Motion graphics, which bring logos, text, and other illustrations to life, are greatly enhanced with sound effects. Sound design for motion graphics presents unique challenges due to their short, abstract nature. Sound designers must identify opportunities for adding sound, decide on the sound’s character to match the visual graphics, synchronize sounds with events, and align sonic properties with motions. We introduce MoSound, an interactive system that helps with all steps of this creation process. We designed the interface of MoSound based on formative studies with practitioners and implemented the system as a combination of visual event detection, spatial attribute mapping, and generative sound stylization. We demonstrate MoSound on a variety of examples, showing that it is capable of creating high quality soundtracks while being accessible to novices.

We introduce the concept of notational animating, an interaction paradigm for animation authoring where users sketch high-level notations over static drawings to indicate intended motions, which are then interpreted by automatic methods (e.g., GenAI models) to generate animation keyframes. Sketched notations have long served as cognitive instruments for animators, capturing forces, poses, dynamics, paths, and other animation features. However, such notations are often contextual, ambiguous, and combinational based on our analysis of 135 real-world sketches. To facilitate interpretation, we first formalize these notations into a structured animation representation (i.e., source, path, and target). We then built an animation authoring system that translates high-level notations into the formalized intended animation, provides dynamic UI widgets for fine-grained parameter control, and establishes a closed feedback loop to resolve ambiguity. Finally, through a preliminary study with animators, we assess the usability of notational animating, reflect its affordance, and identify its contexts of use.

Figure 1: AniMate supports the creation of animated sequences through a combination of natural language and direct manipulation controls via narrative motion blocks.Example 1: A) The animator creates a narrative motion block and uses natural language to specify an action (e.g.roll tomato ).The system processes the request and generates a set of custom sliders parametrizing the action.B) If the animator wants to add irregularities in the motion path (e.g. to avoid a rock ), C) they can directly move the points of the tomato's motion path around the rock.Example 2: D) The animator can also draw the motion path directly by moving the visual element (e.g. the butterfly ), which automatically generates a narrative motion block.E) To add specificity, stylization or secondary motion to the animation, the animator can edit the narrative motion block by using natural language input to generate additional controls (e.g.add loops, and align to path ).F) Using the newly generated sliders, the animator can modify the new effects (e.g.change the amplitude of the loops).

In this design fiction talk, a renowned theoretical physicist collaborates with an AI system to remake his scientific diagrams in digital media, which transformed the field of theoretical physics in 20th century. What roll will AI play into the invention of new representations (diagrams, abstractions, notations)? How would those representations look like?

Augmented presentations offer compelling storytelling by combining speech content, gestural performance, and animated graphics in a congruent manner. The expressiveness of these presentations stems from the harmonious coordination of spoken words and graphic elements, complemented by smooth animations aligned with the presenter’s gestures. However, achieving such desired congruence in a live presentation poses significant challenges due to the unpredictability and imprecision inherent in presenters’ real-time actions. Existing methods either leveraged rigid mapping without predefined states or required the presenters to conform to predefined animations. We introduce adaptive presentations that dynamically adjust predefined graphic animations to real-time speech and gestures. Our approach leverages script following and motion warping to establish elastic mappings that generate runtime graphic parameters coordinating speech, gesture, and predefined animation state. Our evaluation demonstrated that the proposed adaptive presentation can effectively mitigate undesired visual artifacts caused by performance deviations and enhance the expressiveness of resulting presentations.

We introduce Augmented Physics, a machine learning-integrated authoring tool designed for creating embedded interactive physics simulations from static textbook diagrams. Leveraging recent advancements in computer vision, such as Segment Anything and Multi-modal LLMs, our web-based system enables users to semi-automatically extract diagrams from physics textbooks and generate interactive simulations based on the extracted content. These interactive diagrams are seamlessly integrated into scanned textbook pages, facilitating interactive and personalized learning experiences across various physics concepts, such as optics, circuits, and kinematics. Drawing from an elicitation study with seven physics instructors, we explore four key augmentation strategies: 1) augmented experiments, 2) animated diagrams, 3) bi-directional binding, and 4) parameter visualization. We evaluate our system through technical evaluation, a usability study (N=12), and expert interviews (N=12). Study findings suggest that our system can facilitate more engaging and personalized learning experiences in physics education.

We introduce DrawTalking, an approach to building and controlling interactive worlds by sketching and speaking while telling stories. It emphasizes user control and flexibility, and gives programming-like capability without requiring code. An early open-ended study with our prototype shows that the mechanics resonate and are applicable to many creative-exploratory use cases, with the potential to inspire and inform research in future natural interfaces for creative exploration and authoring.

