We present a visualization design study of creating a collaborative virtual reality (VR) system for radiation treatment planning, with an emphasis on proton therapy. The goal is to support teams of dosimetrists, physicians, and medical physicists as they review and compare multiple possible patient-specific treatment plans, which requires analyzing complex 3D spatial relationships between a radiation dosage volume and anatomical structures. The approach is a novel combination and refinement of interactive visualization techniques including: networked multi-user immersive visualization, interactive volume rendering and slicing with 3D widgets and gestures, superimposed surface rendering with GPU-accelerated curvature-directed lines, smart cursors, teleporting, and avatars. These features are integrated within a workflow that supports three complementary modes of visual data comparison (juxtaposition, interchangeable, and explicit encoding). Results and feedback from multi-year iterative development with users and a summative field deployment in the form of a mock plan-review meeting reveal several advantages relative to current clinical practice and suggest directions for future work.

Inspired by recent advances in digital fabrication, artists and scientists have demonstrated that physical data encodings (i.e., data physicalizations) can increase engagement with data, foster collaboration, and in some cases, improve data legibility and analysis relative to digital alternatives. However, prior empirical studies have only investigated abstract data encoded in physical form (e.g., laser cut bar charts) and not continuously sampled spatial data fields relevant to climate and medical science (e.g., heights, temperatures, densities, and velocities sampled on a spatial grid). This paper presents the design and results of the first study to characterize human performance in 3D spatial data analysis tasks across analogous physical and digital visualizations. Participants analyzed continuous spatial elevation data with three visualization modalities: (1) 2D digital visualization; (2) perspective-tracked, stereoscopic "fishtank" virtual reality; and (3) 3D printed data physicalization. Their tasks included tracing paths downhill, looking up spatial locations and comparing their relative heights, and identifying and reporting the minimum and maximum heights within certain spatial regions. As hypothesized, in most cases, participants performed the tasks just as well or better in the physical modality (based on time and error metrics). Additional results include an analysis of open-ended feedback from participants and discussion of implications for further research on the value of data physicalization. All data and supplemental materials are available at https://osf.io/7xdq4/.

This January 2025 issue of the IEEE Transactions on Visualization and Computer Graphics (TVCG) contains the proceedings of IEEE VIS 2024, held on October 1318 October, 2024 in St. Pete Beach, Florida, USA, with the three General Chairs Paul Rosen (University of Utah), Kristi Potter (U.S. National Renewable Energy Laboratory), and Remco Chang (Tufts University). With IEEE VIS 2024, the conference series is in its 35th year.

To understand current practice and explore the potential for more comprehensive evaluations of 3D immersive sketching, drawing, and painting, we present a survey of evaluation methodologies used in existing 3D sketching research, a breakdown and discussion of important phases (sub-tasks) in the 3D sketching process, and a framework that suggests how these factors can inform evaluation strategies in future 3D sketching research. Existing evaluations identified in the survey are organized and discussed within three high-level categories: 1) evaluating the 3D sketching activity, 2) evaluating 3D sketching tools, and 3) evaluating 3D sketching artifacts. The new framework suggests targeting evaluations to one or more of these categories and identifying relevant user populations. In addition, building upon the discussion of the different phases of the 3D sketching process, the framework suggests to evaluate relevant sketching tasks, which may range from low-level perception and hand movements to high-level conceptual design. Finally, we discuss limitations and challenges that arise when evaluating 3D sketching, including a lack of standardization of evaluation methods and multiple, potentially conflicting, ways to evaluate the same task and user interface usability; we also identify opportunities for more holistic evaluations. We hope the results can contribute to accelerating research in this domain and, ultimately, broad adoption of immersive sketching systems.

