The VHIP project was funded by an AHRC small research grant and was conducted in consultation with practicing artists including Prof. Paul Coldwell (UAL). VHIP is a prototype computer application for printmakers, which uses a haptic interface in conjunction with a three-dimensional visual environment. The project advanced the design of the haptic user interface for artists in a field that had previously been dominated by interaction design aimed at Computer Aided Design (CAD) engineers and specialists. The findings of the research were presented at the International Eurohaptics conference held in Paris in 2006.

The prototype simulates intaglio engraving techniques, and allows the artist to make a virtual plate before committing to the physical manufacture of a real plate. VHIP is an interim creative platform that allows free experimentation without the need to expend materials and with the advantage of a physical ease of execution, facilitated by "soft" virtual metal material characteristics. The virtual plates are output as data suitable for manufacture as physical plates by computer aided manufacturing technology, such as computer numeric control (CNC) milling or laser engraving. The manufactured plate is then used in the artist's production of the final print.

Artists' use of digital tools in the creation and production of their work is a well-established practice. However, the artists' physical interaction with traditional media and the natural constraints that this brings, remains a crucial aspect of practice that conventional, mouse-driven digital tools cannot offer. Recent advances in haptic technology allow the possibility of innovations in digital tools for artists, which reintegrate this physicality. Clearly, the sense of touch and proprioception are significant to cognitive development and fluency in respect of the practical skills that artists apply. Although artists can, of course, learn to use CAD oriented tools and adapt them to their objectives, the design emphasis and steep learning curve of such applications can present a barrier to fine art users.

Although the use of digital printing techniques is now commonplace, artists still desire the unique qualities that a physical print, made by intaglio or relief printmaking, can offer. However, the physical process of preparing the plate is laborious and requires considerable physical skill and time. In the case of engraving physical strength is also essential. In conjunction with the usual benefits of working in a digital environment such as saving, undoing and layering, a haptic virtual environment offers advantages as an additional tool in the printmaking process. Virtual prototyping prior to manufacture avoids the difficulty of engraving metal plates physically. Engraving offers little scope for error - a mark once made, is permanent. Working virtually, artists have limitless scope to explore their ideas before committing to a physical plate. The range of plate materials available to the printmaker is also widened by the integration of CAM processes to include additional metals and synthetic materials. Moreover, one plate design can be used in the production of multiple output formats. There is also scope to facilitate the practice of artists with disabilities, who may be less able to engage with a traditional printmaking process.