Videos are an accessible form of media for analyzing sports postures and providing feedback to athletes. Existing sport-specific systems embed bespoke human pose attributes and thus can be hard to scale for new attributes, especially for users without programming experiences. Some systems retain scalability by directly showing the differences between two poses, but they might not clearly visualize the key differences that viewers would like to pursue. Besides, video-based coaching systems often present feedback on the correctness of poses by augmenting videos with visual markers or reference poses. However, previewing and augmenting videos limit the analysis and visualization of human poses due to the fixed viewpoints in videos, which confine the observation of captured human movements and cause ambiguity in the augmented feedback. To address these issues, we study customizable human pose data analysis and visualization in the context of running pose attributes, such as joint angles and step distances. Based on existing literature and a formative study, we have designed and implemented a system, PoseCoach, to provide feedback on running poses for amateurs by comparing the running poses between a novice and an expert. PoseCoach adopts a customizable data analysis model to allow users' controllability in defining pose attributes of their interests through our interface. To avoid the influence of viewpoint differences and provide intuitive feedback, PoseCoach visualizes the pose differences as part-based 3D animations on a human model to imitate the demonstration of a human coach. We conduct a user study to verify our design components and conduct expert interviews to evaluate the usefulness of the system.

Musicians and fans often produce lyric videos, a form of music videos that showcase the song’s lyrics, for their favorite songs. However, making such videos can be challenging and time-consuming as the lyrics need to be added in synchrony and visual harmony with the video. Informed by prior work and close examination of existing lyric videos, we propose a set of design guidelines to help creators make such videos. Our guidelines ensure the readability of the lyric text while maintaining a unified focus of attention. We instantiate these guidelines in a fully automated pipeline that converts an input music video into a lyric video. We demonstrate the robustness of our pipeline by generating lyric videos from a diverse range of input sources. A user study shows that lyric videos generated by our pipeline are effective in maintaining text readability and unifying the focus of attention.

Pose-aware visual effects where graphics assets and animations are rendered reactively to the human pose have become increasingly popular, appearing on mobile devices, the web, or even head-mounted displays like AR glasses. Yet, creating such effects still remains difficult for novices. In a traditional video editing workflow, a creator could utilize keyframes to create expressive but non-adaptive results which cannot be reused for other videos. Alternatively, programming-based approaches allow users to develop interactive effects, but are cumbersome for users to quickly express their creative intents. In this work, we propose a lightweight visual programming workflow for authoring adaptive and expressive pose effects. By combining a programming by demonstration paradigm with visual programming, we simplify three key tasks in the authoring process: creating pose triggers, designing animation parameters, and rendering. We evaluated our system with a qualitative user study and a replicated example study, finding that all participants can create effects efficiently.

We present an interactive system to ease the creation of so-called video doodles - videos on which artists insert hand-drawn animations for entertainment or educational purposes. Video doodles are challenging to create because to be convincing, the inserted drawings must appear as if they were part of the captured scene. In particular, the drawings should undergo tracking, perspective deformations and occlusions as they move with respect to the camera and to other objects in the scene - visual effects that are difficult to reproduce with existing 2D video editing software. Our system supports these effects by relying on planar canvases that users position in a 3D scene reconstructed from the video. Furthermore, we present a custom tracking algorithm that allows users to anchor canvases to static or dynamic objects in the scene, such that the canvases move and rotate to follow the position and direction of these objects. When testing our system, novices could create a variety of short animated clips in a dozen of minutes, while professionals praised its speed and ease of use compared to existing tools.

Guided by the 12 principles of animation, stylization is a core 2D animation feature but has been utilized mainly by experienced animators. Although there are tools for stylizing 2D animations, creating stylized 3D animations remains a challenging problem due to the additional spatial dimension and the need for responsive actions like contact and collision. We propose a system that helps users create stylized casual 3D animations. A layered authoring interface is employed to balance between ease of use and expressiveness. Our surface level UI is a timeline sequencer that lets users add preset stylization effects such as squash and stretch and follow through to plain motions. Users can adjust spatial and temporal parameters to fine-tune these stylizations. These edits are propagated to our node-graph-based second level UI, in which the users can create custom stylizations after they are comfortable with the surface level UI. Our system also enables the stylization of interactions among multiple objects like force, energy, and collision. A pilot user study has shown that our fluid layered UI design allows for both ease of use and expressiveness better than existing tools.

