Most shelving relies on rectangular compartments that ignore the contours of the objects they hold. We present Uniquely Shaped Spaces, an object-driven algorithmic tool for custom shelving generation. The workflow arranges users’ object silhouettes with simulated annealing, grows walls via cellular automata to carve fitted voids, and outputs fabrication files with joinery for laser cutting. We designed the system so that objects, our algorithm, and users share authorship, and studied how this configuration played out with five participants as they designed shelves in guided workshops and then lived with the fabricated pieces. Our findings show how participants navigated object geometry, algorithmic search, and fabrication limits by curating, tweaking, and appropriating algorithmic proposals, and how the resulting shelves supported reflection and storytelling. These results point toward object-driven fabrication systems that foreground objects as generative constraints and explicitly support negotiation within constraint-driven workflows.

This paper explores the dynamics of interdisciplinary collaboration between designers, scientists, and engineers through ten stories as told from the perspective of material-led designers.These stories focus on material-led designers working in contexts like biodesign and smart textiles, where novel materials, fabrication methods, and technology often intersect, requiring cross-disciplinary collaboration.By including perspectives from designers within and adjacent to HCI, the study broadens the understanding of interdisciplinary teamwork that combines scientific, technical, and craft-based expertise.Our analysis highlights how designers navigate challenges like differing terminologies, epistemic hierarchies, and conflicting priorities.We discuss strategies such as material prototypes, attitudes of inquiry and openness, switching lexicons, and the value of interdisciplinary contexts.This research underscores designers as "translators" who mediate epistemological tensions, use tangible artifacts to communicate, and articulate possible applications.This research contributes ten stories as narrative resources for understanding strategies and fostering interdisciplinary spaces within HCI.

The ability to create a wide and varied set of interactive textiles depends on the materials that one has available. Currently, the range of yarns that can be used to bring interactivity to textiles is greatly limited, especially considering the diversity available in non-conductive yarns. This pictorial traces a design journey into hand spinning that seeks to address this limitation and contributes samples of techniques and materials that could be used to create conductive yarns along with reflection on design methods that enabled us to explore a wider range of aesthetic expressions. We advocate for an approach that reconnects with the textiles in e-textiles, embraces divergence, and prioritizes the material rather than function as the driver of a design concept. We offer pathways for readers and researchers to continue this exploration within varied domains and practices.

As DIS researchers increasingly describe design as an emergent and material engaged practice, many are embracing different approaches to design documentation that capture the breadth of these practices. This pictorial contributes to these efforts by shedding light on a kind of managerial work that emerged when creating a complex e-textile installation. Specifically, we reflect on our project through the lens of “design bookkeeping” to describe documents that embody managerial knowledge and describe what these documents make intelligible about our practice. We surface findings and cross-cutting themes that bring attention to these practices in relation to broader understandings of project documentation. We then speculate on how the DIS community could circulate this knowledge within, and beyond, academic publication venues.

HCI research has demonstrated that textiles have interactive potential, with the ability to transform or self-shape, whether through material, structure, or the addition of non textile elements. Many materials for developing interactive or animated textiles - textiles which change during use - are fossil fuel-based, require electricity for activation, or are only available in small quantities. In this pictorial we present our exploration of high-twist linen yarn as an actuator material in woven textiles. Through experimental design research, we have defined key parameters affecting use of the material, and identified combinations of material and structure producing contrasting textile movement. The resulting woven textiles may be activated by spraying with water, or in high humidity, and the actuation is repeatable after drying, offering multiple modes of interaction. We offer proposals for HCI applications for the animated linen yarn, alongside a guide to facilitate producing and designing animated woven linen textiles.

Smart textiles combine electronics with traditional textile forms, showing great promise in creating soft and flexible interactive systems for human-computer interaction and robotics. However, they also present significant sustainability challenges as they merge two substantial waste streams: textiles and electronics. This paper contributes to sustainability efforts by focusing on the integration of biobased materials that are biodegradable, compostable, and recyclable in the design of smart textiles. We introduce a Desktop Biofibers Spinning Machine to enable smart textile innovators to explore biobased fibers (i.e., biofibers) and envision applications in sustainable smart textiles. We describe the machine’s design, a usage walkthrough, considerations for fiber spinning, and an exploration of various formulations to make gelatin biofibers. We provide several examples of biofibers integrated into smart textile applications. Finally, we discuss lessons learned from working with biofibers and the unique opportunities our machine brings to the fiber design space in HCI.

