Hasil untuk "Drawing. Design. Illustration"

Marta Gomez-De-Gispert, Inês Simoes, Javier Peña Andrés

Este ensayo reflexiona sobre la intuición creativa en el diseño como forma de conocimiento que surge desde la autenticidad y la presencia. A través de un enfoque transdisciplinar que integra filosofía, neurociencia y experiencia práctica, se proponen cuatro disposiciones internas —aceptación, coherencia, bondad y desapego— que favorecen su aparición. Más que una técnica, se plantea una actitud que transforma el proceso de diseño en una práctica más fluida, ética y significativa. El texto invita a reconsiderar el papel del diseñador como eje sensible y consciente del proceso de diseño.

Erdem Köymen

This study explores the stylization of architectural elements in 3D animated films, emphasizing their crucial role in visual storytelling. Using qualitative research methods, 10 films were analyzed, showcasing diverse periods, cultural themes, and aesthetic styles. The findings reveal that architectural elements are not just passive backgrounds but active narrative components that shape emotional and visual dynamics. Real-world architectural references are reinterpreted through historical or futuristic stylizations, manipulating form, texture, material, and lighting to create immersive atmospheres. By exaggerating proportions, simplifying structures, or using abstract forms, stylization visually reflects characters’ psychological states and enhances the dramatic flow of the story. The research highlights that stylized architecture enriches the visual experience while reinforcing the narrative structure, drawing viewers more deeply into the animated world. The concept of “hyperreality” helps explain how animated films use stylization to transcend physical realism, unlocking greater creative freedom. This process allows architecture to shape the film’s atmosphere, guide audience perception, and establish a cohesive visual language that amplifies storytelling. Ultimately, the study demonstrates that architectural stylization is not merely an aesthetic choice but a powerful narrative device. The findings propose narrative-driven design as a new approach for creating emotionally resonant spaces in both animation and architectural practice.

Benedikt Hahn, Torsten Ueckerdt, Birgit Vogtenhuber

A connected topological drawing of a graph divides the plane into a number of cells. The type of a cell $c$ is the cyclic sequence of crossings and vertices along the boundary walk of $c$. For example, all triangular cells with three incident crossings and no incident vertex share the same cell type. When a non-homotopic drawing of an $n$-vertex multigraph $G$ does not contain any such triangular cell, Ackerman and Tardos [JCTA 2007] proved that $G$ has at most $8n-20$ edges, while Kaufmann, Klemz, Knorr, Reddy, Schröder, and Ueckerdt [GD 2024] showed that this bound is tight. In this paper, we initiate the in-depth study of $\mathfrak{c}$-free drawings, that is, drawings that do not contain any cell of one fixed cell type $\mathfrak{c}$, and investigate the edge density of the corresponding graphs, i.e., the maximum possible number of edges. We consider non-homotopic as well as simple drawings, multigraphs as well as simple graphs, and every possible cell type $\mathfrak{c}$. For every combination of drawing style, graph type, and cell type, we give upper and lower bounds on the corresponding edge density. With the exception of the cell type with four incident crossings and no incident vertex, we show for every cell type $\mathfrak{c}$ that the edge density of $n$-vertex (multi)graphs with $\mathfrak{c}$-free drawings is either linear in $n$ or superlinear in $n$. In most cases, our bounds are tight up to an additive constant. We further consider the question which simple graphs admit a simple drawing without some given cell type(s). For the class of cell types that are not incident to any crossing, we give a complete characterization of all simple graphs that admit a simple drawing without any such cell. Additionally, we improve the current lower bound on the edge density of simple graphs that admit a non-homotopic quasiplanar drawing from $7n-28$ to $7.5n-28$.

Miriam Goetze, Michael Hoffmann, Ignaz Rutter et al.

We study 3-plane drawings, that is, drawings of graphs in which every edge has at most three crossings. We show how the recently developed Density Formula for topological drawings of graphs (KKKRSU GD 2024) can be used to count the crossings in terms of the number $n$ of vertices. As a main result, we show that every 3-plane drawing has at most $5.5(n-2)$ crossings, which is tight. In particular, it follows that every 3-planar graph on $n$ vertices has crossing number at most $5.5n$, which improves upon a recent bound (BBBDHKMOW GD 2024) of $6.6n$. To apply the Density Formula, we carefully analyze the interplay between certain configurations of cells in a 3-plane drawing. As a by-product, we also obtain an alternative proof for the known statement that every 3-planar graph has at most $5.5(n-2)$ edges.