We present RealityTalk, a system that augments real-time live presentations with speech-driven interactive virtual elements. Augmented presentations leverage embedded visuals and animation for engaging and expressive storytelling. However, existing tools for live presentations often lack interactivity and improvisation, while creating such effects in video editing tools require significant time and expertise. RealityTalk enables users to create live augmented presentations with real-time speech-driven interactions. The user can interactively prompt, move, and manipulate graphical elements through real-time speech and supporting modalities. Based on our analysis of 177 existing video-edited augmented presentations, we propose a novel set of interaction techniques and then incorporated them into RealityTalk. We evaluate our tool from a presenter’s perspective to demonstrate the effectiveness of our system.

Live streaming is gaining popularity across diverse application domains in recent years. A core part of the experience is streamer-viewer interaction, which has been mainly text-based. Recent systems explored extending viewer interaction to include visual elements with richer expression and increased engagement. However, understanding expressive visual inputs becomes challenging with many viewers, primarily due to the relative lack of structure in visual input. On the other hand, adding rigid structures can limit viewer interactions to narrow use cases or decrease the expressiveness of viewer inputs. To facilitate the sensemaking of many visual inputs while retaining the expressiveness or versatility of viewer interactions, we introduce a visual input management framework (VIMF) and a system, VisPoll, that help streamers specify, aggregate, and visualize many visual inputs. A pilot evaluation indicated that VisPoll can expand the types of viewer interactions. Our framework provides insights for designing scalable and expressive visual communication for live streaming.

Mathematical models and expressions traditionally evolved as symbolic representations, with cognitively arbitrary rules of symbol manipulation. The embodied mathematics philosophy posits that abstract math concepts are layers of metaphors grounded in our intuitive arithmetic capabilities, such as categorizing objects and part-whole analysis. We introduce a design framework that facilitates the construction and exploration of embodied representations for algebraic expressions, using interactions inspired by innate arithmetic capabilities. We instantiated our design in a sketch interface that enables construction of visually interpretable compositions that are directly mappable to algebraic expressions and explorable through a ladder of abstraction [47]. The emphasis is on bottom-up construction, with the user sketching pictures while the system generates corresponding algebra. We present diverse examples created by our prototype system. A coverage of the US Common Core curriculum and playtesting studies with children point to the future direction and potential for a sketch-based design paradigm for mathematics.

Programming by Demonstration (PbD) is a well-known technique that allows non-programmers to describe interactivity by performing examples of the expected behavior, but it has not been extensively explored for AR. We present Rapido, a novel early-stage prototyping tool to create fully interactive mobile AR prototypes from non-interactive video prototypes using PbD. In Rapido, designers use a mobile AR device to record a video prototype to capture context, sketch assets, and demonstrate interactions. They can demonstrate touch inputs, animation paths, and rules to, e.g., have a sketch follow the focus area of the device or the user’s world-space touches. Simultaneously, a live website visualizes an editable overview of all the demonstrated examples and infers a state machine of the user flow. Our key contribution is a method that enables designers to turn a video prototype into an executable state machine through PbD. The designer switches between these representations to interactively refine the final interactive prototype. We illustrate the power of Rapido’s approach by prototyping the main interactions of three popular AR mobile applications.

Creative live streams, where artists or designers demonstrate their creative process, have emerged as a unique and popular genre of live streams due to the real-time interactivity they afford. However, streamer-viewer interactions on most live streaming platforms only enable users to utilize text and emojis to communicate, which limits what viewers can convey and share in real time. To investigate the design space of potential visual and non-textual modalities within creative live streams, we first analyzed existing Twitch extensions and conducted a formative study with streamers who share creative activities to uncover key challenges that these streamers face. We then designed and implemented a prototype system, StreamSketch, which enables viewers and streamers to interact during live streams using multiple modalities, including freeform sketches and text. The prototype was evaluated by two professional artist streamers and their viewers during six streaming sessions. Overall, streamers and viewers found that StreamSketch provided increased engagement and new affordances compared to the traditional text-only modality, and highlighted how efficiency, moderation, and tool integration were continued challenges.

