User-centred Design Guideline for Complex Visual Content: A Case Study of an Innovative Digital Shadow Theater in Taiwan

CREATE 2010 30th June to 2nd July 2010, Edinburgh Napier University, UK User-centred Design Guideline for Complex Visual Content: A Case Study of an Innovative Digital Shadow Theater in Taiwan Tin-Kai Chen

About myself Tin-Kai Chen M.Sc M.Phil Ph.D Assistant Professor/Head of Human-Computer Interaction Lab Department of Digital Technology & Game Design Faculty of Art and Design SHU-TE University, Taiwan. Research Areas： • Human-Computer Interaction (HCI) • Design Research • Digital Game Design • Ergonomics 2

About Human-Computer Interaction Lab 3D presentation Tangible Interaction Table Digital Shadow Play AR (Augmented Reality) Projector- Projector-based interaction HCI 3

Definition of Shadow Play • "Shadow Play" is a set of comprehensive art involving literature, music, painting, crafts and Chinese drama. 4

Definition of Shadow Play • In the shadow play, the shadow of fur made characters with delicate carving and brilliant colours shadows. These shadow characters, which are projected by the man-made lights behind the curtain, could be seen by the audience in front of the curtain. • The Piying artists behind the curtain control the actions of the characters using sticks fastened to the shadow characters. 5 Figure : Horng Shinq Ger shadow show in Taiwan

Motivation • Owing to the impact of the modern media, the shadow theaters have been disappearing in contemporary society. • Nowadays, there are only five shadow show troupes in Taiwan and these are considered to be a priceless cultural asset. 6

Background Figure: Han’s multi-touch screen (Source: Han, 2005) Han, J. Y. (2005), Low-Cost Multi-Touch Sensing through Frustrated Total Internal Reflection. 7 In Proceedings of the 18th Annual ACM Symposium on User Interface Software and Technology, pp. 115-118.

Aim • This paper examines emerging interface paradigms, to a certain extent exemplified by the Digital Shadow Theater interface, for interacting with complex visual content. • Two case studies will be conducted to provide an overview of recent research devoted to the creation of intuitive, user-friendly interfaces and the conceptual analysis of design principles. 8

Digitalization Process Photographic Highlighting Removing the background Programming & Testing Producing the components 9

CASE 1 Design Case Study Digital Shadow Play Theater (Version 1) • The first design case study was developed and exhibited at the Kaohsiung Puppet Festival, from 14 to 22-Feb, 2010. In Taiwan, Kaohsiung County is known as the homeland of puppet arts. • The first version of the digital shadow play “Wu-Song and Tiger”. It is developed based on the 80" infrared- based multi-touch display. 10

CASE 1 Design Case Study Digital Shadow Play Theater (Version 1) Figures: The first version of the digital shadow show “Wu-Song and Tiger”, as demonstrated at the 11 Kaohsiung Puppet Festival 2010 (Chen and Chen, 2010)

CASE 1 Design Case Study Digital Shadow Play Theater (Version 1) • The first design case uncovered issues that had mainly to do with the cognition of the visual feedback with a large-scale display. • One problem detected was that if the user hit the characters that were not fully controlled by the touch event, then s/he had to stop playing in order to readjust the components. Indeed it de-motivated the users to interact with the interface. A similar problem was also found with the second design case. 12

CASE 2 Design Case Study Digital Shadow Play Theater (Version 2) • The second design case study was exhibited at the Exhibition of Shadow Art and Culture at the National Museum of History in Taiwan, from 23-April to 17-Oct, 2010. • Based on the problems identified by the first case study, this prototype is developed based on the 23” infrared- based multi-touch display. 13

Design Case Study CASE 2 Digital Shadow Play Theater (Version 2) Projector Multitouch screen 14

Design Case Study CASE 2 Digital Shadow Play Theater (Version 2) Figure: The second version of the digital shadow show “Wu-Song and Tiger”, as 15 demonstrated at the Exhibition of Shadow Art and Culture 2010.

Design Case Study CASE 2 Digital Shadow Play Theater (Version 2) • In the second case study, all touch events are captured by the two-point infrared-based desktop display. • It is cost-effective. • However, the following failures were found, including – inaccuracy, – inability to use multiple fingers to control the characters naturally, – the touch event size is too small to use the fingertip to operate, – etc. 16

Discussion • The design is, at this point of time, simple and has been shown to be versatile and feasible for digital shadow theater. 17

Recommendation • Based on the case study, the following design factors are recommended for design innovation to create a digital shadow play. • Screen size: It is found that users preferred the large screen interaction because they had more freedom during interaction and could solve the presented task significantly faster. • Touch size: It can be said that the larger the size to trigger a touch, the higher the accuracy of the interaction. However, touch is a very intuitive modality for interacting with objects displayed on surfaces. • User-friendly: It is highly risky for an audience, in particular of children, to damage the stage and themselves. For instance, the physics engine is integrated for both design cases, which allows the creation to “jump”, “hit” and “fall”. However, the introduction of this new element highlighted some problems with the interpretation of the shadow characters’ movements which could not easily be understood by children. Thus, when the shadow characters sometimes cause a temporary disappearance, users might damage the stage due to their over-vigorous activities. 18

Future Study • As for the research methodology for the evaluation of the multi-touch interaction, there is an insufficient, objective, evaluation metric, which needs to be further studied. • The next steps are to develop a digital shadow play to allow Piying artists to control the actions of characters based on his/her experience, which is similar to using sticks fastened to the characters. 19

Thank you for listening. Tin-Kai Chen MSc MPhil PhD tkchen@acm.org 人本設計就是要了解使用者 20 User-centred design approach is about understanding your users.

Latest Version CASE 3 Digital Shadow Play Theater (Version 3) 21

About Recent Projects 3D presentation on a large screen 3D presentation on a container AR Moo Card 1 AR Moo Card 2 22

Background •Ugur Güdükbay, Fatih Erol and Nezih Erdogan. (2000), Beyond Tradition and Modernity: Digital Shadow Theater, Leonardo, 33(4), pp. 264-265. •Ugur Gudukbay and Tolga Abaci. (2002), Karagoz: A Hierarchical Modeling and Animation System for Turkish Shadow Theater, Fine Art Forum, 61(1), [Electronic Journal: Available at http://www.fineartforum.org/Backissues/Vol_16/faf_v16_n01/ text/karagoz.html] (accessed March. 6, 2010). 23 圖、土耳其傳統皮影戲『卡拉戈茲』(Karagöz)故事中的數位戲偶 (Ugur and Tolga, 2002)

User-centred Design Guideline for Complex Visual Content: A Case Study of an Innovative Digital Shadow Theater in Taiwan

by Create Conference 2010 on Sep 30, 2010

Accessibility

Tags

Upload Details

Usage Rights

2 Embeds 85

Statistics

User-centred Design Guideline for Complex Visual Content: A Case Study of an Innovative Digital Shadow Theater in Taiwan — Presentation Transcript

http://www.create-conference.org	84
url_unknown	1