We present V-Mail, a framework of cross-platform applications, interactive techniques, and communication protocols for improved multi-person correspondence about spatial 3D datasets. Inspired by the daily use of e-mail, V-Mail seeks to enable a similar style of rapid, multi-person communication accessible on any device; however, it aims to do this in the new context of spatial 3D communication, where limited access to 3D graphics hardware typically prevents such communication. The approach integrates visual data storytelling with data exploration, spatial annotations, and animated transitions. V-Mail "data stories" are exported in a standard video file format to establish a common baseline level of access on (almost) any device. The V-Mail framework also includes a series of complementary client applications and plugins that enable different degrees of story co-authoring and data exploration, adjusted automatically to match the capabilities of various devices. A lightweight, phone-based V-Mail app makes it possible to annotate data by adding captions to the video. These spatial annotations are then immediately accessible to team members running high-end 3D graphics visualization systems that also include a V-Mail client, implemented as a plugin. Results and evaluation from applying V-Mail to assist communication within an interdisciplinary science team studying Antarctic ice sheets confirm the utility of the asynchronous, cross-platform collaborative framework while also highlighting some current limitations and opportunities for future work.

lmmersive virtual reality (VR) technologies can produce powerful illusions of being in another place or inhabiting another body, and theories of presence and embodiment provide valuable guidance to designers of VR applications that use these illusions to "take us elsewhere." However, an increasingly common design goal for VR experiences is to develop a deeper awareness of the internal landscape of one's own body (i.e., interoceptive awareness); here, design guidelines and evaluative techniques are less clear. To address this, we present a methodology, including a reusable codebook, for adapting the five dimensions of the Multidimensional Assessment of Interoceptive Awareness (MAIA) conceptual framework to explore interoceptive awareness in VR experiences via qualitative interviews. We report results from a first exploratory study (n=21) applying this method to understand the interoceptive experiences of users in a VR environment. The environment includes a guided body scan exercise with a motion-tracked avatar visible in a virtual mirror and an interactive visualization of a biometric signal detected via a heartbeat sensor. The results provide new insights on how this example VR experience might be refined to better support interoceptive awareness and how the methodology might continue to be refined for understanding other "inward-facing" VR experiences.

Abstract We survey the state of the art of spatial interfaces for 3D visualization. Interaction techniques are crucial to data visualization processes and the visualization research community has been calling for more research on interaction for years. Yet, research papers focusing on interaction techniques, in particular for 3D visualization purposes, are not always published in visualization venues, sometimes making it challenging to synthesize the latest interaction and visualization results. We therefore introduce a taxonomy of interaction technique for 3D visualization. The taxonomy is organized along two axes: the primary source of input on the one hand and the visualization task they support on the other hand. Surveying the state of the art allows us to highlight specific challenges and missed opportunities for research in 3D visualization. In particular, we call for additional research in: (1) controlling 3D visualization widgets to help scientists better understand their data, (2) 3D interaction techniques for dissemination, which are under‐explored yet show great promise for helping museum and science centers in their mission to share recent knowledge, and (3) developing new measures that move beyond traditional time and errors metrics for evaluating visualizations that include spatial interaction.

Data physicalizations (3D printed terrain models, anatomical scans, or even abstract data) can naturally engage both the visual and haptic senses in ways that are difficult or impossible to do with traditional planar touch screens and even immersive digital displays. Yet, the rigid 3D physicalizations produced with today's most common 3D printers are fundamentally limited for data exploration and querying tasks that require dynamic input (e.g., touch sensing) and output (e.g., animation), functions that are easily handled with digital displays. We introduce a novel style of hybrid virtual + physical visualization designed specifically to support interactive data exploration tasks. Working toward a "best of both worlds" solution, our approach fuses immersive AR, physical 3D data printouts, and touch sensing through the physicalization. We demonstrate that this solution can support three of the most common spatial data querying interactions used in scientific visualization (streamline seeding, dynamic cutting places, and world-in-miniature visualization). Finally, we present quantitative performance data and describe a first application to exploratory visualization of an actively studied supercomputer climate simulation data with feedback from domain scientists.