Designers have limited tools to prototype AR experiences rapidly. Can lightweight, immediate tools let designers prototype dynamic AR interactions while capturing the nuances of a 3D experience? We interviewed three AR experts and identified several recurring issues in AR design: creating and positioning 3D assets, handling the changing user position, and orchestrating multiple animations. We introduce PROJECT PRONTO, a tablet-based video prototyping system that combines 2D video with 3D manipulation. PRONTO supports four intertwined activities: capturing 3D spatial information alongside a video scenario, positioning and sketching 2D drawings in a 3D world, and enacting animations with physical interactions. An observational study with professional designers shows that participants can use PRONTO to prototype diverse AR experiences. All participants performed two tasks: replicating a sample non-trivial AR experience and prototyping their open-ended designs. All participants completed the replication task and found PRONTO easy to use. Most participants found that PRONTO encourages more exploration of designs than their current practices.

Keyframe-based sculpting provides unprecedented freedom to author animated organic models, which can be difficult to create with other methods such as simulation, scripting, and rigging. However, sculpting animated objects can require significant artistic skill and manual labor, even more so than sculpting static 3D shapes or drawing 2D animations, which are already quite challenging.

We present RealitySketch, an augmented reality interface for sketching interactive graphics and visualizations. In recent years, an increasing number of AR sketching tools enable users to draw and embed sketches in the real world. However, with the current tools, sketched contents are inherently static, floating in mid-air without responding to the real world. This paper introduces a new way to embed dynamic and responsive graphics in the real world. In RealitySketch, the user draws graphical elements on a mobile AR screen and binds them with physical objects in real-time and improvisational ways, so that the sketched elements dynamically move with the corresponding physical motion. The user can also quickly visualize and analyze real-world phenomena through responsive graph plots or interactive visualizations. This paper contributes to a set of interaction techniques that enable capturing, parameterizing, and visualizing real-world motion without pre-defined programs and configurations. Finally, we demonstrate our tool with several application scenarios, including physics education, sports training, and in-situ tangible interfaces.

3D selection in dense VR environments (e.g., point clouds) is extremely challenging due to occlusion and imprecise mid-air input modalities (e.g., 3D controllers and hand gestures). In this paper, we propose "Slicing-Volume", a hybrid selection technique that enables simultaneous 3D interaction in mid-air, and a 2D pen-and-tablet metaphor in VR. Inspired by well-known slicing plane techniques in data visualization, our technique consists of a 3D volume that encloses target objects in mid-air, which are then projected to a 2D tablet view for precise selection on a tangible physical surface. While slicing techniques and tablets-in-VR have been previously explored, in this paper, we evaluated the potential of this hybrid approach to improve accuracy in highly occluded selection tasks, comparing different multimodal interactions (e.g., Mid-air, Virtual Tablet and Real Tablet). Our results showed that our hybrid technique significantly improved overall accuracy of selection compared to Mid-air selection only, thanks to the added haptic feedback given by the physical tablet surface, rather than the added visualization given by the tablet view.

We present a system that augments live presentation videos with interactive graphics to create a powerful and expressive storytelling environment. Using our system, the presenter interacts with the graphical elements in real-time with gestures and postures, thus leveraging our innate, everyday skills to enhance our communication capabilities with the audience. However, crafting such an interactive and expressive performance typically requires programming, or highly-specialized tools tailored for experts. Our core contribution is a flexible, direct manipulation UI which enables amateurs and experts to craft such presentations beforehand by mapping a variety of body movements to a wide range of graphical manipulations. By simplifying the mapping between gestures, postures, and their corresponding output effects, our UI enables users to craft customized, rich interactions with the graphical elements. Our user study demonstrates the potential usage and unique affordance of this mixed-reality medium for storytelling and presentation across a range of application domains.

We explore the use of hand gestures for authoring animations in virtual reality (VR). We first perform a gesture elicitation study to understand user preferences for a spatiotemporal, bare-handed interaction system in VR. Specifically, we focus on creating and editing dynamic, physical phenomena (e.g., particle systems, deformations, coupling), where the mapping from gestures to animation is ambiguous and indirect. We present commonly observed mid-air gestures from the study that cover a wide range of interaction techniques, from direct manipulation to abstract demonstrations. To this end, we extend existing gesture taxonomies to the rich spatiotemporal interaction space of the target domain and distill our findings into a set of guidelines that inform the design of natural user interfaces for VR animation. Finally, based on our guidelines, we develop a proof-of-concept gesture-based VR animation system, MagicalHands. Our results, as well as feedback from user evaluation, suggest that the expressive qualities of hand gestures help users animate more effectively in VR.