We present the Loom Pedals, an open-source hardware/software interface for enhancing a weaver’s ability to create on-the-fly, improvised designs in Jacquard weaving. Learning from traditional handweaving and our own weaving experiences, we describe our process of designing, implementing, and using the prototype Loom Pedals system with a TC2 Digital Jacquard loom. The Loom Pedals include a set of modular, reconfigurable foot pedals which can be mapped to parametric Operations that generate and transform digital woven designs. Our novel interface integrates design and loom control, providing a customizable workflow for playful, improvisational Jacquard weaving. We conducted a formative evaluation of the prototype through autobiographical methods and collaboratively developed future Loom Pedals features. We contribute our prototype, design process, and conceptual reflections on weaving as a human-machine dialog between a weaver, the loom, and many other agents.

Woven textiles are increasingly a medium through which HCI is inventing new technologies. Key challenges in integrating woven textiles in HCI include the high level of textile knowledge required to make effective use of the new possibilities they afford and the need for tools that bridge the concerns of textile designers and concerns of HCI researchers. This paper presents AdaCAD, a parametric design tool for designing woven textile structures. Through our design and evaluation of AdaCAD we found that parametric design helps weavers notate and explain the logics behind the complex structures they generate. We discuss these finding in relation to prior work in integrating craft and/or weaving in HCI, histories of woven notation, and boundary object theory to illuminate further possibilities for collaboration between craftspeople and HCI practitioners.

Glazed ceramic is a versatile material that we use every day. In this paper, we present a new approach that instruments existing glazed ceramic ware with interactive electronic circuits. We informed this work by collaborating with a ceramics designer and connected his craft practice to our experience in physical computing. From this partnership, we developed a systematic approach that begins with the subtractive fabrication of traces on glazed ceramic surfaces via the resist-blasting technique, followed by applying conductive ink into the inlaid traces. We capture and detail this approach through an annotated flowchart for others to refer to, as well as externalize the material insights we uncovered through ceramic and circuit swatches. We then demonstrate a range of interactive home applications built with this approach. Finally, we reflect on the process we took and discuss the importance of collaborating with craftspeople for material-driven research within HCI.

The goal of this studio is to facilitate a space in which HCI researchers and designers can explore SCOBY (Symbiotic Culture of Bacteria and Yeast), a sustainable biofilm, grown in kombucha tea, that acts similarly to traditional leathers when harvested and dried. While SCOBY is a popular biomaterial in biodesign and DIYBio practices, we aim to introduce SCOBY as a biomaterial for HCI and ground it in sustainable HCI and slow design theory. Participants will then gain hands-on experience with SCOBY through a material exploration phase (e.i., learning how to embed colors, patterns, and electronics) followed by a structured SCOBY application creation phase. Ultimately, the goal of this studio is to give HCI practitioners who are interested in biodesign a space and time to collaborate, create and discuss the opportunities and challenges of kombucha SCOBY as a biomaterial for HCI.

As HCI continues to integrate craft techniques into its repertoire, tensions emerge between what is new and known, knowledge that resides in communities and histories rather than individuals, and how to transfer between the written word and material know-how. We explore these tensions through the process of writing, instructing, and create an introduction to weaving force sensors. The goal of this project is two fold: first, to help HCI understand the potential that a deep understanding of weave structures can hold for advancing our field, and second, to explore how a pictorial might support formats that have long been used for communicating craft knowledge.

Wearables are often a primary means of collecting data on the body and in-situ. The data collected upon wearables can shape or record interactions in real time, prompting practices like self-care and reflection. In this work, we became intrigued by textile structures that were non-digital but in themselves “stateful”. We explored how these textile interfaces can fit meaningfully into the lives of people with disabilities as sensors and display. Our study revealed interesting practices that emerged for self-tracking that were qualitatively unique in their close relationship to the body and deeply physical modes of engagement. Our findings offer insights into (1) qualities of textile interfaces that are important to people with disabilities, (2) new forms of data that people found to be worthwhile in tracking, and (3) knitted interfaces for sensing and display.