We introduce Artifact-Based Rendering (ABR), a framework of tools, algorithms, and processes that makes it possible to produce real, data-driven 3D scientific visualizations with a visual language derived entirely from colors, lines, textures, and forms created using traditional physical media or found in nature. A theory and process for ABR is presented to address three current needs: (i) designing better visualizations by making it possible for non-programmers to rapidly design and critique many alternative data-to-visual mappings; (ii) expanding the visual vocabulary used in scientific visualizations to depict increasingly complex multivariate data; (iii) bringing a more engaging, natural, and human-relatable handcrafted aesthetic to data visualization. New tools and algorithms to support ABR include front-end applets for constructing artifact-based colormaps, optimizing 3D scanned meshes for use in data visualization, and synthesizing textures from artifacts. These are complemented by an interactive rendering engine with custom algorithms and interfaces that demonstrate multiple new visual styles for depicting point, line, surface, and volume data. A within-the-research-team design study provides early evidence of the shift in visualization design processes that ABR is believed to enable when compared to traditional scientific visualization systems. Qualitative user feedback on applications to climate science and brain imaging support the utility of ABR for scientific discovery and public communication.

Virtual reality (VR) environments are typically designed so users feel present in a single virtual world at a time, but this creates a problem for applications that require visual comparisons (e.g., forest scientists comparing multiple data-driven virtual forests). To address this, we present Worlds-in-Wedges, a 3D user interface and visualization technique that supports comparative immersive visualization by dividing the virtual space surrounding the user into volumetric wedges. There are three visual/interactive levels. The first, worlds-in-context, visualizes high-level relationships between the worlds (e.g., a map for worlds that are related in space). The second level, worlds-in-miniature, is a multi-instance implementation of the World-in-Miniature technique extended to support mutlivari-ate glyph visualization. The third level, worlds-in-wedges, displays multiple large-scale worlds in wedges that act as volumetric portals. The interface supports navigation, selection, and view manipulation. Since the techniques were inspired directly by problems facing forest scientists, the interface was evaluated by building a complete multivariate data visualization of the US Forest Service Forest Inventory and Analysis public dataset. Scientist user feedback and lessons from iterative design are reported.

We present a direct manipulation technique that allows material scientists to interactively highlight relevant parameterized simulation instances located in dimensionally reduced spaces, enabling a user-defined understanding of a continuous parameter space. Our goals are two-fold: first, to build a user-directed intuition of dimensionally reduced data, and second, to provide a mechanism for creatively exploring parameter relationships in parameterized simulation sets, called ensembles. We start by visualizing ensemble data instances in dimensionally reduced scatter plots. To understand these abstract views, we employ user-defined virtual data instances that, through direct manipulation, search an ensemble for similar instances. Users can create multiple of these direct manipulation queries to visually annotate the spaces with sets of highlighted ensemble data instances. User-defined goals are therefore translated into custom illustrations that are projected onto the dimensionally reduced spaces. Combined forward and inverse searches of the parameter space follow naturally allowing for continuous parameter space prediction and visual query comparison in the context of an ensemble. The potential for this visualization technique is confirmed via expert user feedback for a shock physics application and synthetic model analysis.

Three-dimensional modeling has long been regarded as an ideal application for virtual reality (VR), but current VR-based 3D modeling tools suffer from two problems that limit creativity and applicability: (1) the lack of control for freehand modeling, and (2) the difficulty of starting from scratch. To address these challenges, we present Lift-Off, an immersive 3D interface for creating complex models with a controlled, handcrafted style. Artists start outside of VR with 2D sketches, which are then imported and positioned in VR. Then, using a VR interface built on top of image processing algorithms, 2D curves within the sketches are selected interactively and "lifted" into space to create a 3D scaffolding for the model. Finally, artists sweep surfaces along these curves to create 3D models. Evaluations are presented for both long-term users and for novices who each created a 3D sailboat model from the same starting sketch. Qualitative results are positive, with the visual style of the resulting models of animals and other organic subjects as well as architectural models matching what is possible with traditional fine art media. In addition, quantitative data from logging features built into the software are used to characterize typical tool use and suggest areas for further refinement of the interface.

