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 Pei-Luen Patrick Rau (Ed.)
LNCS 11576

Cross-Cultural Design
Methods, Tools and User Experience
11th International Conference, CCD 2019
Held as Part of the 21st HCI International Conference, HCII 2019
Orlando, FL, USA, July 26–31, 2019, Proceedings, Part I

123
Lecture Notes in Computer Science 11576
Commenced Publication in 1973
Founding and Former Series Editors:
Gerhard Goos, Juris Hartmanis, and Jan van Leeuwen

Editorial Board Members

David Hutchison
Lancaster University, Lancaster, UK
Takeo Kanade
Carnegie Mellon University, Pittsburgh, PA, USA
Josef Kittler
University of Surrey, Guildford, UK
Jon M. Kleinberg
Cornell University, Ithaca, NY, USA
Friedemann Mattern
ETH Zurich, Zurich, Switzerland
John C. Mitchell
Stanford University, Stanford, CA, USA
Moni Naor
Weizmann Institute of Science, Rehovot, Israel
C. Pandu Rangan
Indian Institute of Technology Madras, Chennai, India
Bernhard Steffen
TU Dortmund University, Dortmund, Germany
Demetri Terzopoulos
University of California, Los Angeles, CA, USA
Doug Tygar
University of California, Berkeley, CA, USA
More information about this series at http://www.springer.com/series/7409
Pei-Luen Patrick Rau (Ed.)

Cross-Cultural Design
Methods, Tools and User Experience
11th International Conference, CCD 2019
Held as Part of the 21st HCI International Conference, HCII 2019
Orlando, FL, USA, July 26–31, 2019
Proceedings, Part I

123
Editor
Pei-Luen Patrick Rau
Tsinghua University
Beijing, China

ISSN 0302-9743 ISSN 1611-3349 (electronic)

Lecture Notes in Computer Science
ISBN 978-3-030-22576-6 ISBN 978-3-030-22577-3 (eBook)
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LNCS Sublibrary: SL3 – Information Systems and Applications, incl. Internet/Web, and HCI

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 Foreword

The 21st International Conference on Human-Computer Interaction, HCI International

2019, was held in Orlando, FL, USA, during July 26–31, 2019. The event incorporated
the 18 thematic areas and affiliated conferences listed on the following page.
A total of 5,029 individuals from academia, research institutes, industry, and
governmental agencies from 73 countries submitted contributions, and 1,274 papers
and 209 posters were included in the pre-conference proceedings. These contributions
address the latest research and development efforts and highlight the human aspects of
design and use of computing systems. The contributions thoroughly cover the entire
field of human-computer interaction, addressing major advances in knowledge and
effective use of computers in a variety of application areas. The volumes constituting
the full set of the pre-conference proceedings are listed in the following pages.
This year the HCI International (HCII) conference introduced the new option of
“late-breaking work.” This applies both for papers and posters and the corresponding
volume(s) of the proceedings will be published just after the conference. Full papers
will be included in the HCII 2019 Late-Breaking Work Papers Proceedings volume
of the proceedings to be published in the Springer LNCS series, while poster extended
abstracts will be included as short papers in the HCII 2019 Late-Breaking Work Poster
Extended Abstracts volume to be published in the Springer CCIS series.
I would like to thank the program board chairs and the members of the program
boards of all thematic areas and affiliated conferences for their contribution to the
highest scientific quality and the overall success of the HCI International 2019
conference.
This conference would not have been possible without the continuous and unwa-
vering support and advice of the founder, Conference General Chair Emeritus and
Conference Scientific Advisor Prof. Gavriel Salvendy. For his outstanding efforts,
I would like to express my appreciation to the communications chair and editor of
HCI International News, Dr. Abbas Moallem.

July 2019 Constantine Stephanidis

 HCI International 2019 Thematic Areas
and Affiliated Conferences

Thematic areas:
• HCI 2019: Human-Computer Interaction
• HIMI 2019: Human Interface and the Management of Information
Affiliated conferences:
• EPCE 2019: 16th International Conference on Engineering Psychology and
Cognitive Ergonomics
• UAHCI 2019: 13th International Conference on Universal Access in
Human-Computer Interaction
• VAMR 2019: 11th International Conference on Virtual, Augmented and Mixed
Reality
• CCD 2019: 11th International Conference on Cross-Cultural Design
• SCSM 2019: 11th International Conference on Social Computing and Social Media
• AC 2019: 13th International Conference on Augmented Cognition
• DHM 2019: 10th International Conference on Digital Human Modeling and
Applications in Health, Safety, Ergonomics and Risk Management
• DUXU 2019: 8th International Conference on Design, User Experience, and
Usability
• DAPI 2019: 7th International Conference on Distributed, Ambient and Pervasive
Interactions
• HCIBGO 2019: 6th International Conference on HCI in Business, Government and
Organizations
• LCT 2019: 6th International Conference on Learning and Collaboration
Technologies
• ITAP 2019: 5th International Conference on Human Aspects of IT for the Aged
Population
• HCI-CPT 2019: First International Conference on HCI for Cybersecurity, Privacy
and Trust
• HCI-Games 2019: First International Conference on HCI in Games
• MobiTAS 2019: First International Conference on HCI in Mobility, Transport, and
Automotive Systems
• AIS 2019: First International Conference on Adaptive Instructional Systems
 Pre-conference Proceedings Volumes Full List

