Vector illustrations are object-based, meaning they are composed of strokes that can be filtered individually through textures or animations and transformed without loss of quality. These filters are typically difficult to specify without programming prerequisites. We propose filtered.ink, a full-featured illustration application to construct and explore filters via a node graph interface with a live preview. This turns vector graphics and their filters into a form of vector hypermedia that can be shared and remixed with new users. By examining interactions that occur when crafting, remixing, and using filters for dynamic illustrations through a task-based usability study, we expose new workflow patterns and avenues of expression. The observations result in a user model supported by filtered.ink: see, want, rewant, and remix. In this model, the artist breaks away from traditional notions of illustration, taking advantage of the inherent remixability of the strokes and filters in the vector graphics format.
https://doi.org/10.1145/3544548.3581051
Woven textiles are increasingly a medium through which HCI is inventing new technologies. Key challenges in integrating woven textiles in HCI include the high level of textile knowledge required to make effective use of the new possibilities they afford and the need for tools that bridge the concerns of textile designers and concerns of HCI researchers. This paper presents AdaCAD, a parametric design tool for designing woven textile structures. Through our design and evaluation of AdaCAD we found that parametric design helps weavers notate and explain the logics behind the complex structures they generate. We discuss these finding in relation to prior work in integrating craft and/or weaving in HCI, histories of woven notation, and boundary object theory to illuminate further possibilities for collaboration between craftspeople and HCI practitioners.
https://doi.org/10.1145/3544548.3581571
There is a trend for handcrafting bespoke prostheses that embody their wearers’ aesthetic tastes and identities. We explore how this might be extended by enabling users to co-design with algorithms. We report a design-led exploration (Figure 1) in which professional disabled dancers danced with a generative design algorithm to create personalised designs called aesthetic seeds. Further algorithms applied these to prosthetic greaves, rendering them in various materials before optimising for additive manufacture. Interviews with our dancers revealed that the aesthetics of prosthetics reach beyond visual decoration to encompass form, function, bodily experience, body image, and identity; that interactions with generative design algorithms can harness people's expressive and aesthetic skills; and that we must redesign supporting technologies for diverse bodies. We generalise our findings into a process for how people may co-design 3D printable products with algorithms.
https://doi.org/10.1145/3544548.3580803
The maker movement has garnered significant attention as democratizing design; yet, recent work has called attention to the challenges disabled people encounter in making. Although researchers have built systems to improve accessibility of maker technologies, limited studies have centered disabled people's engagement in traditional forms of making like fiber arts. We examine the practice of fabric pattern design among a community of blind weavers who create hand-woven products with sighted instructors. Grounded in seventeen interviews with blind weavers and sighted instructors, we built Simphony, an audio-tactile system that aims to support blind weavers in creating and perceiving patterns. Findings from eight design exploration sessions at the community studio reveal how blind weavers used Simphony to learn the process of pattern design and generate patterns with sighted instructors. We reflect on collaborative understanding of pattern design among blind and sighted individuals and discuss opportunities for integrating technological augmentations into traditional craftwork.
https://doi.org/10.1145/3544548.3581047
Modern Chinese painting is a new type of painting inherited from ancient Chinese painting. Drawing modern Chinese painting is time-consuming and laborious, which is difficult for novices to start. Symbols are fundamental components of Chinese cultural works both materially and mentally. We introduce a symbol-based modern Chinese painting system termed Magical Brush. Magical Brush combines symbolic cultural factors with AI generative models, with the attempt to help novices create a complete modern Chinese painting, learn basic ideas of Chinese paintings and obtain co-creation engagement. In user study, we compare Magical Brush to other AI and non-AI digital painting tools. Results indicate that by combining cultural factors, Magical Brush can help novices easily create modern Chinese paintings and experience the cultural connotations in the process.
https://doi.org/10.1145/3544548.3581429
Layout is essential for the product listing pages (PLPs) in mobile shopping applications. To clearly convey the information that consumers require and to achieve specific functions, PLPs layouts often have many variations driven by scenarios. In this work, we study the PLPs layout design for different scenarios and propose a design space to guide the large-scale creation of PLPs. We propose LayoutVQ-VAE, a novel model specialized in generating layouts with internal and external constraints. LayoutVQ-VAE differs from previous methods as it learns a discrete latent representation of layout and can model the relationship between layout representation and scenarios without applying heuristics. Experiments on publicly available benchmarks for different layout types validate that our method performs comparably or favorably against the state-of-the-art methods. Case studies show that the proposed approach including the design space and model is effective in producing large-scale high-quality PLPs layouts for mobile shopping platforms.
https://doi.org/10.1145/3544548.3581446