We present Visualization-by-Sketching, a direct-manipulation user interface for designing new data visualizations. The goals are twofold: First, make the process of creating real, animated, data-driven visualizations of complex information more accessible to artists, graphic designers, and other visual experts with traditional, non-technical training. Second, support and enhance the role of human creativity in visualization design, enabling visual experimentation and workflows similar to what is possible with traditional artistic media. The approach is to conceive of visualization design as a combination of processes that are already closely linked with visual creativity: sketching, digital painting, image editing, and reacting to exemplars. Rather than studying and tweaking low-level algorithms and their parameters, designers create new visualizations by painting directly on top of a digital data canvas, sketching data glyphs, and arranging and blending together multiple layers of animated 2D graphics. This requires new algorithms and techniques to interpret painterly user input relative to data "under" the canvas, balance artistic freedom with the need to produce accurate data visualizations, and interactively explore large (e.g., terabyte-sized) multivariate datasets. Results demonstrate a variety of multivariate data visualization techniques can be rapidly recreated using the interface. More importantly, results and feedback from artists support the potential for interfaces in this style to attract new, creative users to the challenging task of designing more effective data visualizations and to help these users stay "in the creative zone" as they work.

Welcome to the 21st IEEE Virtual Reality Conference, the premier international conference and exhibition on virtual reality!We are honored to host IEEE VR 2014 in Minneapolis, Minnesota, a vibrant center of culture, business, learning, and research in the upper midwest of the United States.The highlight of our outstanding technical program is the eighteen full-length research papers that are being published as a special issue of the IEEE Transactions on Visualization and Computer Graphics.We are indebted to the TVCG editor-in-chief, Ming Lin, for her vision and leadership in continuing to make this collaboration possible.Complementing these journal papers, our conference proceedings include ten short papers and fortyfour abstracts presenting an exciting collection of groundbreaking technical contributions.We thank this year's program chairs, Sabine Coquillart, Kiyoshi Kiyokawa, J. Edward Swan II, and Doug A. Bowman, for their dedicated leadership in soliciting papers, managing the multi-phase review process, and arranging the paper presentations at the conference.In addition to the long and short paper presentations, the week's technical events include the presentation of three panels, five workshops, three tutorials, thirty-one posters, thirteen research demonstrations, ten exhibits, and eight videos, bookended by keynote and capstone talks from VR visionaries Henry Fuchs and Hunter Hoffman.Accompanying these activities is the second annual Virtual Reality Doctoral Consortium, which with the generous support of the US National Science Foundation is providing a valuable mentoring opportunity to twelve promising PhD students working in the areas of virtual and augmented reality and 3D user interaction.We are further honored to again have the IEEE Symposium on 3D User Interfaces (3DUI) held jointly with the VR conference.The 9th installment of 3DUI features an outstanding program of papers, technotes, posters, and

In biomechanics studies, researchers collect, via experiments or simulations, datasets with hundreds or thousands of trials, each describing the same type of motion (e.g., a neck flexion-extension exercise) but under different conditions (e.g., different patients, different disease states, pre- and post-treatment). Analyzing similarities and differences across all of the trials in these collections is a major challenge. Visualizing a single trial at a time does not work, and the typical alternative of juxtaposing multiple trials in a single visual display leads to complex, difficult-to-interpret visualizations. We address this problem via a new strategy that organizes the analysis around motion trends rather than trials. This new strategy matches the cognitive approach that scientists would like to take when analyzing motion collections. We introduce several technical innovations making trend-centric motion visualization possible. First, an algorithm detects a motion collection's trends via time-dependent clustering. Second, a 2D graphical technique visualizes how trials leave and join trends. Third, a 3D graphical technique, using a median 3D motion plus a visual variance indicator, visualizes the biomechanics of the set of trials within each trend. These innovations are combined to create an interactive exploratory visualization tool, which we designed through an iterative process in collaboration with both domain scientists and a traditionally-trained graphic designer. We report on insights generated during this design process and demonstrate the tool's effectiveness via a validation study with synthetic data and feedback from expert musculoskeletal biomechanics researchers who used the tool to analyze the effects of disc degeneration on human spinal kinematics.

