Reinventing Graphic Design Software by Bridging the Gap Between Graphical User Interfaces and Programming

International audienceGraphic Design Software Applications radically transformed the practice and the industry of graphic design. However, they barely evolved since their introduction, leading designers to question their ubiquity. In this paper, we explore this mismatch by analysing digital design tools through two lenses. We first investigate digital design tools from a "lineage" perspective: how they reproduced the pre-existing design tools and practices. We then use two familiar examples: the colour picker and the alignment and distribution commands to explore the vision of design that they promote. We reveal how these tools assume that designers already have in mind a desired outcome and thus introduce a mismatch with current designers' practices. To bridge this gap, we propose "graphical substrates", interactive and visual tools that combine the strengths of both programming and graphical user interfaces. We analyse how several recent research design tools embed this approach and we propose two principles: tweaking and creation from example to foster their adoption by designers

Color Portraits: From Color Picking to Interacting with Color

International audienceAlthough ubiquitous, color pickers have remained largely unchanged for 25 years. Based on contextual interviews with artists and designers, we created the Color Portraits design space to characterize five key color manipulation activities: sampling and tweaking individual colors, manipulating color relationships, combining colors with other elements, revisiting previous color choices, and revealing a design process through color. We found similar color manipulation requirements with scientists and engineers. We designed novel color interaction tools inspired by the design space, and used them as probes to identify specific design requirements, including: interactive palettes for sampling colors and exploring relationships; color composites for blending and decomposing colors with other elements; interactive histories to enable reuse of previous color choices; and providing color as a way to reveal underlying processes. We argue that color tools should allow users to interact with colors, not just pick or sample them

Beyond Snapping: Persistent, Tweakable Alignment and Distribution with StickyLines

International audienceAligning and distributing graphical objects is a common, but cumbersome task. In a preliminary study (six graphic designers , six non-designers), we identified three key problems with current tools: lack of persistence, unpredictability of results, and inability to 'tweak' the layout. We created StickyLines, a tool that treats guidelines as first-class objects: Users can create precise, predictable and persistent interactive alignment and distribution relationships, and 'tweaked' positions can be maintained for subsequent interactions. We ran a [2x2] within-participant experiment to compare Sticky-Lines with standard commands, with two levels of layout difficulty. StickyLines performed 40% faster and required 49% fewer actions than traditional alignment and distribution commands for complex layouts. In study three, six professional designers quickly adopted StickyLines and identified novel uses, including creating complex compound guidelines and using them for both spatial and semantic grouping

Beyond Grids, Interactive Graphical Substrates to Structure Digital Layout

International audienceTraditional graphic design tools emphasize the grid for structuring layout. Interviews with professional graphic designers revealed that they use surprisingly sophisticated structures that go beyond the grid, which we call graphical substrates. We present a framework to describe how designers establish graphical substrates based on properties extracted from concepts, content and context, and use them to compose layouts in both space and time. We developed two technology probes to explore how to embed graphical substrates into tools. Contextify lets designers tailor layouts according to each reader's intention and context; while Linkify lets designers create dynamic layouts based on relationships among content properties. We tested the probes with professional graphic designers, who all identified novel uses in their current projects. We incorporated their suggestions into, StyleBlocks, a prototype that reifies CSS declarations into interactive graphical substrates. Graphical substrates offer an untapped design space for tools that can help graphic designers generate personal layout structures

Designing Design Tools

Les outils de design graphique traditionnels n’ont que peu évolué depuis leur création, il y a plus de 25 ans. Dans cette thèse, je m’intéresse à deux questions principales: Comment les designers travaillent-ils avec leurs outils de design numériques? Comment peut-on créer de nouveaux outils numériques pour le design qui supportent les pratiques existantes? J’étudie en premier lieu quatre pratiques de design. Celles-ci s'échelonnent depuis des opérations spécifiques telles que la sélection de couleurs, l’alignement et la distribution d’objets graphiques vers des pratiques plus complexes telles que la structuration de la mise en page et la collaboration avec des développeurs pour créer de nouvelles interactions. Dans ces quatre études empiriques, je caractérise le décalage existant entre les outils numériques actuels et les pratiques des designers. Je montre comment les outils du design numérique actuels détachent la créativité de l’utilisation des outils en donnant la priorité à des valeurs telles que l’efficacité et la facilité d’utilisation. Je propose un nouveau type d’outil de design nommé “Substrats Graphiques”, fondé sur les résultats empiriques de mes quatre études et qui combine la souplesse et l'expressivité de la programmation avec la manipulation directe permise par les interfaces graphiques traditionnelles. Je conçois neuf outils différents qui répondent aux attentes identifiées dans mes études empiriques en réifiant (transformant en objets concrets) les processus spécifiques des designers en tant que Substrats Graphiques. À travers quatre observations structurées, je montre comment les designers s’approprient ces substrats dans leurs propres termes. Dans cette thèse, je soutiens que les Substrats Graphiques ouvrent l’espace des possibles des outils pour les designers en permettant de combler l’écart entre la programmation et les interfaces graphiques.Mainstream digital graphic design tools seldom evolved since their creation, more than 25 years ago. In this dissertation, I address the following questions: How do designers work with design software? And how can we design novel design tools that better support designer practices? Using StoryPortraits, a method designed to capture rich qualitative insight, I first study four designer practices, ranging from specific design operations such as color selection, alignment and distribution, to more complex endeavors such as layout structuring and collaboration with developers. In these empirical studies, I characterize the existing mismatch between current digital design tools and designers practices. I show how design tools, because they decouple creativity from tool use, prioritize values such as efficiency and user-friendliness. Based on my empirical findings, I propose a new type of design tools, Graphical Substrates that combine the strengths of both programming and traditional Graphical User Interfaces. I design nine different tools that address the needs identified in the four empirical studies by reifying specific user process into Graphical Substrates probes. In four structured observation studies, I show how designers can appropriate these probes in their own terms. In this thesis, I argue that Graphical Substrates open the design space of designers' tools by bridging the gap between programming and graphical user interface to better support the wealth of designers' practices

