discipline":null,"degree_department":"Massachusetts Institute of Technology. Dept. of Architecture.","school":null,"contributors":[],"advisors":["Gregory Stiny and Terry Knight."],"committee_chairs":[],"committee_members":[],"year":2006,"date_issued":"2006","date_published":"2006","updated_at":"2026-07-22T22:22:13Z","subjects":["Architecture."],"languages":["eng"],"rights":["M.I.T. theses are protected by copyright. They may be viewed from this source for any purpose, but reproduction or distribution in any format is prohibited without written permission. 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From my analysis, I define a nonsymbolic, formal grammar for the synthesis of images in the style of the baseline corpus and develop software prototype \"sketches\" to support the geometric representation of freehand sketching consistent with mark-making. Curve generation is critical to the expressive marks of the artist. The result of this research is a curvilinear shape grammar that supports both explicit and implicit shape recognition while affording the artist the ability to draw (shape union) and erase (shape difference) computationally.","(cont.) I compare the results of the synthesis phase with my traditional sketches showing that it is possible to compute imagery consistent with the evolving style of the artist's own hand. Additionally, the analysis phase of the research supports the supposition that formal algorithmic understanding of one's artistic process has directive and positive influences on the evolution and refinement of the style."]},{"key":"dc:description.degree","label":"Dc Description Degree","values":["Ph.D."]},{"key":"dc:title","label":"Title","values":["The immediacy of the artist's mark in shape computation : from visualization to representation"]}]}],"canonical_facts":{"dc:contributor.advisor":["Gregory Stiny and Terry Knight."],"dc:contributor.department":["Massachusetts Institute of Technology. Dept. of Architecture."],"dc:contributor.other":["Massachusetts Institute of Technology. Dept. of Architecture."],"dc:creator":["Martino, Jacquelyn A"],"dc:date.accessioned":["2007-09-27T20:17:10Z"],"dc:date.available":["2007-09-27T20:17:10Z"],"dc:date.issued":["2006"],"dc:description":["Thesis (Ph. 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