The Artist, the Muse, and the Library: Exploring ‘inspiration’ and the library’s potential role in the creative process

Artists and designers are an under-researched group of library users. Even less has been written specifically about their need for ‘inspiration’, despite its importance to the creative process. This study examines how misconceptions have shaped the relationship between artists and designers and the library. The research seeks to further understand the concept of inspiration, and explore the potential role that the library could play in the creative process. A qualitative, mixed methods approach was taken to suit the subjective, complex nature of the topic. The research begins with a four-stage literature review covering the Library and Information Science (LIS) literature on artists and designers, relevant information behaviour theories, a selective review of creativity in the LIS literature, and a selective overview of various historical, cultural, and psychological perspective on inspiration and creativity. To complement the literature review, six in-depth interviews were conducted with art and design librarians, tutors, and practitioners. The resulting variety of perspectives help to shed light on the concept of inspiration and the library’s potential role. The study links the process of finding inspiration with other LIS research into browsing, information encountering, serendipity, and satisficing, highlighting the importance of these theories to understanding the behaviour of artists and designers. Inspiration is better understood by tracing the concept from its mystical origins, examining its changing place in history, philosophy, and psychology. Although this concept is ultimately too subjective for the research to concretely define the role of the library, the nature of the education, resources, organisation, and space in libraries place them in a unique position for facilitating creativity and inspiration