Each new material developed opens a broader pallet of aesthetic and functional possibilities for designers. This paper introduces DIS to biofoam, a material that is water-soluble, biodegradable, and can be made conductive. We describe the material in detail: the process of making the material from scratch, the material’s fabrication into forms with hand-craft techniques, and present two HCI specific applications of the biofoam. The biofoam can be cooked, molded, layered, extruded, dissolved or recooked opening up possibilities to consider the entire life cycle of the material in the design process. We contribute design considerations to allow designers to “tune” the biofoam to the desired quality, as well as a characterization of many aspects of the biofoam such as compression, spring back time, water permeability, and electrical conductivity. Finally, we discuss the unique opportunities this material and its life cycle bring to the design and HCI communities.

Given the ongoing environmental crisis and recent calls within HCI to engage with its cascading effects on the more-than-human world, this paper introduces the concept of the eco-technical interface as a critical zone at which designers can surface and subvert issues of multispecies relations such as nonhuman instrumentalization. The eco-technical interface represents the sites at which human, nonhuman, and technological interfaces overlap, ranging from remote sensing for conservation to smart devices for precision agriculture to community science platforms for species identification. Here, we highlight the pervasiveness of the eco-technical interface as a set of sites for further HCI inquiry, engage with the politics and instrumentalizing tendencies at three particular sites, and demonstrate tactics for cultivating attunement to, reflexively accounting for, and subverting instrumentalization in multispecies encounter.

This work introduces “destaining” as an interactive component for the HCI community. While staining happens unintentionally (e.g., spilling coffee), destaining can be used as an intentional design tool that selectively degrades stains on textiles. We explore the design space using silver doped titanium dioxide (TiO2/Ag), stains and light as a set of design primitives for interactive systems. We then developed replicable and accessible fabrication and testing methods that enable HCI researchers and designers to upgrade various fabrics to self-destaining textiles. Next, we demonstrate a Self-deStaining textile interface with embedded Light Emitting Diodes (LEDs) and moisture sensors that activate cleaning. Lastly, we showcase how the textile can be used in everyday objects such as self-cleaning clothes, a patterning station for phone cases, and accessories that change patterns and colors based on the user’s experiences.

We present a first-person, retrospective exploration of two radio sonification pieces that employ narrative scaffolding to teach audiences how to listen to data. To decelerate and articulate design processes that occurred at the rapid pace of radio production, the sound designer and producer wrote retrospective design accounts. We then revisited the radio pieces through principles drawn from guidance design, data storytelling, visualization literacy, and sound studies. Finally, we speculated how these principles might be applied through interactive, voice-based technologies. First-person methods enabled us to access the implicit knowledge embedded in radio production and translate it to technologies of interest to the human–computer-interaction community, such as voice user interfaces that rely on auditory display. Traditionally, sonification practitioners have focused more on generating sounds than on teaching people how to listen; our process, however, treated sound and narrative as a holistic, sonic-narrative experience. Our first-person retrospection illuminated the role of narrative in designing to support people as they learn to listen to data.

Computational handweaving combines the repeatable precision of digital fabrication with relatively high production demands of the user: a weaver must be physically engaged with the system to enact a pattern, line by line, into a fabric. Rather than approaching co-presence and repetitive labor as a negative aspect of design, we look to current practices in procedural generation (most commonly used in game design and screen-based new media art) to understand how designers can create room for suprise and emergent phenomena within systems of precision and constraint. We developed three designs for blending real-time input with predetermined pattern features. These include: using camera imagery sampled at weaving time; a 1:1 scale tool for composing patterns on the loom; and a live "Twitch'' stream where spectators determine the woven pattern. We discuss how experiential qualities of the systems led to different balances of underdetermination in procedural generation as well as how such an approach might help us think beyond an artifact/experience dichotomy in fabrication.

To explore how materials, data, and humans collaborate to produce physical data representations, we created a series of artefacts from personal data we collected (about commuting, forgetting, and busy-ness) in different media---yarn and sound. We exchanged these artefacts without providing guidelines for how to interpret them in order to study where the boundary between maker and interpreter emerges. Through creating hand-crafted physicalizations and sonifications, we present three themes on making personal data narratives: matching data to the materials (and vice versa), accepting the materials' will to co-author, and negotiating between the experience of the data and data of the experience. In exchanging the artefacts, we explored the role of the interpreter as a re-maker and how multiple narratives can productively co-exist. We conclude with a discussion about how reimagining the roles of maker and interpreter might lead to new interactions with personal data narratives.

