What comes to mind when you think "vector graphics"? Flat color, geometric shapes, cell shading — these are behind its defining look. But what if there was more? As a visiting research engineer at the Brown Human-Computer Interaction Group, I'm helping make vector illustration software, employing SVG filters and patterns to create new visual styles in vector graphics. Through human-centered design, I investigate the interactions artists have with filtered.ink to improve the accessibility and expressiveness of digital creative tools.

I had the opportunity to engineer three features in filtered.ink: stroke stabilization, gradients, and animated patterns. While designing and implementing these components, I was thrilled to work on something totally new. With stabilization, denoising user input has a long history of prior work—yet the effects of standard algorithms, like moving averages and spline interpolation, on illustration was something overlooked. With patterns, on the other hand, I dove into the creative side of research, chasing a fantastical idea of adding movement to patterns. Working in a research lab also taught me how user studies were conducted, and while designing the animated patterns, I was able to design and conduct my own user study on their viability.

Given the hybrid nature of my role, I learned to communicate proactively during remote work and captialize on my in-person time, whether it be brainstorming or merging messy PRs. I had an amazing, supportive team and regularly incorporated their feedback and insights. The atmosphere at the lab pulses with excitement too: anything with the words "creative" and "computer"—we've gushed over it before. I am humbled to have worked with the Brown HCI Group, and I gained a deep view of what creativity support research could look like in the future.