Building new software tools for professional digital fabrication requires that HCI researchers understand domain-specific materials and fabrication workflows to ensure software operations align with professional manufacturing requirements. To bridge the research-practice divide, we adopt a practice-driven software development methodology for digital fabrication in an artist-in-residence program. In our method, HCI researchers and craft professionals collaboratively develop software tools over three months. We piloted our methodology through two consecutive computational ceramics residencies with five professional craftspeople. The teams produced five novel software tools for clay 3D printing and hundreds of ceramic artifacts. We provide a detailed description of our methodology through artist and HCI researcher accounts and an analysis of the integration of software ideation, implementation, and debugging with professional art and craft production. Our work demonstrates a systematic mechanism for achieving meaningful digital fabrication software contributions with mutual benefit for artists and researchers.

Digital fabrication can be a rich creative domain for young people. Most youth-oriented digital fabrication activities focus on CAD, where practitioners design solid geometry. Professional designers frequently bypass CAD and instead design at the level of the machine toolpath. This CAM-based design process allows for material exploration, unique textures, and complex shapes. We recognize young people’s role as designers and seek to adapt professional digital fabrication techniques to meaningful youth design activities. We present a youth-oriented CAM-based design curriculum consisting of 1) hands-on activities that introduce machine toolpath concepts, 2) a learner-oriented CAM software interface that scaffolds digital toolpath creation, and 3) project-oriented design activities that integrate CAM-based design and manual craft for ceramics and textile production. We evaluated our approach through a workshop with twelve high school students. Our research shows that young people can skillfully apply CAM-based design and manual craft to create functional and personally meaningful artifacts.

New printing strategies have enabled 3D-printed materials that imitate traditional textiles. These filament-based textiles are easy to fabricate but lack the look and feel of fiber textiles. We seek to augment 3D-printed textiles with needlecraft to produce composite materials that integrate the programmability of additive fabrication with the richness of traditional textile craft. We present PunchPrint: a technique for integrating fiber and filament in a textile by combining punch needle embroidery and 3D printing. Using a toolpath that imitates textile weave structure, we print a flexible fabric that provides a substrate for punch needle production. We evaluate our material’s robustness through tensile strength and needle compatibility tests. We integrate our technique into a parametric design tool and produce functional artifacts that show how PunchPrint broadens punch needle craft by reducing labor in small, detailed artifacts, enabling the integration of openings and multiple yarn weights, and scaffolding soft 3D structures.

Surface ornamentation is a rich component of ceramic manufacture wherein craftspeople use multiple methods to create intricate patterns on vessels. Computational fabrication can extend manual ceramic ornamentation through procedural pattern generation and automated fabrication; however, to be effective in traditional ceramics, computational fabrication systems must remain compatible with existing processes and materials. We contribute an interactive design workflow, CeramWrap, in which craftspeople can procedurally design and fabricate decorative patterned stencils tailored to radially symmetrical vessels. Our approach extends manual techniques through a workflow where craftspeople design and edit repetitive motifs directly on a 3D digital model of a vessel and then interactively adjust the unrolling of the 3D design to a 2D format suitable for digitally fabricating stencils and templates. Through a series of example artifacts, we demonstrate how our workflow generalizes across multiple vessel geometries, supports manual and digital clay fabrication, and is adaptable to different surface ornamentation methods.