We present SymbiosisSketch, a hybrid sketching system that combines drawing in air (3D) and on a drawing surface (2D) to create detailed 3D designs of arbitrary scale in an augmented reality (AR) setting. SymbiosisSketch leverages the complementary affordances of 3D (immersive, unconstrained, life-sized) and 2D (precise, constrained, ergonomic) interactions for in situ 3D conceptual design. A defining aspect of our system is the ongoing creation of surfaces from unorganized collections of 3D curves. These surfaces serve a dual purpose: as 3D canvases to map strokes drawn on a 2D tablet, and as shape proxies to occlude the physical environment and hidden curves in a 3D sketch. SymbiosisSketch users draw interchangeably on a 2D tablet or in 3D within an ergonomically comfortable canonical volume, mapped to arbitrary scale in AR. Our evaluation study shows this hybrid technique to be easy to use in situ and effective in transcending the creative potential of either traditional sketching or drawing in air.

We present an interactive tool to animate the visual elements of a static picture, based on simple sketch-based markup. While animated images enhance websites, infographics, logos, e-books, and social media, creating such animations from still pictures is difficult for novices and tedious for experts. Creating automatic tools is challenging due to ambiguities in object segmentation, relative depth ordering, and non-existent temporal information. With a few user drawn scribbles as input, our mixed initiative creative interface extracts repetitive texture elements in an image, and supports animating them. Our system also facilitates the creation of multiple layers to enhance depth cues in the animation. Finally, after analyzing the artwork during segmentation, several animation processes automatically generate kinetic textures that are spatio-temporally coherent with the source image. Our results, as well as feedback from our user evaluation, suggest that our system effectively allows illustrators and animators to add life to still images in a broad range of visual styles.

Sketching in immersive 3D virtual reality (VR) environments has great potential for a variety of interactive 3D design applications. Precisely sketching the intended strokes in mid-air, however, can be a challenge. In this paper, we present a set of controlled studies to analyze the factors affecting human ability to sketch freely in a 3D VR environment. In our first study, we directly compare traditional sketching on a physical surface to sketching in VR, with and without a physical surface to rest the stylus on. Our results indicate that the lack of a physical drawing surface is a major cause of inaccuracies in VR drawing, and that the effect is dependent on the orientation of the drawing surface. In a second experiment, we evaluate the extent to which visual guidance can compensate for the loss of sketching precision in VR. We found that while additional visual guidance improves positional accuracy, it can be detrimental to the aesthetic quality of strokes. We conclude by distilling our experimental findings into design guidelines for sketching tools in immersive 3D environments.

We present DreamSketch, a novel 3D design interface that combines the free-form and expressive qualities of sketching with the computational power of generative design algorithms. In DreamSketch, a user coarsely defines the problem by sketching the design context. Then, a generative design algorithm produces multiple solutions that are augmented as 3D objects in the sketched context. The user can interact with the scene to navigate through the generated solutions. The combination of sketching and generative algorithms enables designers to explore multiple ideas and make better informed design decisions during the early stages of design. Design study sessions with designers and mechanical engineers demonstrate the expressive nature and creative possibilities of DreamSketch.

We present ChronoFab, a 3D modeling tool to craft motion sculptures, tangible representations of 3D animated models, visualizing an object's motion with static, transient, ephemeral visuals that are left behind. Our tool casts 3D modeling as a dynamic art-form by employing 3D animation and dynamic simulation for the modeling of motion sculptures. Our work is inspired by the rich history of stylized motion depiction techniques in existing 3D motion sculptures and 2D comic art. Based on a survey of such techniques, we present an interface that enables users to rapidly explore and craft a variety of static 3D motion depiction techniques, including motion lines, multiple stroboscopic stamps, sweeps and particle systems, using a 3D animated object as input. In a set of professional and non-professional usage sessions, ChronoFab was found to be a superior tool for the authoring of motion sculptures, compared to traditional 3D modeling workflows, reducing task completion times by 79%.

We present a sketching tool for crafting animated illustrations that contain the exaggerated dynamics of stylized 2D animations. The system provides a set of motion amplifiers which implement a set of established principles of 2D animation. These amplifiers break down a complex animation effect into independent, understandable chunks. Each amplifier imposes deformations to an underlying grid, which in turn updates the corresponding strokes. Users can combine these amplifiers at will when applying them to an existing animation, promoting rapid experimentation. By leveraging the freeform nature of sketching, our system allows users to rapidly sketch, record motion, explore exaggerated dynamics using the amplifiers, and fine-tune their animations. Practical results confirm that users with no prior experience in animation can produce expressive animated illustrations quickly and easily.

