Being a collection of data points and other information , 3D models can be created by hand, algorithmically procedural modeling , or scanned. Their surfaces may be further defined with texture mapping. The designer can then see the model in various directions and views, this can help the designer see if the object is created as intended to compared to their original vision.

Today, 3D models are used in a wide variety of fields. The medical industry uses detailed models of organs; these may be created with multiple 2-D image slices from an MRI or CT scan. The movie industry uses them as characters and objects for animated and real-life motion pictures. The video game industry uses them as assets for computer and video games.

The science sector uses them as highly detailed models of chemical compounds. The engineering community uses them as designs of new devices, vehicles and structures as well as a host of other uses. In recent decades the earth science community has started to construct 3D geological models as a standard practice. Solid and shell modeling can create functionally identical objects. Differences between them are mostly variations in the way they are created and edited and conventions of use in various fields and differences in types of approximations between the model and reality.

Shell models must be manifold having no holes or cracks in the shell to be meaningful as a real object. Polygonal meshes and to a lesser extent subdivision surfaces are by far the most common representation. Level sets are a useful representation for deforming surfaces which undergo many topological changes such as fluids.

The process of transforming representations of objects, such as the middle point coordinate of a sphere and a point on its circumference into a polygon representation of a sphere, is called tessellation. This step is used in polygon-based rendering, where objects are broken down from abstract representations " primitives " such as spheres, cones etc.

Meshes of triangles instead of e. The modeling stage consists of shaping individual objects that are later used in the scene. There are a number of modeling techniques, including:. Modeling can be performed by means of a dedicated program e. In some cases, there is no strict distinction between these phases; in such cases modeling is just part of the scene creation process this is the case, for example, with Caligari trueSpace and Realsoft 3D.

Complex materials such as blowing sand, clouds, and liquid sprays are modeled with particle systems , and are a mass of 3D coordinates which have either points , polygons , texture splats , or sprites assigned to them. The first widely available commercial application of human virtual models appeared in on the Lands' End web site. The human virtual models were created by the company My Virtual Mode Inc.

The development of cloth simulation software such as Marvelous Designer, CLO3D and Optitex, has enabled artists and fashion designers to model dynamic 3D clothing on the computer. Some graphic art software includes filters that can be applied to 2D vector graphics or 2D raster graphics on transparent layers.

Disadvantages compare to 2D photorealistic rendering may include a software learning curve and difficulty achieving certain photorealistic effects. Some photorealistic effects may be achieved with special rendering filters included in the 3D modeling software. We can rather assume that the understanding of the thematic drawing task and its transposing into contents does not essentially depend on the talent for drawing. The contents of the drawing depend on the child's temporal, social and ecological living situation.

Therefore I expect that regional conditions, such as being close to the mountains or a lake, local conditions, such as the schoolyard equipment or temporal media events, such as current cartoon movies or the soccer world championships in influence the contents of the drawings.

Adult evaluators have fundamental difficulties to interpret children's drawings. On the one hand the team met this problem by focusing on the description of the drawing elements. We did without any psychological interpretation, though the pictures are of course interpretable by corresponding criteria. On the other hand the team regularly undertook a communicative validation of the drawing elements' capturing and categorizing by a sequence of independent evaluations of each member of the team with subsequent discussions.

The drawings' actual content of "reality" and "meaning" remains uncertain. The "reality problem" is made up by the drawing task, because we asked for wishes—and they are not put into question. Concerning the "meaning problem," some questions will remain unanswered because of our interpretative self-restriction. If we interviewed the children we had the chance to cross-validate between drawing and statements.

Even if you are aware of such problems, you still run the risk of designing a too tight system of categories for the data explication—"for security reasons," so to speak. Therefore it is necessary to find a procedure which delivers clues for the structuring of the material as it proves to be open for something that appears to be new. First they characterize these categories qualitatively and finally they quantify them.

My evaluation procedure for the pictures focuses on the description and relevant interpretation of elements. It is carried out in three steps: In the first—descriptive—step of evaluation the drawing's elements are identified. In doing this the evaluator distinguishes between personal child, teacher , natural e. From this identification one can deduce the way of communication on the descriptive level: In the second—interpretative—step of evaluation the location, the social relations and the activities are deduced. Social relations can be "simultaneously" e.

The activities are distinguished as "related to movement," "not related to movement" and "other. The definition of activities shall be illustrated by the following example. The activity is "basketball," if you see e. This definition is based on a comparison of drawing elements with children's interview statements, which led to the understanding that the wish to play basketball can be represented by various drawing elements.