Design is commonly understood as a storytelling practice, yet we have few narratives with which to describe the felt experiences of struggle, pain, and difficulty, beyond treating them as subjects to resolve. This work uses the praxis of embodied design as a way to bring more complex narratives to the community for contemplation---to engage and entangle personal and difficult stories within a public context. We propose the term Design Memoirs for these first-person practices and reflections. Design Memoirs are subjective and corporeal in nature, and provide a direct and observable way to reckon with felt experiences through, and for, design. We demonstrate Design Memoirs by drawing on our own experiences as mothers, caregivers, and corporeal subjects. Following Barad, we propose a practice of diffractive reading to locate resonances between Design Memoirs which render difficult autobiographical material addressable, shareable, and open for new interpretations. We present this strategy as a method for arriving at deeper understandings of difficult experiences.

While craft has had increasing influence on HCI research, HCI researchers tend to engage craft in limited capacities, often focusing on the juxtapositions of "traditional" craft and "innovative" computing. In this paper, we describe the structure and results of a six-week "experimental weaving residency" to show how HCI practitioners, engineers, and craftspeople perform similar work and can productively collaborate to envision new technological interfaces at early stages of development. We address both social and technical challenges of residencies and critically reflect on biases about technical and craft labor that we held prior to the residency. We share our experiences and lessons learned in the hopes of supporting future collaborations with craftspeople and broadening the techniques we use to address design challenges.

In this paper we explore how the qualities of Autonomous Sensory Meridian Response (ASMR) media - its pairing of sonic and visual design, ability to subvert fast-paced technology for slow experiences, production of somatic responses, and attention to the everyday-might reveal new design possibilities for interactions with wearable technology. We recount our year-long design inquiry into the subject which began with an interview with a "live" ASMR creator and design probes, a series of first-person design exercises, and resulted in the creation of two interactive garments for attending, noticing, and becoming enchanted with our our everyday surroundings. We conclude by suggesting that these ASMR inspired designs cultivate personal, intimate, embodied, and felt practices of attention within our everyday, mundane, environments.

Smart textiles development is combining computing and textile technologies to create tactile, functional objects such as smart garments, soft medical devices, and space suits. However, the field also combines the massive waste streams of both the digital electronics and textiles industries. The following work explores how HCI researchers might be poised to address sustainability and waste in future smart textiles development through interventions at design time. Specifically, we perform a design inquiry into techniques and practices for reclaiming and reusing smart textiles materials and explore how such techniques can be integrated into smart textiles design tools. Beginning with a practice in sustainable or "slow" fashion, unravelling a garment into yarn, the suite of explorations titled "Unfabricate" probes values of time and labor in crafting a garment; speculates how a smart textile garment may be designed with reuse in mind; and imagines how electronic and textile components may be given new life in novel uses.

Present day ideals of good parenting are socio-technical constructs formed at the intersection of medical best practices, cultural norms, and technical innovation. These ideals take shape in relation to the fundamental uncertainty that parents/mothers face, an uncertainty that comes from not knowing how to do what is best for one's children, families, and selves. The growing body of parent-focused smart devices and data-tracking platforms emerging from this intersection frame the responsible parent as one who evaluates, analyzes, and mitigates data-defined risks for their children and family. As these devices and platforms proliferate, whether from respected medical institutions or commercial interests, they place new demands on families and add an implicit emphasis on how humans (often mothers) can be augmented and improved by data-rich technology. This is expressed both in the actions they support (e.g., breastfeeding, monitoring food intake), as well as in the emotions they render marginal (e.g., rage, struggle, loss, and regret). In this article, we turn away from optimization and self-improvement narratives to attend to our own felt experiences as mothers and designers. Through an embodied practice of creating Design Memoirs, we speak directly to the HCI community from our position as both users and subjects of optimized parenting tools. Our goal in this work is to bring nuance to a domain that is often rendered in simplistic terms or frames mothers as figures who could endlessly do more for the sake of their families. Our Design Memoirs emphasize the conflicting and often negative emotions we experienced while navigating these tools and medical systems. They depict our feelings of being at once powerful and powerless, expressing rage and love simultaneously, and struggling between expressing pride and humility. The Design Memoirs serve us in advocating that designers should use caution when considering a problem/solution focus to the experiences of parents. We conclude by reflecting on how our shared practice of making memoirs, as well as other approaches within feminist and queer theory, suggest strategies that trouble these optimization and improvement narratives. Overall, we present a case for designing for mothers who feel like they are just making do or falling short, in order to provide relief from the anxiety of constantly seeking improvement.

