In recent years, with the improvement of China's comprehensive national strength and the enhancement of cultural confidence, the application of Chinese traditional elements in modern design is increasingly extensive. As an important symbol in the traditional culture, its unique artistic characteristics and visual expression can provide a rich source of inspiration for modern design. Based on the historical background and cultural significance of traditional Bagua, this paper summarizes the cultural connotation and artistic characteristics and discusses the innovative application of Bagua grain in modern illustration design. The research focuses on the three aspects of color, content and composition, and analyzes the integration of gossip pattern and illustration design. Through this study, it aims to provide new ideas for the integration of traditional culture and modern design, and promote the innovative expression and cultural inheritance of Bagua grain in contemporary visual art.
Adjective Constructions is a speculative drawing project and a creative re-appropriation of the distance that has defined our decade-long remote collaboration across North America. Each resulting drawing – or ‘adjective construction’ – explores the question of what it means to draw together remotely, by enlisting architectural tools to push, probe, and mine the tension between the visceral materiality of the close-at-hand and its projection across the distance between us. In this paper we reflect on the process that underpins our drawing practice, one that is rooted in dialogue (between us, with the work, and with our tools). This practice foregrounds the emergent and generative capacity of play – as described by Miguel Sicart and theorised by Hans-Georg Gadamer – as the primary motive for the work. Following Gadamer’s understanding of play as essential to a dialectic approach to uncovering understanding, this paper eschews a definitive explanation of our drawing process, and instead sets up a conversation between this process and three thought-worlds which reach across disciplines and animate our designerly imagination: poet and Greek scholar Anne Carson’s presentation of the ‘adjective’ as a seemingly superfluous appendage, but one that can anchor a work in specificity; landscape architect Cornelia Hahn Oberlander’s instructions for adventure playgrounds; and garden designer Henk Gerritsen’s dialectical approach to (un)natural gardening and whim topiary. While each of these practices share meaningful resonances with our own process, they are not presented as direct metaphorical correspondents. They are brought together to set up a constellation of thought-worlds and sensibilities that vibrate and cross-pollinate into expanded possibilities, while maintaining the work’s ambiguity and openness, creating opportunities for further interpretations, subsequent re-appropriations, more play. Read the full article online at: https://drawingon.org/Issue-04-06-Adjective-Constructions
Color is an indispensable element in illustration design. As a visual art, illustration expresses specific themes and artistic conception through images and colors. Regional color refers to the unique use of color in a specific regional cultural background. In illustration design, regional color, as a symbol of regional culture, can evoke people’s memory, association and emotional identification of a specific region. Based on the relevant theories of color geography and the guidance of color planning and design methods, this paper analyzes and studies the regional color culture and characteristics of Beijing. By collecting the information and values of regional colors in Beijing, the total color spectrum is established to form the color scheme for the illustration of “Qiongdao Chunyin”, which is finally applied to the illustration design practice of “Qiongdao Chunyin”. This paper discusses the design ideas and methods of regional colors in landscape theme illustration design, and promotes the inheritance and innovation of regional traditional culture.
Durgesh Haribhau Salunkhe, Guillaume Michel, Shivesh Kumar
et al.
This work presents the development of a parallel manipulator used for otological surgery from the perspective of co-design. Co-design refers to the simultaneous involvement of the end-users (surgeons), stakeholders (designers, ergonomic experts, manufacturers), and experts from the fields of optimization and mechanisms. The role of each member is discussed in detail and the interactions between the stakeholders are presented. Co-design facilitates a reduction in the parameter space considered during mechanism optimization, leading to a more efficient design process. Additionally, the co-design principles help avoid unforeseen errors and help in quicker adaptation of the proposed solution.
The fundamental problem of weighted sampling involves sampling of satisfying assignments of Boolean formulas, which specify sampling sets, and according to distributions defined by pre-specified weight functions to weight functions. The tight integration of sampling routines in various applications has highlighted the need for samplers to be incremental, i.e., samplers are expected to handle updates to weight functions. The primary contribution of this work is an efficient knowledge compilation-based weighted sampler, INC, designed for incremental sampling. INC builds on top of the recently proposed knowledge compilation language, OBDD[AND], and is accompanied by rigorous theoretical guarantees. Our extensive experiments demonstrate that INC is faster than state-of-the-art approach for majority of the evaluation. In particular, we observed a median of 1.69X runtime improvement over the prior state-of-the-art approach.
Sara Di Bartolomeo, Giorgio Severi, Victor Schetinger
et al.