In the third—also interpretative—step of evaluation subjects are assigned to the pictures. According to his question "in how far the child's activity With this classification we can determine the way of communication on the interpretative level. This is because e.

So, the evaluation in this field leads to a matrix which records the children's drawing communication acts on the level of visual-artistic ways of operation as well as on the level of intention regarding contents. In order to name the single subjects I deduced categories for each school area from theoretical pre-considerations.

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Doing this I made sure that it won't become a closed but rather an open schema in order not to neglect the new aspects within the children's pictures. The subjects of the classroom pictures mainly relate to the terminology of the "moving school," e. The subjects for the schoolyard pictures can be deduced from the principle of "zoning" the schoolyard, as introduced e. Subject combinations are possible because the depicted activities can be assigned to different zones. As a special subject which can be combined with various zone subjects we additionally defined a "green schoolyard.

So we actually tried to make a "description" of each picture in order to gather any drawing elements as detailed as possible. Based on this descript the interpretation of the location, the social relations, the activities and the subject was also put down in writing. This way a text was developed for each picture which reflected the picture's contents and intention as accurate as possible. For the interview-analysis we found different strategies of qualitative analysis of contents. The decision about which technique to choose depends on the investigation aim and the interview form.

Thematic aspects are to be worked out in view of the inquiry interest which is formulated in the research questions without leaving behind the openness towards unexpected aspects. In addition it should be possible to quantify certain contents, above all the wished activities, in order to achieve a basis for comparison with the results of the picture-analysis.

According to the aim the interview-analysis is carried out in five steps: At first the tape is transcribed. The transcription takes the whole conversation content, the breaks and nonverbal expressions, such as laughing or gesture, into account. In the second step the thematic course is written down by heading text parts with topics of the manual or new topics. In the third step the conversation content is structured by the topics. In the fourth step a matrix of topics gives an overview of the contents of all interviews.

A generalized analysis by comparing the single evaluations is made in the fifth step. Each drawing was independently evaluated—by me, another male researcher and two female researchers—with a system of categories we developed together see above. The single evaluations were compared, and if there were divergences, a discussion followed. The result of the discussion was written down.

For each picture we established a consent. In these discussions the interview transcript was taken into account, if available. In these discussions the statements of other children about the same or similar topics were taken into account. In addition I re-evaluated every picture after each single study in order to check if this repeated re-evaluation would lead to the same or various results concerning the picture elements and subjects;.

Every interview was independently evaluated by me and a woman. The single evaluations were compared and discussed.


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For establishing a consent the results of the persons who were in charge of the single studies were taken into account. The presentation of results is the attempt to "re-construct the original. The first—and essential—approach is simply to show the variety of wishes and ideas, if you want to avoid shortening them to frequencies which though have their legitimacy! So, to an adequate qualitative presentation of results always belong the originals which are best attached on a memory medium CD-ROM.

That's what I'm going do with the final report on the whole project. The presentation is structured by three fields and two levels. The fields are deduced from the three investigated school areas classroom lessons, schoolyard, physical education lessons. On the level called "How children see their moving school" the results of the picture-analysis are presented in three steps. Firstly, the results of the identification of drawing elements are presented.


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Secondly, the results of the interpretation of drawing elements are presented in view of location, social relations and activities. Finally, the results of the decision about picture subjects are presented. On the level "How children talk about their moving school" selected statements are compiled from the matrix of topics and afterwards are discussed i n view of the children's wishes and ideas. The following three examples can illustrate this.

Children not only formulate single wish for the classroom equipment and for certain learning situations. They design —as Michael's 10, Int47 statement shows—" moving learning-projects ," in which they develop complex didactical considerations about the connection of learning locations, learning contents and opportunities for movement:. And then just investigate such things, you know, and the teacher explains how this developed and that we just calculate a little bit how much water is running down the river, that we can measure this somehow with some device.

Or, from a branch, that we cut it off the tree and than count the leaves and then roughly calculate how many leaves such a little bush has, such a little tree. And then we could also put this together, the classes and the sports, so that we go jogging through the town and then the teacher explains this and that. And then we could put this together, for example we play basketball and when the teacher asks, well, if you stand five meters apart and then, when the other player comes up to you and you want to shoot at that moment, how long will it take 'til the other player comes and how long will it take 'til the ball hits the basket.