This pictorial presents our material-driven inquiry into carbon-coated paper and kirigami structures. We investigated two variations of this paper and their affordances for tangible interaction; particularly their electrical, haptic, and visual aspects when shaped into three-dimensional forms through cutting, folding, and bending. Through this exploration, we uncovered distinct affordances between the two paper types for sensing folds and bends, due to differences in their material compositions. From these insights, we propose three applications that showcase the possibilities of this material for tangible interaction design. In addition, we leverage the pictorial format to expose working design schematics for others to take up their own explorations.

Notions of what counts as a contribution to HCI continue to be contested as our field expands to accommodate perspectives from the arts and humanities. This paper aims to advance the position of the arts and further contribute to these debates by actively exploring what a "non-contribution" would look like in HCI. We do this by taking inspiration from Fluxus, a collective of artists in the 1950's and 1960's who actively challenged and reworked practices of fine arts institutions by producing radically accessible, ephemeral, and modest works of "art-amusement." We use Fluxus to develop three analogous forms of "HCI-amusements," each of which shed light on dominant practices and values within HCI by resisting to fit into its logics.

Woven smart textiles are useful in creating flexible electronics because they integrate circuitry into the structure of the fabric itself. However, there do not yet exist tools that support the specific needs of smart textiles weavers. This paper describes the process and development of AdaCAD, an application for composing smart textile weave drafts. By augmenting traditional weaving drafts, AdaCAD allows weavers to design woven structures and circuitry in tandem and offers specific support for common smart textiles techniques. We describe these techniques, how our tool supports them alongside feedback from smart textiles weavers. We conclude with a reflection on smart textiles practice more broadly and suggest that the metaphor of coproduction can be fruitful in creating effective tools and envisioning future applications in this space.

Smart textiles integrate sensing and actuation components into their structures to bring interactivity to fabrics. We describe how we adapted two existing fiber arts techniques, double weaving and yarn plying, for the purpose of creating a woven textile that changes color in response to touch. We draw from this experience to make three core contributions: descriptions of our experiments plying yarns that change between three color states; descriptions of double weaving structures that allow us to support interactivity while hiding circuitry from view; and suggestions for how these techniques could be adapted and extended by other researchers to make richly crafted and technologically sophisticated fabrics.

Biosensing displays, increasingly enrolled in emotional reflection, promise authoritative insight by presenting users' emotions as discrete categories. Rather than machines interpreting emotions, we sought to explore an alternative with emotional biosensing displays in which users formed their own interpretations and felt comfortable critiquing the display. So, we designed, implemented, and deployed, as a technology probe, an emotional biosensory display: Ripple is a shirt whose pattern changes color responding to the wearer's skin conductance, which is associated with excitement. 17 participants wore Ripple over 2 days of daily life. While some participants appreciated the 'physical connection' Ripple provided between body and emotion, for others Ripple fostered insecurities about 'how much' feeling they had. Despite our design intentions, we found participants rarely questioned the display's relation to their feelings. Using biopolitics to speculate on Ripple's surprising authority, we highlight ethical stakes of biosensory representations for sense of self and ways of feeling.

In response to recent calls for HCI to address ongoing environmental crises and existential threats, this paper introduces the concept of collaborative survival and examines how it shapes the design of interactive artifacts. Collaborative survival describes how our (human) ability to persist as a species is deeply entangled with and dependent upon the health of a multitude of other species. We explore collaborative survival within the context of designing tools for mushroom foraging and reflect on how interactive products can open new pathways for noticing and joining-with these entanglements towards preferable futures. In addition to highlighting three tactics-engagement, attunement and expansion-that can guide designs towards multispecies flourishing, our prototypes illustrate the potential for wearable technology to extend the body into the environment.

This paper offers a critical reflection on the term "hybrid"? a term describing the merging of distinct and often contradictory entities. We trace how the term has been taken up in HCI's programs of design research to explore resolutions between two disparate entities, typically human and machine or the digital and analog. Drawing from programs of feminist technoscience, we suggest an alternative metaphor for designing coproductions. This approach emphasizes the contradictory and collective work of smoothly integrating social categories. We show how designing coproductions begins by locating places where categories break down-where humans are like machines or where the digital can be experienced physically-and uses design to draw out and reflect upon the ever-changing relationship with digital and non-digital domains.

