DENIM: An Informal Web Site Design Tool Inspired by Observations of Practice

Through a study of Web site design practice, we observed that designers employ multiple representations of Web sites as they progress through the design process and that these representations allow them to focus on different aspects of the design. In particular, we observed that Web site designers focus their design efforts at 3 different levels of granularity-site map, storyboard, and individual page-and that designers sketch at all levels during the early stages of design. Sketching on paper is especially important during the early phases of a project, when designers wish to explore many design possibilities quickly without focusing on low-level details. Existing Web design tools do not support such exploration tasks well, nor do they adequately integrate multiple site representations. Informed by these observations we developed DENIM: an informal Web site design tool that supports early phase information and navigation design of Web sites. It supports sketching input, allows design at different levels of granularity, and unifies the levels through zooming. Designers are able to interact with their sketched designs as if in a Web browser, thus allowing rapid creation and exploration of interactive prototypes. Based on an evaluation with professional designers as well as usage feedback from users who have downloaded DENIM from the Internet, we have made numerous improvements to the system and have received many positive reactions from designers who would like to use a system like DENIM in their work.     

A conceptual database design approach based on rules and heuristics

Conceptual and logical database design are complex tasks for non-expert designers. Currently, the popular data models for conceptual and logical database design are the entity–relationship (ER) and the relational model, respectively. Logical design methodologies for relational databases have relied on mathematically rigorous approaches which are impractical, or textbook approaches which do not provide the rich constructs to capture real applications. Consequently, designers have to use their intuition to develop their own rules and heuristics. There is a need, therefore, to develop practical rules and heuristics that can be used to handle the complexity of design in real applications. This paper proposes a realistic and detailed approach for conceptual design using the ER model for relational databases. The approach is based on four rules that specify the order in which various types of relationships must be modelled, three rules that pertain to detection of derived relationships, and three heuristics based on observation of constructs in real applications. The approach is illustrated by many examples.     

Computer vision for artists and designers: pedagogic tools and techniques for novice programmers

This article attempts to demystify computer vision for novice programmers through a survey of new applications in the arts, system design considerations, and contemporary tools. It introduces the concept and gives a brief history of computer vision within interactive art from Myron Kruger to the present. Basic techniques of computer vision such as detecting motion and object tracking are discussed in addition to various software applications created for exploring the topic. As an example, the results of a one-week machine vision workshop are presented to show how designers are able to apply their skills toward creating novel uses of these technologies. The article concludes with a listing of code for basic computer vision techniques.     

Computational support for collective creativity

The goal of our research is to develop computer systems that support designers’ collective creativity; such systems support individual creative aspects in design through the use of representations created by others in the community. We have developed two systems, IAM-eMMa and EVIDII, that both aim at supporting designers in finding visual images that would be useful for their creative design task. IAM-eMMa uses knowledge-based rules, which are constructed by other designers, to retrieve images related to a design task, and infers the underlying “rationale” when a designer chooses one of the images. EVIDII allows designers to associate affective words and images, and then shows several visual representations of the relationships among designers, images and words. By observing designers interacting with the two systems, we have identified that systems for supporting collective creativity need to be based on design knowledge that: (1) is contextualized; (2) is respectable and trustful; and (3) enables “appropriation” of a design task.     

From imagining to image: An examination of visual realisation of 3D forms

Abstract

Representation of ideas so that others may understand them is vital, and particularly so in the early stages of the design process; designers use many different techniques to make these representations.

Recent work at the Visualisation and Information Design Centre (VIDe) at the Coventry School of Art and Design has concentrated on supporting styling design. The previously‐developed technique of mapping 2D images over 3D computer models of vehicles has been extended: now, 2D facial photographs are mapped onto generic 3D head‐models to enhance a new technique for spectacle design. A summary of work in progress for computer assisted spectacle design, and for rapid car styling, is described here, along with details for improvements in sketch modelling, including texture mapping.

Photographs and reference CAD models are used in an attempt to verify the basic process; also ‘depth mapping’, ‘lines in space’ and other rapid modelling methods are discussed. Three different strategies for rapid computer modelling of cars are described and evaluated to ascertain if they may replace or enhance standard methods.     