Or kind of exercises in Maths, for example, if the ball bounces this often in one second, how often does it bounce in one hour, if one does it continuously. And if we are running one lap, that we say: Or we make a multiplication, and if we will be jogging our way back, how far have we been running all in all. I'd like it better that way, and then we could put sports and classes together like this and then the classes also will be good.

Subjects of the schoolyard pictures. From the pictures about the schoolyard we assigned to the subjects representing real objects, to the subjects representing real actions, 1 to the subjects representing special events, 3 to the subjects representing fictitious objects, 12 to the subjects representing fictitious actions and 4 to the fictitious- abstract acting- subjects.

The overview shows that children mainly draw real or potentially experienced subjects. They express this predominantly with an action structure, that means with a scene in which persons are acting. The picture examples in Figure 2 illustrate the different subject levels. Examples of schoolyard pictures with different subject levels [ 45 ]. As regards content the subjects of the schoolyard pictures can be seen as representatives of different schoolyard zones the number of pictures in which the respective activity is depicted is put into brackets: In addition the subject "green schoolyard" 45 obviously plays an important role.

The children often draw zone-combinations. Figure 3 shows some corresponding examples and also one "pure" resting zone. Examples of schoolyard pictures with different subject combinations [ 46 ].

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Wished activities for physical education. The description of the picture elements and the subsequent interpretation of their relations lead to the definition of the wished activities. In the course of these working steps we found different activities in the PE pictures.

The front-runners are soccer, basketball, swinging rings exercises, volleyball, trampoline jumping, swimming, wall bars climbing, play with balls, high diving and inline-skating, in which girls and boys, as expected, show different preferences Figure 4. The "Top Ten" in physical education, distinguished between girls and boys [ 47 ]. We classified the single activities as follows the number of pictures in which the respective activity is depicted is put into brackets: Team sports , rebound sports 39 , ball-play activities beyond certain types of sports 24 , gymnastics , water activities 38 , track and field activities 26 , dance activities 13 , little games 16 , rolling and gliding activities 22 , skipping activities 17 , artistry 15 , playground activities 9 , workout activities 6 , wall climbing 5 , martial arts activities 4 , target activities 3 , other movement activities 10 and other activities This overview shows that the children have highly differentiated wishes for PE, in which team and other ball sports as well as gymnastics rank far ahead of the other activity categories.

The single activities' order gave the research team reasons to discuss in view of "meaningfulness" KURZ ; translated by the author why exactly those activities were the preferred ones. So, if you think that, in the course of a qualitative research process, you have reached your aim by presenting the results, you find yourself unexpectedly led back to the starting point: With my question, how children wish and imagine movement, play and sports at school, I presupposed that a structure of wishes and ideas does exist. The wheel turns full circle—and opens up new perspectives of questioning, e.


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In which relation do the children's wishes and ideas stand to the local conditions? What kind of correlations exists between wishes and intra-personal characteristics? What kind of knowledge may be hidden in the gathered material that we haven't yet discovered? So, while going a qualitative way of research, you come to know that you are walking in a circle which you cannot leave until you "cannot get any more data by varying perspectives and all information fits into the structural connection" KLEINING , p. In my opinion there is no such end in sight because you can never determine whether you have taken any possible variation of perspective into account.

However, it seems to me essential to realize the fact that one's knowledge is preliminary and that one should be open to further discoveries. Finally, one has to be prepared to stand the uncertainty that is always connected to qualitative research designs. Die Jugend und das Energieproblem. Bayrische Schule, 33 16 , 22f. In Wolf-Dietrich Miethling Ed. Die Familiensituation im Spiegel der Kinderzeichnung. Die Verbildlichung einer zerrissenen Welt. Verlag Fachpublica Wehner GmbH.

Top 7 Drawing VS Reality Vol 4. What seems more real to you?

Unsere Familie bei Tisch. Konzepte und Ergebnisse sozialwissenschaftlicher Kindheitsforschung der vergangenen 20 Jahre. Fragen der Praxis — Befunde der Forschung pp. Qualitative Interviews mit Kindern. In Friederike Heinzel Ed. The Discovery of Grounded Theory. Strategies for Qualitative Research. Aldine Publishing Company Drawing facilitates children's verbal reports of emotionally laden events. Journal of experimental psychology: Hentig, Hartmut von Forschung "vom Kinde aus"?

Zur Methodologie der Kindheitsforschung pp. This tool uses JavaScript and much of it will not work correctly without it enabled. Please turn JavaScript back on and reload this page. Please enter a title. You can not post a blank message.

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