Visual Design Process: Communicating with Storyboarding and Augmented Reality

In the building profession, it is essential for architects to communicate clearly and effectively to numerous people. This thesis introduces a design process utilizing two visual tools— Storyboarding and Augmented Reality—as a methodology for stronger visual communication. Storyboarding is a visual design tool that communicates concepts, ideas, and specifics quickly through clear illustrations. It allows designers to visually communicate to a team and change ideas during the development phase of a project. Augmented Reality is a visual tool that communicates superimposed digital information through a composite view of the real and digital world. This gives designers the ability to present more information about completed projects. Through further investigation of this design process, I have found that it is the balance between the two and the transition of information between design phases that allows for a brand new process of visual communication throughout a design project’s entirety.In the building profession, it is essential for architects to communicate clearly and effectively to numerous people. This thesis introduces a design process utilizing two visual tools— Storyboarding and Augmented Reality—as a methodology for stronger visual communication. Storyboarding is a visual design tool that communicates concepts, ideas, and specifics quickly through clear illustrations. It allows designers to visually communicate to a team and change ideas during the development phase of a project. Augmented Reality is a visual tool that communicates superimposed digital information through a composite view of the real and digital world. This gives designers the ability to present more information about completed projects. Through further investigation of this design process, I have found that it is the balance between the two and the transition of information between design phases that allows for a brand new process of visual communication throughout a design project’s entirety.In the building profession, it is essential for architects to communicate clearly and effectively to numerous people. This thesis introduces a design process utilizing two visual tools— Storyboarding and Augmented Reality—as a methodology for stronger visual communication. Storyboarding is a visual design tool that communicates concepts, ideas, and specifics quickly through clear illustrations. It allows designers to visually communicate to a team and change ideas during the development phase of a project. Augmented Reality is a visual tool that communicates superimposed digital information through a composite view of the real and digital world. This gives designers the ability to present more information about completed projects. Through further investigation of this design process, I have found that it is the balance between the two and the transition of information between design phases that allows for a brand new process of visual communication throughout a design project’s entirety.In the building profession, it is essential for architects to communicate clearly and effectively to numerous people. This thesis introduces a design process utilizing two visual tools— Storyboarding and Augmented Reality—as a methodology for stronger visual communication. Storyboarding is a visual design tool that communicates concepts, ideas, and specifics quickly through clear illustrations. It allows designers to visually communicate to a team and change ideas during the development phase of a project. Augmented Reality is a visual tool that communicates superimposed digital information through a composite view of the real and digital world. This gives designers the ability to present more information about completed projects. Through further investigation of this design process, I have found that it is the balance between the two and the transition of information between design phases that allows for a brand new process of visual communication throughout a design project’s entirety.In the building profession, it is essential for architects to communicate clearly and effectively to numerous people. This thesis introduces a design process utilizing two visual tools— Storyboarding and Augmented Reality—as a methodology for stronger visual communication. Storyboarding is a visual design tool that communicates concepts, ideas, and specifics quickly through clear illustrations. It allows designers to visually communicate to a team and change ideas during the development phase of a project. Augmented Reality is a visual tool that communicates superimposed digital information through a composite view of the real and digital world. This gives designers the ability to present more information about completed projects. Through further investigation of this design process, I have found that it is the balance between the two and the transition of information between design phases that allows for a brand new process of visual communication throughout a design project’s entirety.In the building profession, it is essential for architects to communicate clearly and effectively to numerous people. This thesis introduces a design process utilizing two visual tools— Storyboarding and Augmented Reality—as a methodology for stronger visual communication. Storyboarding is a visual design tool that communicates concepts, ideas, and specifics quickly through clear illustrations. It allows designers to visually communicate to a team and change ideas during the development phase of a project. Augmented Reality is a visual tool that communicates superimposed digital information through a composite view of the real and digital world. This gives designers the ability to present more information about completed projects. Through further investigation of this design process, I have found that it is the balance between the two and the transition of information between design phases that allows for a brand new process of visual communication throughout a design project’s entirety.In the building profession, it is essential for architects to communicate clearly and effectively to numerous people. This thesis introduces a design process utilizing two visual tools— Storyboarding and Augmented Reality—as a methodology for stronger visual communication. Storyboarding is a visual design tool that communicates concepts, ideas, and specifics quickly through clear illustrations. It allows designers to visually communicate to a team and change ideas during the development phase of a project. Augmented Reality is a visual tool that communicates superimposed digital information through a composite view of the real and digital world. This gives designers the ability to present more information about completed projects. Through further investigation of this design process, I have found that it is the balance between the two and the transition of information between design phases that allows for a brand new process of visual communication throughout a design project’s entirety.In the building profession, it is essential for architects to communicate clearly and effectively to numerous people. This thesis introduces a design process utilizing two visual tools— Storyboarding and Augmented Reality—as a methodology for stronger visual communication. Storyboarding is a visual design tool that communicates concepts, ideas, and specifics quickly through clear illustrations. It allows designers to visually communicate to a team and change ideas during the development phase of a project. Augmented Reality is a visual tool that communicates superimposed digital information through a composite view of the real and digital world. This gives designers the ability to present more information about completed projects. Through further investigation of this design process, I have found that it is the balance between the two and the transition of information between design phases that allows for a brand new process of visual communication throughout a design project’s entirety.In the building profession, it is essential for architects to communicate clearly and effectively to numerous people. This thesis introduces a design process utilizing two visual tools— Storyboarding and Augmented Reality—as a methodology for stronger visual communication. Storyboarding is a visual design tool that communicates concepts, ideas, and specifics quickly through clear illustrations. It allows designers to visually communicate to a team and change ideas during the development phase of a project. Augmented Reality is a visual tool that communicates superimposed digital information through a composite view of the real and digital world. This gives designers the ability to present more information about completed projects. Through further investigation of this design process, I have found that it is the balance between the two and the transition of information between design phases that allows for a brand new process of visual communication throughout a design project’s entirety.In the building profession, it is essential for architects to communicate clearly and effectively to numerous people. This thesis introduces a design process utilizing two visual tools— Storyboarding and Augmented Reality—as a methodology for stronger visual communication. Storyboarding is a visual design tool that communicates concepts, ideas, and specifics quickly through clear illustrations. It allows designers to visually communicate to a team and change ideas during the development phase of a project. Augmented Reality is a visual tool that communicates superimposed digital information through a composite view of the real and digital world. This gives designers the ability to present more information about completed projects. Through further investigation of this design process, I have found that it is the balance between the two and the transition of information between design phases that allows for a brand new process of visual communication throughout a design project’s entirety.In the building profession, it is essential for architects to communicate clearly and effectively to numerous people. This thesis introduces a design process utilizing two visual tools— Storyboarding and Augmented Reality—as a methodology for stronger visual communication. Storyboarding is a visual design tool that communicates concepts, ideas, and specifics quickly through clear illustrations. It allows designers to visually communicate to a team and change ideas during the development phase of a project. Augmented Reality is a visual tool that communicates superimposed digital information through a composite view of the real and digital world. This gives designers the ability to present more information about completed projects. Through further investigation of this design process, I have found that it is the balance between the two and the transition of information between design phases that allows for a brand new process of visual communication throughout a design project’s entirety.In the building profession, it is essential for architects to communicate clearly and effectively to numerous people. This thesis introduces a design process utilizing two visual tools— Storyboarding and Augmented Reality—as a methodology for stronger visual communication. Storyboarding is a visual design tool that communicates concepts, ideas, and specifics quickly through clear illustrations. It allows designers to visually communicate to a team and change ideas during the development phase of a project. Augmented Reality is a visual tool that communicates superimposed digital information through a composite view of the real and digital world. This gives designers the ability to present more information about completed projects. Through further investigation of this design process, I have found that it is the balance between the two and the transition of information between design phases that allows for a brand new process of visual communication throughout a design project’s entirety