A universal design resource for rich Internet applications based on design patterns

Rich Internet applications have removed most of the constraints of Web 1.0 while giving users more responsiveness and advanced browsing and interaction experiences. These new horizons, however, raise many challenges for people with disabilities or using limited hardware and software technologies, whose risk to be excluded from the benefits deriving from advanced web applications. To address this problem, WCAG 2.0 guidelines have been released as the newest World Wide Web Consortium recommendation for accessible web content, and WAI-ARIA is a candidate recommendation which provides reference specifications for accessible rich Internet applications. However, both specifications contain a huge amount of information that often discourages most web designers from dealing with accessibility issues. Moreover, guidelines are suitable and usually adopted to judge a design solution a posteriori, but they do not suggest how to face a design problem constructively. This paper proposes a design pattern language for accessibility. The language can be regarded as a universal design resource for helping web designers create accessible rich Internet applications compliant with the most recent standards. Knowledge representation through design patterns reflects the problem-solving approach usually followed by software and web designers, while pattern organization in a structured language aims to guide web designers throughout the design process. The language has been implemented as an accessible rich Internet application itself, thus allowing designers with disabilities to participate in web design. In order to evaluate the design pattern language, a three-step process was carried out including: (1) a heuristic analysis with a group of human–computer interaction experts, (2) a survey study with a group of web designers, and (3) a validation on the field with two designers who have been requested to apply the language in real design cases.     

Evocation Processes by Novice and Expert Designers: Towards Stimulating Analogical Thinking

Design activity occurs in many professions, ranging from technical to more artistic domains. Whatever the domain, it is a constant challenge for designers to introduce creativity in each design project they work on and minimize the tendency to repeat familiar design features. The goal of this paper is to present a cognitive approach to design problem solving as well as an experimental study. This study aims at determining whether creative ideas can be enhanced by the presentation of external sources of inspiration. In particular, we analyse the effect of the presentation of different kinds of sources (intra‐ versus interdomain sources, which are presented as graphical representations or as verbal labels) according to the designers’ level of expertise (lay‐designers versus professionals). Results show that it is possible to enhance evocation processes in design, but that it is dependent on both the nature of sources of inspiration and the designers’ level of expertise. Based on these results, we suggest ways for enhancing creative ideas in design tasks.     

An integrated modelling environment for the embodiment of mechanical systems

The efficient, economical and often elegant transformation from a design schema to an embodied design solution containing real components is essential for the commercial success of a product. More often the ability of the designer to explore an optimum solution is severely frustrated by the analytically intensive and time-consuming aspects of embodying a concept. This paper presents a computer based system-modelling tool that is to be used by designers during the transformation of a concept to an embodied solution particularly to deal with standard components. This environment provides for the representation of conceptual schemas and subsequent embodiment from computer based component selection modules. These selection modules encompass the full range of electronic representations for standard mechanical components. The strategy for representing a mechanical system, its included components and their associated representations is discussed. The process of constructing a system model, specifying the desired performance characteristics and system resolution are also described.     

Engineering aesthetics and aesthetic ergonomics: theoretical foundations and a dual-process research methodology

Although industrial and product designers are keenly aware of the importance of design aesthetics, they make aesthetic design decisions largely on the basis of their intuitive judgments and "educated guesses". Whilst ergonomics and human factors researchers have made great contributions to the safety, productivity, ease-of-use, and comfort of human-machine-environment systems, aesthetics is largely ignored as a topic of systematic scientific research in human factors and ergonomics. This article discusses the need for incorporating the aesthetics dimension in ergonomics and proposes the establishment of a new scientific and engineering discipline that we can call "engineering aesthetics". This discipline addresses two major questions: How do we use engineering and scientific methods to study aesthetics concepts in general and design aesthetics in particular? How do we incorporate engineering and scientific methods in the aesthetic design and evaluation process? This article identifies two special features that distinguish aesthetic appraisal of products and system designs from aesthetic appreciation of art, and lays out a theoretical foundation as well as a dual-process research methodology for "engineering aesthetics". Sample applications of this methodology are also described.     