Concevoir les outils numériques du design

Mainstream digital graphic design tools seldom evolved since their creation, more than 25 years ago. In this dissertation, I address the following questions: How do designers work with design software? And how can we design novel design tools that better support designer practices? Using StoryPortraits, a method designed to capture rich qualitative insight, I first study four designer practices, ranging from specific design operations such as color selection, alignment and distribution, to more complex endeavors such as layout structuring and collaboration with developers. In these empirical studies, I characterize the existing mismatch between current digital design tools and designers practices. I show how design tools, because they decouple creativity from tool use, prioritize values such as efficiency and user-friendliness. Based on my empirical findings, I propose a new type of design tools, Graphical Substrates that combine the strengths of both programming and traditional Graphical User Interfaces. I design nine different tools that address the needs identified in the four empirical studies by reifying specific user process into Graphical Substrates probes. In four structured observation studies, I show how designers can appropriate these probes in their own terms. In this thesis, I argue that Graphical Substrates open the design space of designers' tools by bridging the gap between programming and graphical user interface to better support the wealth of designers' practices.Les outils de design graphique traditionnels n’ont que peu évolué depuis leur création, il y a plus de 25 ans. Dans cette thèse, je m’intéresse à deux questions principales: Comment les designers travaillent-ils avec leurs outils de design numériques? Comment peut-on créer de nouveaux outils numériques pour le design qui supportent les pratiques existantes? J’étudie en premier lieu quatre pratiques de design. Celles-ci s'échelonnent depuis des opérations spécifiques telles que la sélection de couleurs, l’alignement et la distribution d’objets graphiques vers des pratiques plus complexes telles que la structuration de la mise en page et la collaboration avec des développeurs pour créer de nouvelles interactions. Dans ces quatre études empiriques, je caractérise le décalage existant entre les outils numériques actuels et les pratiques des designers. Je montre comment les outils du design numérique actuels détachent la créativité de l’utilisation des outils en donnant la priorité à des valeurs telles que l’efficacité et la facilité d’utilisation. Je propose un nouveau type d’outil de design nommé “Substrats Graphiques”, fondé sur les résultats empiriques de mes quatre études et qui combine la souplesse et l'expressivité de la programmation avec la manipulation directe permise par les interfaces graphiques traditionnelles. Je conçois neuf outils différents qui répondent aux attentes identifiées dans mes études empiriques en réifiant (transformant en objets concrets) les processus spécifiques des designers en tant que Substrats Graphiques. À travers quatre observations structurées, je montre comment les designers s’approprient ces substrats dans leurs propres termes. Dans cette thèse, je soutiens que les Substrats Graphiques ouvrent l’espace des possibles des outils pour les designers en permettant de combler l’écart entre la programmation et les interfaces graphiques

L’expérience quotidienne des limites à la connectivité – Le cas d’étudiants français en 2020-2021

IHM'23 - 34e Conférence Internationale Francophone sur l'Interaction Humain-MachineAFIHM, Université de Technologie de TroyesFrom Ubiquitous Computing to the recent deployment of 5G technology, public discourses assume ever increasing levels of connectivity, whether in geographical availability, in reliability, or in speed. However slowdowns, breakdowns, and unavailability are an integral part of the experience of everyday connectivity. We conducted critical incident interviews with 10 students (aged 22-25) to understand how they dealt with the various connectivity limits they faced during the COVID19 pandemic, but also how they deliberately set limits at times. Our results show the complex relations that people develop with their internet connection. We outline the informants’ difficulties to identify and understand the nature of the connection’s problems they usually face, leading to a lack of control. We present how they react to such problems, the anticipation strategies and coping mechanisms they develop.We finally present situations in which informants deliberately set their own limits. Overall, we emphasize the shift from a shared and localized connection (WiFi) to a personal and mobile one (4G), combined to increased pressure for maintaining connectivity.De l’informatique ambiante au déploiement récent de la 5G, les discours sur la numérisation supposent des niveaux de connectivité toujours croissants, que ce soit par une plus grande disponibilité géographique, par une augmentation de la fiabilité, ou par des vitesses de transfert accrues. Pour autant les moments d’indisponibilité et les limitations font partie intégrante de l’expérience ordinaire du numérique. Nous enquêtons sur la façon dont les usagers comprennent, bidouillent et s’adaptent aux limites de connexion. Mais aussi comment ils se fixent délibérément des limites. Nous avons mené 10 entretiens critiques avec des étudiants de 22 à 25 ans pour comprendre comment ils géraient les limites à la connectivité en 2020-2021. Nous identifions un ensemble de situations problématiques et décrivons la difficulté des usagers à identifier et comprendre la nature de leur problèmes, menant à une absence de contrôle. Nous discutons les stratégies d’anticipation et les mécanismes de contournement mis en place par nos informateurs, notamment la bascule d’une connexion partagée (wifi) à une connexion individualisée (4G). Nous présentons enfin un ensemble de situations pour lesquelles nos informateurs se fixent délibérément des limites