We present an interface for exploring large design spaces as encountered in simulation-based engineering, design of visual effects, and other tasks that require tuning parameters of computationally-intensive simulations and visually evaluating results. The goal is to enable a style of design with simulations that feels as-direct-as-possible so users can concentrate on creative design tasks. The approach integrates forward design via direct manipulation of simulation inputs (e.g., geometric properties, applied forces) in the same visual space with inverse design via 'tugging' and reshaping simulation outputs (e.g., scalar fields from finite element analysis (FEA) or computational fluid dynamics (CFD)). The interface includes algorithms for interpreting the intent of users' drag operations relative to parameterized models, morphing arbitrary scalar fields output from FEA and CFD simulations, and in-place interactive ensemble visualization. The inverse design strategy can be extended to use multi-touch input in combination with an as-rigid-as-possible shape manipulation to support rich visual queries. The potential of this new design approach is confirmed via two applications: medical device engineering of a vacuum-assisted biopsy device and visual effects design using a physically based flame simulation.

We present a prop-based, tangible interface for 3D interactive visualization of thin fiber structures. These data are commonly found in current bioimaging datasets, for example second-harmonic generation microscopy of collagen fibers in tissue. Our approach uses commodity visualization technologies such as a depth sensing camera and low-cost 3D display. Unlike most current uses of these emerging technologies in the games and graphics communities, we employ the depth sensing camera to create a fish-tank stereoscopic virtual reality system at the scientist's desk that supports tracking of small-scale gestures with objects already found in the work space. We apply the new interface to the problem of interactive exploratory visualization of three-dimensional thin fiber data. A critical task for the visual analysis of these data is understanding patterns in fiber orientation throughout a volume.The interface enables a new, fluid style of data exploration and fiber orientation analysis by using props to provide needed passive-haptic feedback, making 3D interactions with these fiber structures more controlled. We also contribute a low-level algorithm for extracting fiber centerlines from volumetric imaging. The system was designed and evaluated with two biophotonic experts who currently use it in their lab. As compared to typical practice within their field, the new visualization system provides a more effective way to examine and understand the 3D bioimaging datasets they collect.

Studies of motion are fundamental to science. For centuries, pictures of motion have factored importantly in making scientific discoveries possible. Today, there is perhaps no tool more powerful than interactive virtual reality (VR) for conveying complex space-time data to scientists, doctors, and others; however, relatively little is known about how to design virtual environments in order to best facilitate these analyses. In designing virtual environments for presenting scientific motion data (e.g., 4D data captured via medical imaging or motion tracking) our intuition is most often to “reanimate” these data in VR, displaying moving virtual bones and other 3D structures in virtual space as if the viewer were watching the data being collected in a biomechanics lab. However, recent research in other contexts suggests that although animated displays are effective for presenting known trends, static displays are more effective for data analysis.

Abstract We present a study of interactive virtual reality visualizations of scientific motions as found in biomechanics experiments. Our approach is threefold. First, we define a taxonomy of motion visualizations organized by the method (animation, interaction, or static presentation) used to depict both the spatial and temporal dimensions of the data. Second, we design and implement a set of eight example visualizations suggested by the taxonomy and evaluate their utility in a quantitative user study. Third, together with biomechanics collaborators, we conduct a qualitative evaluation of the eight example visualizations applied to a current study of human spinal kinematics. Results suggest that visualizations in this style that use interactive control for the time dimension of the data are preferable to others. Within this category, quantitative results support the utility of both animated and interactive depictions for space; however, qualitative feedback suggest that animated depictions for space should be avoided in biomechanics applications.