Fortune Favours Only the Prepared Mind: Why Sources of Inspiration are Essential for Continuing Creativity

Intellectual health like physical health depends on a balance between feeding and exercise. But the demands of work often make a healthy balance very hard to maintain. In a detailed study of the knitwear industry and in comparisons with other design fields, we have observed that designers use external sources of ideas for a variety of different purposes throughout the design process. We have also observed that designers’ creative potential is often limited by the failure of managers to understand design, and especially their designers’ need to search for sources of new ideas. Managing design processes to maximize creative output requires both an understanding of the role of sources of ideas in the creative process, and proactive management to support and encourage the renewal of intellectual resources. In this paper we suggest some practical steps for supporting continuing creativity.     

Comparative Evaluation of the Consistency of Three‐dimensional Spatial Representations used in Autonomous Robot Navigation

An increasing number of robots for outdoor applications rely on complex three‐dimensional (3D) environmental models. In many cases, 3D maps are used for vital tasks, such as path planning and collision detection in challenging semistructured environments. Thus, acquiring accurate three‐dimensional maps is an important research topic of high priority for autonomously navigating robots. This article proposes an evaluation method that is designed to compare the consistency with which different representations model the environment. In particular, the article examines several popular (probabilistic) spatial representations that are capable of predicting the occupancy of any point in space, given prior 3D range measurements. This work proposes to reformulate the obtained environmental models as probabilistic binary classifiers, thus allowing for the use of standard evaluation and comparison procedures. To avoid introducing localization errors, this article concentrates on evaluating models constructed from measurements acquired at fixed sensor poses. Using a cross‐validation approach, the consistency of different representations, i.e., the likelihood of correctly predicting unseen measurements in the sensor field of view, can be evaluated. Simulated and real‐world data sets are used to benchmark the precision of four spatial models—occupancy grid, triangle mesh, and two variations of the three‐dimensional normal distributions transform (3D‐NDT)—over various environments and sensor noise levels. Overall, the consistency of representation of the 3D‐NDT is found to be the highest among the tested models, with a similar performance over varying input data. © 2013 Wiley Periodicals, Inc.     

From action icon to knowledge icon: Objective-oriented icon taxonomy in computer science

Icon plays a critical role in computer interface design. Studies on icon taxonomy explain the way in which various types of icon represent the objects and provide designers creation rules by which icons are more in line with users’ cognitive psychology. However, along with larger and larger use of icons, the previous classification criterion causes the boundary between categories blur. What’s more, Single classification standard is not able to well illustrate the icons applied in today’s computer applications. The purpose of this paper is to present an objective-oriented icon taxonomy which proposes to categorize icons into action icon and knowledge icon. To assess this proposition, we analyzed a sample of icons that applied in computer interface and suggest precise application domains to both action icon and knowledge icon categories. The results of this practice manifested that action icon and knowledge icon implied a high relation with applied environment and explicated the development trace of computer icons. This work is one of the first to point out the notion of knowledge icon and to highlight the importance of objective of icon application. Findings in this paper could enrich icon use in computer interface design, especially provides possible way to improve online knowledge sharing by visual tool like icon.     

Realistic or Abstract Imagery: The Future of Computer Graphics?

The big idea in computer graphics, what makes CG different from other ways of making images, is that CG represents images symbolically. The artist or designer creates a symbolic representation of the image, and the computer converts that representation to physical media. Because computational processes are so flexible, we have the freedom to invent any abstract representation that suits our needs. Somewhat surprisingly, most of computer graphics research has focused on the science and technology needed to make photorealistic images representing the physical world. In this talk, I will argue that we should shift our focus to developing techniques for manipulating abstract image representations. Historically, abstract imagery is more recent and more innovative than realistic imagery. Functionally, abstract image representations are often more informative and more expressive than realistic ones. More fundamentally, abstract image models better depict our mental models of the world, and are hence more useful to most people that use computer graphics in their work. In addition to motivating this line of research, I will outline some potentially promising research directions.     