The growth of small scale manufacturing technologies associated with the "maker movement" has captured the attention of artists, innovators, educators, and policy makers. This paper critically examines how one core technology of the maker movement, a 3D printer, materializes assumptions about makers and their preferred ways of working with machines and materials. We describe how existing designs can be seen as anthropocentric, framing the human maker as visionary and commander of passive machines and materials. We then present an alternative system for 3D printing, called Redeform, which explores how a post-anthropocentric framing of makers as collaborators with machines and materials changes the design of 3D printers. We place our system within a lineage of performances that have explored relationships between humans and nonhumans since the 1950s. In doing so, we explore and speculate on the opportunities for operationalizing post-anthropocentric theories within the specific context of the maker movement.

This paper explores the social meaning of clothing-based displays of biosignals. How do friends make sense of their own and each other's skin conductance display in the context of a conversation? We developed Hint, a dynamic thermochromic t-shirt whose ambiguous pattern changes color when its wearer's skin conductance increases, an indication of sudden arousal. We investigated how pairs of friends each wearing the shirt conversed and interpreted the display. Participants shared a broad range of interpretations; e.g., joy and embarrassment were associated with an increase in skin conductance. Additionally, participants expressed desires for their skin conductance display to help validate their feelings and show emotional engagement with others. We explore ambiguity in the context of clothing-based information displays and discuss how skin conductance display became part of social performance in our study. From there, we suggest framing biosignals as social cues along with facial expression, gestures, etc., and begin to question what design territories this might uncover.

This paper explores the role dynamic textile displays play in relation to personal style: What does it mean to wear computationally responsive clothing and why would one be motivated to do so? We developed a novel textile display technology, called Ebb, and created several woven and crochet fabric swatches that explored clothing-specific design possibilities. We engaged fashion designers and non-designers in imagining how Ebb would integrate into their design practice or personal style of dressing. Participants evaluated the appeal and utility of clothing-based displays according to a very different set of criteria than traditional screen-based computational displays. Specifically, the slowness, low-resolution, and volatility of Ebb tended to be seen as assets as opposed to technical limitations in the context of personal style. Additionally, participants envisioned various ways that ambiguous, ambient, and abstract displays of information could prompt new experiences in their everyday lives. Our paper details the complex relationships between display and personal style and offers a new design metaphor and extension of Gaver et al.'s original descriptions of ambiguity in order to guide the design of clothing-based displays for everyday life.

This paper details the design and evaluation of Being the Machine, a portable digital fabrication system that places digital fabrication activity outside of the traditional fab lab environment. Being the Machine invites people to (re)consider materials found in their everyday and personal environment as part of the fabrication activity. We expand the design space involving hybrid (physical-digital) fabrication by describing how our system draws from art to support critical and reflective modes of making. In interaction with our system, participants distributed control between human and machine actors to support their preferred mode of making. These patterns reveal new opportunities and challenges for future hybrid fabrication systems, and suggest that designing for qualities of experience, like meditation and reflection, could support meaningful making experiences for many different kinds of makers.

Redeform presents an alternative vision of 3D printing that complicates common divisions between human/machine, abstract/concrete, and high/low tech. It invites people to perform the functions of a 3D printer in order to collaboratively construct digital models from everyday materials in everyday spaces. At TEI, Redeform will serve as a site for discussion about values in digital fabrication design.

AnyType is a mobile application that generates unique typefaces from photographs of shapes that people find in their environment. In keeping with the principles of aesthetic interaction, the design of AnyType supports opportunities for surprise, storytelling, and expression. This paper presents data collected from two observational studies of AnyType. In both studies, we found that people appropriated the application to create highly personalized messages. They found inspiration in unexpected locations, created memories from nuanced details in their lives, and creatively explored the design space provided by the system. Drawing from our observations, we discuss possible roles mobile devices could play in people's personal meaning making, creative process, and discovery, in interaction with elements of their physical environment.

AnyType is a creative application that lets people transform elements and objects in the physical world into novel digital typefaces. The portability, computational power and network capabilities of AnyType allow the user to take design into the wild so that they can create and share in the same moment in which they are inspired. With AnyType, we invite people to reinterpret their everyday environment and transform it into a set of possible creative inputs.