We present Interactive Slice World-in-Miniature (WIM), a framework for navigating and interrogating volumetric data sets using an interface enabled by a virtual reality environment made of two display surfaces: an interactive multitouch table, and a stereoscopic display wall. The framework addresses two current challenges in immersive visualization: 1) providing an appropriate overview+detail style of visualization while navigating through volume data, and 2) supporting interactive querying and data exploration, i.e., interrogating volume data. The approach extends the WIM metaphor, simultaneously displaying a large-scale detailed data visualization and an interactive miniature. Leveraging the table+wall hardware, horizontal slices are projected (like a shadow) down onto the table surface, providing a useful 2D data overview to complement the 3D views as well as a data context for interpreting 2D multitouch gestures made on the table. In addition to enabling effective navigation through complex geometries, extensions to the core Slice WIM technique support interacting with a set of multiple slices that persist on the table even as the user navigates around a scene and annotating and measuring data via points, paths, and volumes specified using interactive slices. Applications of the interface to two volume data sets are presented, and design decisions, limitations, and user feedback are discussed.

We present Slice WIM, a method for overview+detail visualization of volume datasets that explores the potential of new interfaces made possible by a virtual reality (VR) environment made of two display surfaces: an interactive multi-touch table, and a stereoscopic display wall. Slice WIM displays a miniature version of the 3D dataset within a head-tracked stereoscopic view such that it appears to float directly above the multi-touch table. Multi-touch gestures on the table are then used to navigate through the dataset and to set slices (cutting planes) through the data. Leveraging the unique table+wall hardware setup, horizontal slices through the data are projected (like a shadow) down onto the table surface, providing a useful 2D data overview to complement the 3D views as well as a data context for interpreting 2D multi-touch gestures made on the table. We demonstrate several strategies for interacting with 2D "shadow slices" on the table surface as a method for controlling the WIM and exploring volumetric datasets. Applications of the interface to explore two different volume datasets are presented, and design decisions and limitations are discussed along with feedback from both casual users and domain scientists.

In this work, we explore the potential of combining virtual reality (VR) visualizations of data with physical models generated via rapid 3D prototyping to provide a new style of exploratory data visualization. Holding a physical rapid prototype model in one's hand can provide an immediate and more accurate understanding of a complex 3D form than can be provided via a computer display, even a head-tracked VR display. However, physical printouts are static and only show the bounding surface (the outside) of a 3D geometry. When working with many of today's scientific datasets, for example, analyzing results of high-performance simulations of cardiovascular fluid dynamics [Simon et al. 2010], scientists need to understand both a complex bounding surface for the data and multivariate volumetric data contained within it. We present the initial design of a new interface for exploring this type of data. Our goal is to combine the intuitive shape understanding made possible by physical 3D rapid prototypes with complementary VR visualizations of the data inside the printed geometry.

We present an interactive framework for exploring space-time and form-function relationships in experimentally collected high-resolution biomechanical data sets. These data describe complex 3D motions (e.g. chewing, walking, flying) performed by animals and humans and captured via high-speed imaging technologies, such as biplane fluoroscopy. In analyzing these 3D biomechanical motions, interactive 3D visualizations are important, in particular, for supporting spatial analysis. However, as researchers in information visualization have pointed out, 2D visualizations can also be effective tools for multi-dimensional data analysis, especially for identifying trends over time. Our approach, therefore, combines techniques from both 3D and 2D visualizations. Specifically, it utilizes a multi-view visualization strategy including a small multiples view of motion sequences, a parallel coordinates view, and detailed 3D inspection views. The resulting framework follows an overview first, zoom and filter, then details-on-demand style of analysis, and it explicitly targets a limitation of current tools, namely, supporting analysis and comparison at the level of a collection of motions rather than sequential analysis of a single or small number of motions. Scientific motion collections appropriate for this style of analysis exist in clinical work in orthopedics and physical rehabilitation, in the study of functional morphology within evolutionary biology, and in other contexts. An application is described based on a collaboration with evolutionary biologists studying the mechanics of chewing motions in pigs. Interactive exploration of data describing a collection of more than one hundred experimentally captured pig chewing cycles is described.