Walter Didimo, Fabrizio Montecchiani, Tommaso Piselli

Our work contributes to the fast-growing literature on the use of Large Language Models (LLMs) to perform graph-related tasks. In particular, we focus on usage scenarios that rely on the visual modality, feeding the model with a drawing of the graph under analysis. We investigate how the model's performance is affected by the chosen layout paradigm, the aesthetics of the drawing, and the prompting technique used for the queries. We formulate three corresponding research questions and present the results of a thorough experimental analysis. Our findings reveal that choosing the right layout paradigm and optimizing the readability of the input drawing from a human perspective can significantly improve the performance of the model on the given task. Moreover, selecting the most effective prompting technique is a challenging yet crucial task for achieving optimal performance.

Shaunak A. Mehta, Heramb Nemlekar, Hari Sumant et al.

Robots should learn new tasks from humans. But how do humans convey what they want the robot to do? Existing methods largely rely on humans physically guiding the robot arm throughout their intended task. Unfortunately -- as we scale up the amount of data -- physical guidance becomes prohibitively burdensome. Not only do humans need to operate robot hardware but also modify the environment (e.g., moving and resetting objects) to provide multiple task examples. In this work we propose L2D2, a sketching interface and imitation learning algorithm where humans can provide demonstrations by drawing the task. L2D2 starts with a single image of the robot arm and its workspace. Using a tablet, users draw and label trajectories on this image to illustrate how the robot should act. To collect new and diverse demonstrations, we no longer need the human to physically reset the workspace; instead, L2D2 leverages vision-language segmentation to autonomously vary object locations and generate synthetic images for the human to draw upon. We recognize that drawing trajectories is not as information-rich as physically demonstrating the task. Drawings are 2-dimensional and do not capture how the robot's actions affect its environment. To address these fundamental challenges the next stage of L2D2 grounds the human's static, 2D drawings in our dynamic, 3D world by leveraging a small set of physical demonstrations. Our experiments and user study suggest that L2D2 enables humans to provide more demonstrations with less time and effort than traditional approaches, and users prefer drawings over physical manipulation. When compared to other drawing-based approaches, we find that L2D2 learns more performant robot policies, requires a smaller dataset, and can generalize to longer-horizon tasks. See our project website: https://collab.me.vt.edu/L2D2/

Aarón J. Caballero-Quiroz

La asociación que frecuentemente se hace entre método y diseño, o incluso la equivalencia entre uno y otro, revela las representaciones que epistemológicamente hace de sí mismo, de sus prácticas y, por lo tanto, del mundo que genera. La naturaleza cientificista del método al que se acude en el diseño es, por definición, discriminatoria, debido a que, como todo acto objetivo basado en la razón, debe establecer cercos conceptuales que delimiten el problema que se pretende atender. Una práctica como la anterior, delante la autodeterminación en que las personas quedan constituidas, representa severos problemas de exclusión en ellas, por la determinación que la razón hace de estas. Así, puede operar metódicamente, al menos en lo que al diseño se refiere. El presente trabajo expone detenidamente las afinaciones que se hacen a este respecto en términos siempre epistemológicos y con un entendimiento del diseño, ante todo, como un acto de “trabajo” bajo el que es posible conocer y, en consecuencia, autodeterminarse.

Helena Bergold, Joachim Orthaber, Manfred Scheucher et al.

Gons and holes in point sets have been extensively studied in the literature. For simple drawings of the complete graph a generalization of the Erdős--Szekeres theorem is known and empty triangles have been investigated. We introduce a notion of $k$-holes for simple drawings and survey generalizations thereof, like empty $k$-cycles. We present a family of simple drawings without $4$-holes and prove a generalization of Gerken's empty hexagon theorem for convex drawings. A crucial intermediate step is the structural investigation of pseudolinear subdrawings in convex drawings. With respect to empty $k$-cycles, we show the existence of empty $4$-cycles in every simple drawing of $K_n$ and give a construction that admits only $Θ(n^2)$ of them.

Varun Madabushi, Katie M. Popek, Craig Knuth et al.

In this work, we investigate the use of co-design methods to iterate upon robot designs in the field, performing time sensitive, ad-hoc tasks. Our method optimizes the morphology and wheg trajectory for a MiniRHex robot, producing 3D printable structures and leg trajectory parameters. Tested in four terrains, we show that robots optimized in simulation exhibit strong sim-to-real transfer and are nearly twice as efficient as the nominal platform when tested in hardware.