Human Computer Interaction and Emerging Technologies

The INTERACT Conferences are an important platform for researchers and practitioners in the field of human-computer interaction (HCI) to showcase their work. They are organised biennially by the International Federation for Information Processing (IFIP) Technical Committee on Human–Computer Interaction (IFIP TC13), an international committee of 30 member national societies and nine Working Groups. INTERACT is truly international in its spirit and has attracted researchers from several countries and cultures. With an emphasis on inclusiveness, it works to lower the barriers that prevent people in developing countries from participating in conferences. As a multidisciplinary field, HCI requires interaction and discussion among diverse people with different interests and backgrounds. The 17th IFIP TC13 International Conference on Human-Computer Interaction (INTERACT 2019) took place during 2-6 September 2019 in Paphos, Cyprus. The conference was held at the Coral Beach Hotel Resort, and was co-sponsored by the Cyprus University of Technology and Tallinn University, in cooperation with ACM and ACM SIGCHI. This volume contains the Adjunct Proceedings to the 17th INTERACT Conference, comprising a series of selected papers from workshops, the Student Design Consortium and the Doctoral Consortium. The volume follows the INTERACT conference tradition of submitting adjunct papers after the main publication deadline, to be published by a University Press with a connection to the conference itself. In this case, both the Adjunct Proceedings Chair of the conference, Dr Usashi Chatterjee, and the lead Editor of this volume, Dr Fernando Loizides, work at Cardiff University which is the home of Cardiff University Press

A Consensus on the Definition and Knowledge Base for Computer Graphics

Despite several decades of historical innovation, measurable impacts, and multiple specializations the existing knowledge base for Computer Graphics (CG) lacks consensus, and numerous definitions for it have been published based on distinct contexts. Disagreement among post-secondary academics has divided CG programs into three contextual areas that emphasize different topics. This division has resulted in the decontextualization of CG education, and CG programs now face several challenges in meeting the needs of industry. Employing the Delphi Method, this investigation explored the perceptions among post-secondary educators and industry professionals about the definition of CG and how it is identified in terms of characteristics and context. The outcomes of this investigation identified CG in the technological paradigm, and provided a road map towards a true definition and distinct knowledge base necessary for establishing CG as a formal computing discipline

Digital Fabrication Approaches for the Design and Development of Shape-Changing Displays

Interactive shape-changing displays enable dynamic representations of data and information through physically reconfigurable geometry. The actuated physical deformations of these displays can be utilised in a wide range of new application areas, such as dynamic landscape and topographical modelling, architectural design, physical telepresence and object manipulation. Traditionally, shape-changing displays have a high development cost in mechanical complexity, technical skills and time/finances required for fabrication. There is still a limited number of robust shape-changing displays that go beyond one-off prototypes. Specifically, there is limited focus on low-cost/accessible design and development approaches involving digital fabrication (e.g. 3D printing). To address this challenge, this thesis presents accessible digital fabrication approaches that support the development of shape-changing displays with a range of application examples – such as physical terrain modelling and interior design artefacts. Both laser cutting and 3D printing methods have been explored to ensure generalisability and accessibility for a range of potential users. The first design-led content generation explorations show that novice users, from the general public, can successfully design and present their own application ideas using the physical animation features of the display. By engaging with domain experts in designing shape-changing content to represent data specific to their work domains the thesis was able to demonstrate the utility of shape-changing displays beyond novel systems and describe practical use-case scenarios and applications through rapid prototyping methods. This thesis then demonstrates new ways of designing and building shape-changing displays that goes beyond current implementation examples available (e.g. pin arrays and continuous surface shape-changing displays). To achieve this, the thesis demonstrates how laser cutting and 3D printing can be utilised to rapidly fabricate deformable surfaces for shape-changing displays with embedded electronics. This thesis is concluded with a discussion of research implications and future direction for this work

An exploration of integrating the computer into the artroom : curriculum development and teacher training.