Abstract We present novel visual and interactive techniques for exploratory visualization of animal kinematics using instantaneous helical axes (IHAs). The helical axis has been used in orthopedics, biomechanics, and structural mechanics as a construct for describing rigid body motion. Within biomechanics, recent imaging advances have made possible accurate high‐speed measurements of individual bone positions and orientations during experiments. From this high‐speed data, instantaneous helical axes of motion may be calculated. We address questions of effective interactive, exploratory visualization of this high‐speed 3D motion data. A 3D glyph that encodes all parameters of the IHA in visual form is presented. Interactive controls are used to examine the change in the IHA over time and relate the IHA to anatomical features of interest selected by a user. The techniques developed are applied to a stereoscopic, interactive visualization of the mechanics of pig mastication and assessed by a team of evolutionary biologists who found interactive IHA‐based analysis a useful addition to more traditional motion analysis techniques.

We present four studies investigating tools and methodologies for artist-scientist-technologist collaboration in designing multivariate, virtual reality (VR) visualizations. Design study 1 identifies the promise of 3D drawing-style interfaces for VR design and also establishes limitations of these tools with respect to precision and support for animation. Design study 2 explores animating artist-created visualization designs with scientific 3D fluid flow data. While results captured an accurate sense of flow that was advantageous as compared to the results of study 1, the potential for visual exploration using the design tools tested was limited. Design study 3 reveals the importance of a new 3D interface that overcomes the precision limitation found in study 1 while remaining accessible to artist collaborators. Drawing upon previous results, design study 4 engages collaborative teams in a design process that begins with traditional paper sketching and moves to animated, interactive, VR prototypes "sketched" by designers in VR using interactive 3D tools. Conclusions from these four studies identify important characteristics of effective artist-accessible VR visualization design tools and lead to a proposed formalized methodology for successful collaborative design that we expect to be useful in guiding future collaborations. We call this proposed methodology Scientific Sketching.

We present Drawing on Air, a haptic-aided input technique for drawing controlled 3D curves through space. Drawing on Air addresses a control problem with current 3D modeling approaches based on sweeping movement of the hands through the air. While artists praise the immediacy and intuitiveness of these systems, a lack of control makes it nearly impossible to create 3D form beyond quick design sketches or gesture drawings. Drawing on Air introduces two new strategies for more controlled 3D drawing: one-handed drag drawing and two-handed tape drawing. Both approaches have advantages for drawing certain types of curves. We describe a tangent preserving method for transitioning between the two techniques while drawing. Haptic-aided redrawing and line weight adjustment while drawing are also supported in both approaches. In a quantitative user study evaluation by illustrators, the one and two-handed techniques performed at roughly the same level, and both significantly outperformed freehand drawing and freehand drawing augmented with a haptic friction effect. We present the design and results of this experiment as well as user feedback from artists and 3D models created in a style of line illustration for challenging artistic and scientific subjects.

We present a threads and halos representation for interactive volume rendering of vector-field structure and describe a number of additional components that combine to create effective visualizations of multivalued 3D scientific data. After filtering linear structures, such as flow lines, into a volume representation, we use a multilayer volume rendering approach to simultaneously display this derived volume along with other data values. We demonstrate the utility of threads and halos in clarifying depth relationships within dense renderings and we present results from two scientific applications: visualization of second-order tensor valued magnetic resonance imaging (MRI) data and simulated 3D fluid flow data. In both application areas, the interactivity of the visualizations proved to be important to the domain scientists. Finally, we describe a PC-based implementation of our framework along with domain specific transfer functions, including an exploratory data culling tool, that enable fast data exploration.

No abstract available.