Helena Bergold, Stefan Felsner, Meghana M. Reddy et al.

A conjecture by Rafla from 1988 asserts that every simple drawing of the complete graph $K_n$ admits a plane Hamiltonian cycle. It turned out that already the existence of much simpler non-crossing substructures in such drawings is hard to prove. Recent progress was made by Aichholzer et al. and by Suk and Zeng who proved the existence of a plane path of length $Ω(\log n / \log \log n)$ and of a plane matching of size $Ω(n^{1/2})$ in every simple drawing of $K_n$. Instead of studying simpler substructures, we prove Rafla's conjecture for the subclass of convex drawings, the most general class in the convexity hierarchy introduced by Arroyo et al. Moreover, we show that every convex drawing of $K_n$ contains a plane Hamiltonian path between each pair of vertices (Hamiltonian connectivity) and a plane $k$-cycle for each $3 \leq k \leq n$ (pancyclicity), and present further results on maximal plane subdrawings.

Hilde Tørnby, Sissil Lea Heggernes, Emilia Andersson-Bakken et al.

In this article, we explore power and perspectives as lenses for critical thinking embedded in Jon Klassenʼs fictional picturebook trilogy I want my hat back (2011), This is not my hat (2012), and We found a hat (2016). Drawing on ideas from critical literacy and democratic citizenship, we conduct a close reading of the picture-text interaction and selected visual features through a critical content analysis (Johnson et al., 2019). The scarcity of hats drives the narrative in the three books and may stimulate reflections on ownership. We argue that the different affordances of these picturebooks may prompt critical thinking regarding power relations and perspectives, and may be a step towards fostering critical thinking and encouraging democratic citizenship in young readers.

Aggie Toppins

This review positions Lauren Williams’ installation ‘Making Room for Abolition’, shown in ‘Monolith’ at Red Bull Arts in Detroit, as a speculative design project that presents a two-fold critique: one directed at US society and the other, at speculative design itself. As a discourse and practice, speculative design offers a model for designing in socially-oriented, post-capitalist contexts, but it has yet to fully unmoor itself from colonialist ideology. I present common critiques of speculative design—specifically: the lack of attention to race- and class-based struggles, the assumption that time is absolute, and its stance that preferable futures must be plausible—to show how Williams addresses these shortcomings while centering Black experiences and imagination in a dream of abolitionist futures.

Sâmia Batista e Silva

This article presents notes resulting from qualitative research with a participatory approach, carried out in person and remotely with a group of young people from the Terra Firme neighborhood, in Belém-Pará, northern Brazil. The aim was to analyze how the engagement of designers in emancipation processes managed by socially oppressed groups can promote transformations in the practices of designers in participatory projects. The theoretical foundation is based on the Latin American critical thinking of authors such as Paulo Freire and Orlando Fals Borda, demonstrating how their legacy influenced designers in participatory projects. The theoretical framework and qualitative research allowed us to consider that the engagement of designers in popular struggles not only influences the change in the scope of projects, but also allows solidarity to emerge as their main element.  

Siddharth Gupta, Guy Sa'ar, Meirav Zehavi

Over the past decade, we witness an increasing amount of interest in the design of exact exponential-time and parameterized algorithms for problems in Graph Drawing. Unfortunately, we still lack knowledge of general methods to develop such algorithms. An even more serious issue is that, here, "standard" parameters very often yield intractability. In particular, for the most common structural parameter, namely, treewidth, we frequently observe NP-hardness already when the input graphs are restricted to have constant (often, being just $1$ or $2$) treewidth. Our work deals with both drawbacks simultaneously. We introduce a novel form of tree decomposition that, roughly speaking, does not decompose (only) a graph, but an entire drawing. As such, its bags and separators are of geometric (rather than only combinatorial) nature. While the corresponding parameter -- like treewidth -- can be arbitrarily smaller than the height (and width) of the drawing, we show that -- unlike treewidth -- it gives rise to efficient algorithms. Specifically, we get slice-wise polynomial (XP) time algorithms parameterized by our parameter. We present a general scheme for the design of such algorithms, and apply it to several central problems in Graph Drawing, including the recognition of grid graphs, minimization of crossings and bends, and compaction. Other than for the class of problems we discussed in the paper, we believe that our decomposition and scheme are of independent interest and can be further extended or generalized to suit even a wider class of problems. Additionally, we discuss classes of drawings where our parameter is bounded by $O(\sqrt{n})$ (where $n$ is the number of vertices of the graph), yielding subexponential-time algorithms. Lastly, we prove which relations exist between drawn treewidth and other width measures, including treewidth, pathwidth, (dual) carving-width and embedded-width.