Large language models (LLMs) have recently taken the world by storm. They can generate coherent text, hold meaningful conversations, and be taught concepts and basic sets of instructions - such as the steps of an algorithm. In this context, we are interested in exploring the application of LLMs to graph drawing algorithms by performing experiments on ChatGPT. These algorithms are used to improve the readability of graph visualizations. The probabilistic nature of LLMs presents challenges to implementing algorithms correctly, but we believe that LLMs' ability to learn from vast amounts of data and apply complex operations may lead to interesting graph drawing results. For example, we could enable users with limited coding backgrounds to use simple natural language to create effective graph visualizations. Natural language specification would make data visualization more accessible and user-friendly for a wider range of users. Exploring LLMs' capabilities for graph drawing can also help us better understand how to formulate complex algorithms for LLMs; a type of knowledge that could transfer to other areas of computer science. Overall, our goal is to shed light on the exciting possibilities of using LLMs for graph drawing while providing a balanced assessment of the challenges and opportunities they present. A free copy of this paper with all supplemental materials required to reproduce our results is available on https://osf.io/n5rxd/?view_only=f09cbc2621f44074810b7d843f1e12f9
The 2019/20 Black Summer bushfires in Australia demonstrated the brutal and disastrous consequences of changing the technological world without considering linkages with the biophysical, ecological or human worlds. An emerging more-than-human design philosophy encourages designers to consider such interrelations between humans and non-human entities. Yet, the design research community has focused on situated or embodied experiences for designers, rather than developing processes to legitimate the perspectives of non-human entities through participatory design. This paper explores how adopting the `intentional stance', a concept from philosophy, might provide a heuristic for more-than-human participatory design. Through experimentation with the intentional stance in the context of smart lighting systems, the paper demonstrates that the approach has potential for non-human entities from the ecological world, but less so for the biophysical world. The paper concludes by encouraging critique and evolution of the intentional stance, and of other approaches, to legitimate the perspectives of non-human entities in everyday design.
Participatory Design (PD) seeks political change to support people's democratic control over processes, solutions, and, in general, matters of concern to them. A particular challenge remains in supporting vulnerable groups to gain power and control when they are dependent on organizations and external structures. We reflect on our five-year engagement with survivors of sex trafficking in Nepal and an anti-trafficking organization that supports the survivors. Arguing that the prevalence of deficit perspective in the setting promotes dependency and robs the survivors' agency, we sought to bring change by exploring possibilities based on the survivors' existing assets. Three configurations illuminate how our design decisions and collective exploration operate to empower participation while attending to the substantial power implicitly and explicitly manifest in existing structures. We highlight the challenges we faced, uncovering actions that PD practitioners can take, including an emphasis on collaborative entanglements, attending to contingent factors, and encouraging provisional collectives.
Mural image inpainting is far less explored compared to its natural image counterpart and remains largely unsolved. Most existing image-inpainting methods tend to take the target image as the only input and directly repair the damage to generate a visually plausible result. These methods obtain high performance in restoration or completion of some pre-defined objects, e.g., human face, fabric texture, and printed texts, etc., however, are not suitable for repairing murals with varying subjects and large damaged areas. Moreover, due to discrete colors in paints, mural inpainting may suffer from apparent color bias. To this end, in this paper, we propose a line drawing guided progressive mural inpainting method. It divides the inpainting process into two steps: structure reconstruction and color correction, implemented by a structure reconstruction network (SRN) and a color correction network (CCN), respectively. In structure reconstruction, SRN utilizes the line drawing as an assistant to achieve large-scale content authenticity and structural stability. In color correction, CCN operates a local color adjustment for missing pixels which reduces the negative effects of color bias and edge jumping. The proposed approach is evaluated against the current state-of-the-art image inpainting methods. Qualitative and quantitative results demonstrate the superiority of the proposed method in mural image inpainting. The codes and data are available at https://github.com/qinnzou/mural-image-inpainting.
Generative systems have a significant potential to synthesize innovative design alternatives. Still, most of the common systems that have been adopted in design require the designer to explicitly define the specifications of the procedures and in some cases the design space. In contrast, a generative system could potentially learn both aspects through processing a database of existing solutions without the supervision of the designer. To explore this possibility, we review recent advancements of generative models in machine learning and current applications of learning techniques in design. Then, we describe the development of a data-driven generative system titled DeepCloud. It combines an autoencoder architecture for point clouds with a web-based interface and analog input devices to provide an intuitive experience for data-driven generation of design alternatives. We delineate the implementation of two prototypes of DeepCloud, their contributions, and potentials for generative design.