The purpose of this dissertation is to explore the integration of the computer into the art classroom with specific intent to provide teacher training and to determine the need for standards in curriculum development. The following questions will be addressed: What (if any) direction should be followed to implement a systematic curriculum methodology for computer graphics? What are we currently doing to meet this need? How are we training our art educators to integrate the computer for art and design, and what do these teachers need in the way of background? What considerations become relevant to the classroom art teacher in the logistical procedures of setting up labs or utilizing pre-existing labs in a school district? The conclusions of this study were based on results from both qualitative and quantitative investigations. The quantitative results were obtained by sending out close-ended questionnaires for self-completion, by mail. The sample included 276 public school districts. The demographic results reviewed include statistical data which is displayed in chart and graphed formats. The qualitative results were obtained by creating and then implementing a teacher training tutorial program for 10 teachers in respective school districts. The results of pre- and post-assessment questionnaires were evaluated regarding each teacher\u27s documented variances in attitudes, performances, acquired skills, knowledge, and opinions. While carrying out part two of the study, I intended to promote literacy, awareness, and understanding to the participating art teachers on the potential usage of the computer for art in the art classroom. If teachers have a stronger foundation and confidence in this area, they will more effectively integrate this tool into the art curriculum. Such grounding will hopefully give students in art the opportunity to use computers more efficiently and, it will create an awareness of the inherent possibilities this tool offers at an early stage

2D to 3D non photo realistic character transformation and morphing (computer animation)

This research concerns the transformation and morphing between a full body 2D and 3D animated character. This practice based research will examine both technical and aesthetic techniques for enhancing morphing of animated characters. Stylized character transformations from A to B and from B to A, where details like facial expression, body motion, texture are to be expressively transformed aesthetically in a narrated story. Currently it is hard to separate 2D and 3D animation in a mix media usage. If we analyse and breakdown these graphical components, we could actually find a distinction as to how these 2D and 3D element increase the information level and complexity of storytelling. However, if we analyse it from character animation perspective, instance transformation of a digital character from 2D to 3D is not possible without post production techniques, pre-define 3D information such as blend shape or complex geometry data and mathematic calculation. There are mainly two elements to this investigation. The primary element is the design system of such stylizes character in 2D and 3D. Currently many design systems (morphing software) are based on photo realistic artifacts such as Fanta Morph, Morph Buster, Morpheus, Fun Morph and etc. This investigation will focus on non photo realistic character morphing. In seeking to define the targeted non photo realistic, illustrated stylize 2D and 3D character, I am examining the advantages and disadvantages of a number of 2D illustrated characters in respect to 3D morphing. This investigation could also help to analyse the efficiency and limitation of such 2D and 3D non photo realistic character design and transformation where broader techniques will be explored. The secondary element is the theoretical investigation by relating how such artistic and technical morphing idea is being used in past and today films/games. In a narrated story contain character that acts upon a starting question or situation and reacts on the event. The gap between his aim and the result of his acting, the gap between his vision and his personality creates the dramatic tension. I intend to distinguish the possibility of identifying a transitional process of voice between narrator and morphing character, while also illustrating, through visual terminology, the varying fluctuations between two speaking agents. I intend to prove and insert sample demonstrating “morphing” is not just visually important but have direct impact on storytelling

NEUVis: Comparing Affective and Effective Visualisation

Data visualisations are useful for providing insight from complex scientific data. However, even with visualisation, scientific research is difficult for non-scientists to comprehend. When developed by designers in collaboration with scientists, data visualisation can be used to articulate scientific data in a way that non-experts can understand. Creating human-centred visualisations is a unique challenge, and there are no frameworks to support their design. In response, this thesis presents a practice-led study investigating design methods that can be used to develop Non-Expert User Visualisations (NEUVis), data visualisations for a general public, and the response that people have to different kinds of NEUVis. For this research, two groups of ten users participated in quantitative studies, informed by Yvonna Lincoln and Egon Guba’s method of Naturalistic Inquiry, which asked non-scientists to express their cognitive and emotional response to NEUVis using different media. The three different types of visualisations were infographics, 3D animations and an interactive installation. The installation used in the study, entitled 18S rDNA, was developed and evaluated as part of this research using John Zimmerman’s Research Through Design methodology. 18S rDNA embodies the knowledge and design methods that were developed for this research, and provided an opportunity for explication of the entire NEUVis design process. The research findings indicate that developing visualisations for the non-expert audience requires a new process, different to the way scientists visualise data. The result of this research describes how creative practitioners collaborate with primary researchers and presents a new human-centred design thinking model for NEUVis. This model includes two design tools. The first tool helps designers merge user needs with data they wish to visualise. The second tool helps designers take that merged information and begin an iterative, user-centred design process