Cheng-Yu Fang, Xian-Feng Han

Character line drawing synthesis can be formulated as a special case of image-to-image translation problem that automatically manipulates the photo-to-line drawing style transformation. In this paper, we present the first generative adversarial network based end-to-end trainable translation architecture, dubbed P2LDGAN, for automatic generation of high-quality character drawings from input photos/images. The core component of our approach is the joint geometric-semantic driven generator, which uses our well-designed cross-scale dense skip connections framework to embed learned geometric and semantic information for generating delicate line drawings. In order to support the evaluation of our model, we release a new dataset including 1,532 well-matched pairs of freehand character line drawings as well as corresponding character images/photos, where these line drawings with diverse styles are manually drawn by skilled artists. Extensive experiments on our introduced dataset demonstrate the superior performance of our proposed models against the state-of-the-art approaches in terms of quantitative, qualitative and human evaluations. Our code, models and dataset will be available at Github.

Wesley Goatley

With Visualization and Interpretation, Johanna Drucker expands upon her arguments made in her previous book, Graphesis.1 In both works, she argues that data visualization is a value-driven act of interpretation rather than a “neutral” presentation of data, and that understanding this perspective is essential to a critical study (and deployment) of data visualizations. (Indeed, Graphesis itself could have been alternately titled Visualization and Interpretation.) What Drucker adds in the latter work is a more focused analysis of these theories in and for the context of critical hermeneutics in humanistic studies and critical constructivist perspectives on the interpretive nature of knowledge. As a pragmatic accompaniment to these arguments, Drucker presents two core practical approaches to the practice of data visualization: modeling interpretation and nonrepresentational graphical approaches. Early in the book, Drucker reiterates her arguments from Graphesis: that approaches to data visualization design that position themselves as simply “presenting” data in a value-free process (such as those for which Edward Tufte argues2) obscure both the interpretive and subjective reality of data and the practice of visualization. In contrast, Drucker’s modeling interpretation approach to visualization describes the use of graphic elements and structural frameworks that explicitly require interpretation in their navigation; such uses include “contradiction, ambiguity, parallax, and point of view that are fundamentally interpretative in character” (p. 76). This approach is intended to explicitly situate the viewer not simply as the recipient of knowledge, but as an active coconstructor in the knowledge produced in the work of data visualization. Drucker describes the second of her two approaches to visualization design, nonrepresentational visualization, as a method for creating “interpretative and discursive artifact[s]” (p. 79). She likens the visualization artifact and the underlying data to a map’s relationship to territory and constructs the nonrepresentational perspective as a form of protest against approaches to visualization that set neutrality and transparency as their goal. A nonrepresentational data visualization contrasts with these approaches in that aesthetic decisions are made that do not represent or express a particular data point but instead are intended to create an argument with and through the data. Drucker gives the example of drawing a line between two data points on a chart. This aesthetic act of mark-making creates a relationship between the two data points that draws the reader’s attention to them, but the mark itself is not part of the data set and represents a clear editorial intervention on the part of the designer. The value of these approaches to humanistic work and studies arises through their use of absence, inquiry, interpretation, and the situatedness of audience and author. According to Drucker, these and other elements are core to a humanistic approach to knowledge production. The appendix of the book contains many illustrations that usefully demonstrate these newly proposed graphical approaches in a range of visualization contexts and use cases, but these visual aids are notably absent from the main text itself. This decision to separate the images from the central discussion is a strange one; at times in the text, Drucker seems to be grasping for ways to describe the approaches, when an illustration would have been more instructive. This separation of images is in stark contrast to the approach in Graphesis, which showed a playful and creative approach to enmeshing illustrative and graphic components into theoretical writing about visualization. As Drucker crosses disciplinary boundaries, moving from image analysis to textual analysis, she seeks to show the wider applications of her subject-oriented approach to knowledge production. However, there is a notable absence of non-visual media to further expand this discussion. For example, interpretation is inherent in the act of listening, in that “[l]istening discovers and generates the heard.”3 The relationship between seeing, hearing, and interpretation would seem to make the field of data sonification a prime space of investigation in this context. Much like the relationship between a map and its territory, sound is always already distinct from its source.