This paper retraces the explorations engaged in by the Minim friar Jean-François Niceron (1613-1646). His treatise, La Perspective curieuse, recounts his search for anamorphic images and suggests the pursuit of ‘delight in seeing the possibilities beyond the expected’ that these images offer. Anamorphic representations are deformed images, whereby the point of view is displaced in space. As a result, the resolution of the image is only possible through the adjustment of the body, the re-positioning of the body near that unique secondary vantage point. Based on the capacity of anamorphic representations to disclose a space for wonder manifested only in the physical encounter with the image, the following text presents a workshop undertaken with PhD students where we re-enacted Niceron’s drawing instructions to explore the significance of ‘reaching toward a meaning not yet known’ that he envisioned. Through the workshop, the act of delineating a surface became a way to occupy and inhabit the space. The text is presented in the format of a script to allow readers to follow the events that happened during the workshop, but also to encourage rehearsal and to invite the event to be played again. The script, as well as Niceron’s drawing instructions, are meant to be read, played and repeated, in the same way the movement by a body is a prerequisite for uncovering the meaning of the anamorphic image. These re-enactments do not only possess the potential to bring the past into the present, but they also—by the act of imagining a past-in- the-present—project our understanding of history into possible futures. Read the full article online at: https://drawingon.org/Issue-02-07-Delineating-Surfaces
Parallel Projections investigates two types of post- industrial site: the architectural and the agricultural; it conflates (projections of and into) spaces as means of making visceral our intellectual comprehension of the relationships between materiality, surface, place and history. Parallel Projections is not meant for specific places but for specific kinds of spaces: defunct industrial buildings, abandoned urban edifices, and mechanized natural landscapes. The authors, living in places (Iowa and Ohio) that have both been radically altered by scalar economic shifts, adapt alien (guest) project components to their native (host) contexts. Both types of spaces, host and guest, as spaces of urban and rural abandonment, share surfaces that are compelling palimpsests. These surfaces are encrusted with nearly-obliterated histories, emptied by changes in production methods and habits of occupation and revealed by ghost texts. In opposition to the idea that these sites should be whitewashed and redrawn, the authors see them as grounds for new layers that can receive projections of phenomena from other post- industrial sites and as repositories for material evidence that deepens, rather than erases, the evidence of their pasts. Read the full article online at: https://drawingon.org/Issue-02-06-Parallel-Projections
We provide an amendment to the first theorem of "Control Contraction Metrics: Convex and Intrinsic Criteria for Nonlinear Feedback Design" by Manchester & Slotine in the form of an additional technical condition required to show integrability of differential control signals. This technical condition is shown to be satisfied under the original assumptions if the input matrix is constant rank, and also if the strong conditions for a CCM hold. However a simple counterexample shows that if the input matrix drops rank, then the weaker conditions of the original theorem may not imply stabilizability of all trajectories. The remaining claims and illustrative examples of the paper are shown to remain valid with the new condition.
Developments in information and communication technologies have been greatly influential on the practices in all fields, and education is not an exception to this. To illustrate with, computers were first used in computer assisted education in order to increase the efficiency of teaching process. Recently, computer has contributed more to the field through interactive and smart class applications that are specially designed for classroom use. The aim of this study is to develop a low cost, portable and projection supported touchscreen to be used in educational environments by using FPGA technology and to test its usability. For the purposes of the study, the above mentioned system was developed by using the necessary hardware and software, and later it was tested in terms of usability. This usability test was administered to teachers, who were the target end users of this touchscreen writing / drawing system. The aim of this test was to determine user friendliness, subservientness and usability of the system. Several tools were used to obtain data from the users that participated in the study. The analysis and evaluation of the data collected revealed that the system has achieved its objectives successfully.
Jonathan X. Zheng, Samraat Pawar, Dan F. M. Goodman
A popular method of force-directed graph drawing is multidimensional scaling using graph-theoretic distances as input. We present an algorithm to minimize its energy function, known as stress, by using stochastic gradient descent (SGD) to move a single pair of vertices at a time. Our results show that SGD can reach lower stress levels faster and more consistently than majorization, without needing help from a good initialization. We then show how the unique properties of SGD make it easier to produce constrained layouts than previous approaches. We also show how SGD can be directly applied within the sparse stress approximation of Ortmann et al. [1], making the algorithm scalable up to large graphs.
<p>A través de la metáfora derivada del origen de la palabra texto como “tejido”, definimos el alfabeto como un entramado o confluencia de diversos saberes, por lo que podría ser definido desde diferentes dimensiones. Desde el enfoque del diseñador/a, este artículo tiene por objeto analizar tales dimensiones de la letra como el conjunto de condicionantes externos al proyecto cuyo conocimiento es responsabilidad del diseñador/a antes de adentrarse en la problemática del mismo, ya que de su dominio dependerá la adecuación de sus decisiones.</p>
<p>Análisis de los valores expresivos que la música proporciona al autor en su proceso creativo, donde la experiencia personal se nutre de ese acompañamiento y delimita tanto la inspiración, la creatividad o la gestación del carácter de los personajes. Pero, sobre todo, de su influencia en el ritmo narrativo de algunas de las historias contadas por el autor en sus cómics.</p>
Radoslav Fulek, Michael Pelsmajer, Marcus Schaefer
A drawing of a graph $G$ is radial if the vertices of $G$ are placed on concentric circles $C_1, \ldots, C_k$ with common center $c$, and edges are drawn radially: every edge intersects every circle centered at $c$ at most once. $G$ is radial planar if it has a radial embedding, that is, a crossing-free radial drawing. If the vertices of $G$ are ordered or partitioned into ordered levels (as they are for leveled graphs), we require that the assignment of vertices to circles corresponds to the given ordering or leveling. A pair of edges $e$ and $f$ in a graph is independent if $e$ and $f$ do not share a vertex. We show that a graph $G$ is radial planar if $G$ has a radial drawing in which every two independent edges cross an even number of times; the radial embedding has the same leveling as the radial drawing. In other words, we establish the strong Hanani-Tutte theorem for radial planarity. This characterization yields a very simple algorithm for radial planarity testing.