Presents a novel class of virtual reality input devices that combine pop-through buttons with 6-DOF trackers. Compared to similar devices that use conventional buttons, pop-through devices double the number of potential discrete interaction modes, since each button has two activation states corresponding to light and firm pressure. This additional state per button provides a foundation to address a range of shortcomings with conventional virtual environment (VE) input devices that includes reducing the physical dexterity required to perform interactions, reducing the cognitive complexity of some compound tasks and enabling the design of less obtrusive devices without sacrificing expressive power. Specifically, we present two novel input devices: the FingerSleeve was designed to be minimally obtrusive physically, whereas the TriggerGun was designed to be physically similar to, yet more functional than a conventional hand-held trigger device. Further, we present a set of novel navigation and interaction techniques that leverage the capabilities of our pop-through button devices to improve interaction quality and provide insight into harnessing the potential of pop-through buttons for other tasks. Finally, we discuss how we incorporated one of our devices into a real application.

Article Share on CavePainting: a fully immersive 3D artistic medium and interactive experience Authors: Daniel F. Keefe Brown Univ., Providence, RI Brown Univ., Providence, RIView Profile , Daniel Acevedo Feliz Brown Univ., Providence, RI Brown Univ., Providence, RIView Profile , Tomer Moscovich Brown Univ., Providence, RI Brown Univ., Providence, RIView Profile , David H. Laidlaw Brown Univ., Providence, RI Brown Univ., Providence, RIView Profile , Joseph J. LaViola Brown Univ., Providence, RI Brown Univ., Providence, RIView Profile Authors Info & Claims I3D '01: Proceedings of the 2001 symposium on Interactive 3D graphicsMarch 2001Pages 85–93https://doi.org/10.1145/364338.364370Published:01 March 2001Publication History 144citation2,008DownloadsMetricsTotal Citations144Total Downloads2,008Last 12 Months140Last 6 weeks22 Get Citation AlertsNew Citation Alert added!This alert has been successfully added and will be sent to:You will be notified whenever a record that you have chosen has been cited.To manage your alert preferences, click on the button below.Manage my AlertsNew Citation Alert!Please log in to your account Save to BinderSave to BinderCreate a New BinderNameCancelCreateExport CitationPublisher SiteGet Access

This paper presents a set of interaction techniques for hands-free multi-scale navigation through virtual environments. We believe that hands-free navigation, unlike the majority of navigation techniques based on hand motions, has the greatest potential for maximizing the interactivity of virtual environments since navigation modes are offloaded from modal hand gestures to more direct motions of the feet and torso. Not only are the users' hands freed to perform tasks such as modeling, notetaking and object manipulation, but we also believe that foot and torso movements may inherently be more natural for some navigation tasks. The particular interactions that we developed include a leaning technique for moving small and medium distances, a foot-gesture controlled Step WIM that acts as a floor map for moving larger distances, and a viewing technique that enables a user to view a full 360 degrees in only a three-walled semi-immersive environment by subtly amplifying the mapping between th...

This case study describes the process of fusing the data from several wind tunnel experiments into a single coherent visualization. Each experiment was conducted independently and was designed to explore different flow features around airplane landing gear. In the past, it would have been very difficult to correlate results from the different experiments. However, with a single 3-D visualization representing the fusion of the three experiments, significant insight into the composite flowfield was observed that would have been extremely difficult to obtain by studying its component parts. The results are even more compelling when viewed in an immersive environment.

We describe a virtual reality environment for visualizing tensor-valued volumetric datasets acquired with diffusion tensor magnetic resonance imaging (DT-MRI). We have prototyped a virtual environment that displays geometric representations of the volumetric second-order diffusion tensor data and are developing interaction and visualization techniques for two application areas: studying changes in white-matter structures after gamma-knife capsulotomy and pre-operative planning for brain tumor surgery. Our feedback shows that compared to desktop displays, our system helps the user better interpret the large and complex geometric models, and facilitates communication among a group of users.