Agentsheets: a medium for creating domain-oriented visual languages

Customized visual representations enable end users to achieve their programming goals. Here, designers work with users to tailor visual programming languages to specific problem domains. We describe a design methodology and a tool for creating domain oriented, end user programming languages that effectively use visualization. We first describe a collaborative design methodology involving end users and designers. We then present Agentsheets, a tool for creating domain oriented visual programming languages, and illustrate how it supports collaborative design by examining experiences from a real language design project. Finally, we summarize the contributions of our approach and discuss its viability in industrial design projects     

Engineering aesthetics and aesthetic ergonomics: Theoretical foundations and a dual-process research methodology

Although industrial and product designers are keenly aware of the importance of design aesthetics, they make aesthetic design decisions largely on the basis of their intuitive judgments and ‘educated guesses’. Whilst ergonomics and human factors researchers have made great contributions to the safety, productivity, ease-of-use, and comfort of human-machine-environment systems, aesthetics is largely ignored as a topic of systematic scientific research in human factors and ergonomics. This article discusses the need for incorporating the aesthetics dimension in ergonomics and proposes the establishment of a new scientific and engineering discipline that we can call ‘engineering aesthetics’. This discipline addresses two major questions: How do we use engineering and scientific methods to study aesthetics concepts in general and design aesthetics in particular? How do we incorporate engineering and scientific methods in the aesthetic design and evaluation process? This article identifies two special features that distinguish aesthetic appraisal of products and system designs from aesthetic appreciation of art, and lays out a theoretical foundation as well as a dual-process research methodology for ‘engineering aesthetics’. Sample applications of this methodology are also described.     

Designing for work place learning

The use of computers to support learning at work has for long been propagated. Although a large bulk of experience exists in this field, it is still an open question what role computer applications play and can play in the process of learning. It can even be questioned if the learning processes themselves are sufficiently well understood to enable designers and others to provide relevant support. In this article these questions are addressed with reference to experience gained with two projects on computer support for shop floor learning. The projects involved the future users actively in the design process and it is argued that this involvement reached far beyond the mere shaping of the learning artefacts.     

A collaborative face-to-face design support system based on sketching and gesturing

Mobile and pervasive computing has seen a rapid development in the last years. Portable, handheld computing devices are getting more popular as their capabilities increase. Therefore, people having the need to work on-the-field have now the possibility to be supported by computer technology, for example, garden or building designers. Ad-hoc networking capabilities of handheld devices enable the development of supporting tools for collaborative work anywhere. This paper presents MCSketcher, a system that enables face-to-face collaborative design based on sketches using handheld devices equipped for spontaneous wireless peer-to-peer networking. It is especially targeted for supporting preliminary, in-the-field work, allowing designers to exchange ideas through sketches on empty sheets or over a recently taken photograph of the object being worked on, in a brainstorming-like working style. Pen-based designed human–computer interaction is the key to supporting collaborative work. The gestures-based command input results in a lightweight yet efficient and easy to use interface. Graph structured hierarchical documents help to overcome the problems of a small screen size.     

Computers and Art

The use of computers in art is not new: examples are given of past and present applications. Three categories are mentioned: computer as tool, as origin of concepts and metaphors, and as controller. The use of the computer in art gives rise to the idea of computing as representation- rather than just information-processing. Thus the computer can be said to 'belong' to artists and designers, and can be seen as a qualitative device. It is argued that computing is 'really' an art or design activity, and that this has implications for art, design and computing.     

Succinct Representation of Labeled Graphs

In many applications, the properties of an object being modeled are stored as labels on vertices or edges of a graph. In this paper, we consider succinct representation of labeled graphs. Our main results are the succinct representations of labeled and multi-labeled graphs (we consider planar triangulations, planar graphs and k-page graphs) to support various label queries efficiently. The additional space cost to store the labels is essentially the information-theoretic minimum. As far as we know, our representations are the first succinct representations of labeled graphs. We also have two preliminary results to achieve the main contribution. First, we design a succinct representation of unlabeled planar triangulations to support the rank/select of edges in ccw (counter clockwise) order in addition to the other operations supported in previous work. Second, we design a succinct representation for a k-page graph when k is large to support various navigational operations more efficiently. In particular, we can test the adjacency of two vertices in O(lg?k) time, while previous work uses O(k) time.