A. Marcano, A. M. Figueredo, G. Orozco

Fear and anxiety have been recognized as the main reasons that hinder the child’s care in dentistry, for which it is proposed the use of assessment tools, to know their values in patients odontopediatricos. Few investigations on this subject in Latin America, despite its relevance. Objective: to evaluate the levels of child dental anxiety with age in children who attended the service of Dentistry, Faculty of Dentistry University of Carabobo. Material and Methods: the design was not experimental and transactional and descriptive correlational. We considered a sample of 120 school children, who answered the Corah Dental Anxiety Scale, Scale assessment and test dental fears Venham drawings. Results: 89.17% of children showed anxiety as the test Venham drawings, while Corah Anxiety Scale showed anxiety in 80.8%, dropping to 6 years of age a high level of anxiety with 20%, highlighting the scale of assessment of dental fears a percentage of 70.9%, which was that at 6, 7 and 8 highlighted a high level of dental fear between 16-22% respectively. Conclusions: the levels of child dental fear and anxiety decreased with age, speaking at 6 years at a higher rate in this study the illustrations made by the patients reported moderate levels of anxiety and high in 76%.

Fernando Funaro, Ana Silva

El artículo aborda la relación entre audiovisual, memoria y archivo, con especial interés en la perspectiva de la investigación centrada en la práctica artística, proponiendo para ello algunas reflexiones acerca del hacer audiovisual que recurre a materiales de archivo. Nos referimos en particular al proceso de realización de una pieza audiovisual interactiva que indaga en la construcción de memoria sobre un espacio que funcionó durante buena parte del siglo XX como galpón de encomiendas y equipajes de la estación de ferrocarril de la ciudad de Tandil (provincia de Buenos Aires, Argentina), el posterior abandono del mismo y su recuperación para uso cultural y artístico en los primeros años del siglo XXI.

Sujoy Bhore, Guangping Li, Martin Nöllenburg et al.

We consider the problem of untangling a given (non-planar) straight-line circular drawing $δ_G$ of an outerplanar graph $G=(V, E)$ into a planar straight-line circular drawing by shifting a minimum number of vertices to a new position on the circle. For an outerplanar graph $G$, it is clear that such a crossing-free circular drawing always exists and we define the circular shifting number shift$(δ_G)$ as the minimum number of vertices that are required to be shifted in order to resolve all crossings of $δ_G$. We show that the problem Circular Untangling, asking whether shift$(δ_G) \le K$ for a given integer $K$, is NP-complete. For $n$-vertex outerplanar graphs, we obtain a tight upper bound of shift$(δ_G) \le n - \lfloor\sqrt{n-2}\rfloor -2$. Based on these results we study Circular Untangling for almost-planar circular drawings, in which a single edge is involved in all the crossings. In this case, we provide a tight upper bound shift$(δ_G) \le \lfloor \frac{n}{2} \rfloor-1$ and present a constructive polynomial-time algorithm to compute the circular shifting number of almost-planar drawings.

Agnes Wong

The Art and Science of Compassion, A Primer is designed as a short, “all-in-one,” introductory text that covers the full gamut of compassion, from the evolutional, biological, behavioural, and psychological, to the social, philosophical, and spiritual. Written with busy trainees, clinicians, and educators in mind, it aims to address the following questions: What is compassion? Is it innate or a trainable skill? What do different scientific disciplines, including neuroscience, tell us about compassion? Why is “compassion fatigue” a misnomer? What are the obstacles to compassion? Why are burnout, moral suffering, and bullying so rampant in healthcare? And, finally, what does it take to cultivate compassion? Drawing on her diverse background as a clinician, scientist, educator, and chaplain, Dr. Wong presents a wealth of scientific evidence supporting that compassion is both innate and trainable. By interleaving personal experiences and reflections, she shares her insights on what it takes to cultivate compassion to support the art of medicine and caregiving. The training described draws on both contemplative and scientific disciplines to help clinicians develop cognitive, attentional, affective, and somatic skills that are critical for the cultivation of compassion. Compassion not only benefits the recipients, produces better patient care, and improves the healthcare system, but it is also a boundless source of energy, resilience, and wellness for the givers. With striking illustrations for key concepts and a concise summary for each chapter, this book provides a solid conceptual framework and practical approaches to cultivate compassion. It serves to complement the experiential component of compassion that the readers are strongly encouraged to develop and practise in their daily lives.