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Understanding how professionals use digital fabrication in production workflows is critical for future research in digital fabrication technologies. We interviewed thirteen professionals who use digital fabrication for the low-volume manufacturing of commercial products. From these interviews, we describe the workflows used for nine products created with a variety of materials and manufacturing methods. We show how digital fabrication professionals use software development to support physical production, how they rely on multiple partial representations in development, how they develop manufacturing processes, and how machine control is its own design space. We build from these findings to argue that future digital fabrication systems should support the exploration of material and machine behavior alongside geometry, that simulation is insufficient for understanding the design space, and that material constraints and resource management are meaningful design dimensions to support. By observing how professionals learn, we suggest ways digital fabrication systems can scaffold the mastery of new fabrication techniques. 

Procedural functionality enables visual creators to rapidly edit, explore alternatives, and fine-tune artwork in many domains including illustration, motion graphics, and interactive animation. Symbolic procedural tools, such as textual programming languages, are highly expressive but often limit directly manipulating concrete artwork; whereas direct manipulation tools support some procedural expression but limit creators to pre-defined behaviors and inputs. Inspired by visions of using geometric input to create procedural relationships, we identify an opportunity to use vector geometry from artwork to specify expressive user-defined procedural functions. We present Drawing Transforms (DTs), a technique that enables the use of any drawing to procedurally transform the stylistic, spatial, and temporal properties of target artwork. We apply DTs in a prototype motion graphics system to author continuous and discrete transformations, modify multiple elements in a composition simultaneously, create animations, and control fine-grained procedural instantiation. We discuss how DTs can unify procedural authoring through direct manipulation across visual media domains. 

Clay 3D printing provides the benefits of digital fabrication automation and reconfigurability through a method that evokes manual clay coiling. Existing design technologies for clay 3D printing reflect the general 3D printing workflow in which solid forms are designed in CAD and then converted into a toolpath. In contrast, in hand-coiling, form is determined by the actions taken by the artist’s hands through space in response to the material. We theorized that an action-oriented approach for clay 3D printing could allow creators to design digital fabrication toolpaths that reflect clay material properties. We present CoilCAM, a domain-specific CAM programming system that supports the integrated generation of parametric forms and surface textures through mathematically defined toolpath operations. We developed CoilCAM in collaboration with ceramics professionals and evaluated CoilCAM’s relevance to manual ceramics by reinterpreting hand-made ceramic vessels. This process revealed the importance of iterative variation and embodied experience in action-oriented workflows. 

As digital fabrication machines become widespread, online communities have provided space for diverse practitioners to share their work, troubleshoot, and socialize. These communities pioneer increasingly novel fabrication workflows, and it is critical that we understand and conceptualize these workflows beyond traditional manufacturing models. To this end, we conduct a qualitative study of #PlotterTwitter, an online community developing custom hardware and software tools to create artwork with computer-controlled drawing machines known as plotters. We documented and analyzed emergent themes where the traditional interpretation of digital fabrication workflows fails to capture important nuances and nascent directions. We find that #PlotterTwitter makers champion creative exploration of interwoven digital and physical materials over a predictable series of steps. We discuss how this challenges long-running views of digital fabrication and propose design implications for future frameworks and toolkits to account for this breadth of practice. 

Digital fabrication courses that relied on physical makerspaces were severely disrupted by COVID-19. As universities shut down in Spring 2020, instructors developed new models for digital fabrication at a distance. Through interviews with faculty and students and examination of course materials, we recount the experiences of eight remote digital fabrication courses. We found that learning with hobbyist equipment and online social networks could emulate using industrial equipment in shared workshops. Furthermore, at-home digital fabrication offered unique learning opportunities including more iteration, machine tuning, and maintenance. These opportunities depended on new forms of labor and varied based on student living situations. Our findings have implications for remote and in-person digital fabrication instruction. They indicate how access to tools was important, but not as critical as providing opportunities for iteration; they show how remote fabrication exacerbated student inequities; and they suggest strategies for evaluating trade-offs in remote fabrication models with respect to learning objectives.