Dynamic effects such as waves, splashes, fire, smoke, and explosions are an integral part of stylized animations. However, such dynamics are challenging to produce, as manually sketching key-frames requires significant effort and artistic expertise while physical simulation tools lack sufficient expressiveness and user control. We present an interactive interface for designing these elemental dynamics for animated illustrations. Users draw with coarse-scale energy brushes which serve as control gestures to drive detailed flow particles which represent local velocity fields. These fields can convey both realistic and artistic effects based on user specification. This painting metaphor for creating elemental dynamics simplifies the process, providing artistic control, and preserves the fluidity of sketching. Our system is fast, stable, and intuitive. An initial user evaluation shows that even novice users with no prior animation experience can create intriguing dynamics using our system.

We present Draco, a sketch-based interface that allows artists and casual users alike to add a rich set of animation effects to their drawings, seemingly bringing illustrations to life. While previous systems have introduced sketch-based animations for individual objects, our contribution is a unified framework of motion controls that allows users to seamlessly add coordinated motions to object collections. We propose a framework built around kinetic textures, which provide continuous animation effects while preserving the unique timeless nature of still illustrations. This enables many dynamic effects difficult or not possible with previous sketch-based tools, such as a school of fish swimming, tree leaves blowing in the wind, or water rippling in a pond. We describe our implementation and illustrate the repertoire of animation effects it supports. A user study with professional animators and casual users demonstrates the variety of animations, applications and creative possibilities our tool provides.

We present Kitty, a sketch-based tool for authoring dynamic and interactive illustrations. Artists can sketch animated drawings and textures to convey the living phenomena, and specify the functional relationship between its entities to characterize the dynamic behavior of systems and environments. An underlying graph model, customizable through sketching, captures the functional relationships between the visual, spatial, temporal or quantitative parameters of its entities. As the viewer interacts with the resulting dynamic interactive illustration, the parameters of the drawing change accordingly, depicting the dynamics and chain of causal effects within a scene. The generality of this framework makes our tool applicable for a variety of purposes, including technical illustrations, scientific explanation, infographics, medical illustrations, children's e-books, cartoon strips and beyond. A user study demonstrates the ease of usage, variety of applications, artistic expressiveness and creative possibilities of our tool.

Presenting and communicating insights to an audience-telling a story-is one of the main goals of data exploration. Even though visualization as a storytelling medium has recently begun to gain attention, storytelling is still underexplored in information visualization and little research has been done to help people tell their stories with data. To create a new, more engaging form of storytelling with data, we leverage and extend the narrative storytelling attributes of whiteboard animation with pen and touch interactions. We present SketchStory, a data-enabled digital whiteboard that facilitates the creation of personalized and expressive data charts quickly and easily. SketchStory recognizes a small set of sketch gestures for chart invocation, and automatically completes charts by synthesizing the visuals from the presenter-provided example icon and binding them to the underlying data. Furthermore, SketchStory allows the presenter to move and resize the completed data charts with touch, and filter the underlying data to facilitate interactive exploration. We conducted a controlled experiment for both audiences and presenters to compare SketchStory with a traditional presentation system, Microsoft PowerPoint. Results show that the audience is more engaged by presentations done with SketchStory than PowerPoint. Eighteen out of 24 audience participants preferred SketchStory to PowerPoint. Four out of five presenter participants also favored SketchStory despite the extra effort required for presentation.

Vignette is an interactive system that facilitates texture creation in pen-and-ink illustrations. Unlike existing systems, Vignette preserves illustrators' workflow and style: users draw a fraction of a texture and use gestures to automatically fill regions with the texture. We currently support both 1D and 2D synthesis with stitching. Our system also has interactive refinement and editing capabilities to provide a higher level texture control, which helps artists achieve their desired vision. A user study with professional artists shows that Vignette makes the process of illustration more enjoyable and that first time users can create rich textures from scratch within minutes.

Sand animation is a performance art technique in which an artist tells stories by creating animated images with sand. Inspired by this medium, we have developed a new multi-touch digital artistic medium named SandCanvas that simplifies the creation of sand animations. SandCanvas also goes beyond traditional sand animation with tools for mixing sand animation with video and replicating recorded free-form hand gestures. In this paper, we analyze common sand animation hand gestures, present SandCanvas's intuitive UI, and describe implementation challenges we encountered. We also present an evaluation with professional and novice artists that shows the importance and unique affordances of this new medium.