Interaction Knowledge: Understanding the ‘Mechanics’ of Digital Tools

Renom, Miguel A.; Caramiaux, Baptiste; Beaudouin-Lafon, Michel

doi:10.1145/3544548.3581246

Cited by 3 publications

(1 citation statement)

References 37 publications

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“…Here the objects are not physical, but the process is similar: The technical knowledge displayed by participants is not based on physical principles that apply to physical objects, but computational principles that apply to data abstractions -or as P1 puts it: "It's like entering a mathematical world, it becomes abstract, and you can see invisible things". Such technical knowledge of the digital world is what Renom et al call Interaction Knowledge [77,78].…”

Section: Speculative Aspects Of Technical Reasoningmentioning

confidence: 99%

Proceedings of the 35th Australian Computer-Human Interaction Conference

2023

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HAL is a multi-disciplinary open access archive for the deposit and dissemination of scientific research documents, whether they are published or not. The documents may come from teaching and research institutions in France or abroad, or from public or private research centers. L'archive ouverte pluridisciplinaire HAL, est destinée au dépôt et à la diffusion de documents scientifiques de niveau recherche, publiés ou non, émanant des établissements d'enseignement et de recherche français ou étrangers, des laboratoires publics ou privés.

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Section: Speculative Aspects Of Technical Reasoningmentioning

confidence: 99%

Proceedings of the 35th Australian Computer-Human Interaction Conference

2023

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Revisiting creative behaviour as an epistemic process: lessons from 12 computational artists and designers

Tricaud,

Beaudouin-Lafon

2023

Proceedings of the 35th Australian Computer-Human Interaction Conference

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3D-Layers: Bringing Layer-Based Color Editing to VR Painting

Yu,

Chevalier,

Singh

et al. 2024

ACM Trans. Graph.

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The ability to represent artworks as stacks of layers is fundamental to modern graphics design, as it allows artists to easily separate visual elements, edit them in isolation, and blend them to achieve rich visual effects. Despite their ubiquity in 2D painting software, layers have not yet made their way to VR painting, where users paint strokes directly in 3D space by gesturing a 6-degrees-of-freedom controller. But while the concept of a stack of 2D layers was inspired by real-world layers in cell animation, what should 3D layers be? We propose to define 3D-Layers as groups of 3D strokes, and we distinguish the ones that represent 3D geometry from the ones that represent color modifications of the geometry. We call the former substrate layers and the latter appearance layers. Strokes in appearance layers modify the color of the substrate strokes they intersect. Thanks to this distinction, artists can define sequences of color modifications as stacks of appearance layers, and edit each layer independently to finely control the final color of the substrate. We have integrated 3D-Layers into a VR painting application and we evaluate its flexibility and expressiveness by conducting a usability study with experienced VR artists.

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Interaction Knowledge: Understanding the ‘Mechanics’ of Digital Tools

Cited by 3 publications

References 37 publications

Proceedings of the 35th Australian Computer-Human Interaction Conference

Proceedings of the 35th Australian Computer-Human Interaction Conference

Revisiting creative behaviour as an epistemic process: lessons from 12 computational artists and designers

3D-Layers: Bringing Layer-Based Color Editing to VR Painting

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