1. LNCS 11566, Human-Computer Interaction: Perspectives on Design (Part I),

edited by Masaaki Kurosu
2. LNCS 11567, Human-Computer Interaction: Recognition and Interaction
Technologies (Part II), edited by Masaaki Kurosu
3. LNCS 11568, Human-Computer Interaction: Design Practice in Contemporary
Societies (Part III), edited by Masaaki Kurosu
4. LNCS 11569, Human Interface and the Management of Information: Visual
Information and Knowledge Management (Part I), edited by Sakae Yamamoto and
Hirohiko Mori
5. LNCS 11570, Human Interface and the Management of Information: Information
in Intelligent Systems (Part II), edited by Sakae Yamamoto and Hirohiko Mori
6. LNAI 11571, Engineering Psychology and Cognitive Ergonomics, edited by Don
Harris
7. LNCS 11572, Universal Access in Human-Computer Interaction: Theory, Methods
and Tools (Part I), edited by Margherita Antona and Constantine Stephanidis
8. LNCS 11573, Universal Access in Human-Computer Interaction: Multimodality
and Assistive Environments (Part II), edited by Margherita Antona and Constantine
Stephanidis
9. LNCS 11574, Virtual, Augmented and Mixed Reality: Multimodal Interaction
(Part I), edited by Jessie Y. C. Chen and Gino Fragomeni
10. LNCS 11575, Virtual, Augmented and Mixed Reality: Applications and Case
Studies (Part II), edited by Jessie Y. C. Chen and Gino Fragomeni
11. LNCS 11576, Cross-Cultural Design: Methods, Tools and User Experience
(Part I), edited by P. L. Patrick Rau
12. LNCS 11577, Cross-Cultural Design: Culture and Society (Part II), edited by
P. L. Patrick Rau
13. LNCS 11578, Social Computing and Social Media: Design, Human Behavior and
Analytics (Part I), edited by Gabriele Meiselwitz
14. LNCS 11579, Social Computing and Social Media: Communication and Social
Communities (Part II), edited by Gabriele Meiselwitz
15. LNAI 11580, Augmented Cognition, edited by Dylan D. Schmorrow and Cali M.
Fidopiastis
16. LNCS 11581, Digital Human Modeling and Applications in Health, Safety,
Ergonomics and Risk Management: Human Body and Motion (Part I), edited by
Vincent G. Duffy
x Pre-conference Proceedings Volumes Full List

17. LNCS 11582, Digital Human Modeling and Applications in Health, Safety,
Ergonomics and Risk Management: Healthcare Applications (Part II), edited by
Vincent G. Duffy
18. LNCS 11583, Design, User Experience, and Usability: Design Philosophy and
Theory (Part I), edited by Aaron Marcus and Wentao Wang
19. LNCS 11584, Design, User Experience, and Usability: User Experience in
Advanced Technological Environments (Part II), edited by Aaron Marcus and
Wentao Wang
20. LNCS 11585, Design, User Experience, and Usability: Application Domains
(Part III), edited by Aaron Marcus and Wentao Wang
21. LNCS 11586, Design, User Experience, and Usability: Practice and Case Studies
(Part IV), edited by Aaron Marcus and Wentao Wang
22. LNCS 11587, Distributed, Ambient and Pervasive Interactions, edited by Norbert
Streitz and Shin’ichi Konomi
23. LNCS 11588, HCI in Business, Government and Organizations: eCommerce and
Consumer Behavior (Part I), edited by Fiona Fui-Hoon Nah and Keng Siau
24. LNCS 11589, HCI in Business, Government and Organizations: Information
Systems and Analytics (Part II), edited by Fiona Fui-Hoon Nah and Keng Siau
25. LNCS 11590, Learning and Collaboration Technologies: Designing Learning
Experiences (Part I), edited by Panayiotis Zaphiris and Andri Ioannou
26. LNCS 11591, Learning and Collaboration Technologies: Ubiquitous and Virtual
Environments for Learning and Collaboration (Part II), edited by Panayiotis
Zaphiris and Andri Ioannou
27. LNCS 11592, Human Aspects of IT for the Aged Population: Design for the
Elderly and Technology Acceptance (Part I), edited by Jia Zhou and Gavriel
Salvendy
28. LNCS 11593, Human Aspects of IT for the Aged Population: Social Media, Games
and Assistive Environments (Part II), edited by Jia Zhou and Gavriel Salvendy
29. LNCS 11594, HCI for Cybersecurity, Privacy and Trust, edited by Abbas Moallem
30. LNCS 11595, HCI in Games, edited by Xiaowen Fang
31. LNCS 11596, HCI in Mobility, Transport, and Automotive Systems, edited by
Heidi Krömker
32. LNCS 11597, Adaptive Instructional Systems, edited by Robert Sottilare and
Jessica Schwarz
33. CCIS 1032, HCI International 2019 - Posters (Part I), edited by Constantine
Stephanidis
 Pre-conference Proceedings Volumes Full List xi

34. CCIS 1033, HCI International 2019 - Posters (Part II), edited by Constantine
Stephanidis
35. CCIS 1034, HCI International 2019 - Posters (Part III), edited by Constantine
Stephanidis

http://2019.hci.international/proceedings
 11th International Conference on Cross-Cultural
Design (CCD 2019)

Program Board Chair(s): Pei-Luen Patrick Rau, P.R. China

• Sangwoo Bahn, South Korea • Yongqi Lou, P.R. China

• Chien-Chi Chang, Taiwan
• Na Chen, P.R. China
• Zhe Chen, P.R. China
• Zhiyong Fu, P.R. China
• Paul Fu, USA
• Toshikazu Kato, Japan
• Rungtai Lin, Taiwan
• Dyi-Yih Michael Lin, Taiwan
• Na Liu, P.R. China
• Cheng-Hung Lo, P.R. China
• Liang Ma, P.R. China
• Alexander Mädche, Germany
• Katsuhiko Ogawa, Japan
• Taezoon Park, South Korea
• Chunyi Shen, Taiwan
• Huatong Sun, USA
• Hao Tan, P.R. China
• Pei-Lee Teh, Malaysia
• Lin Wang, South Korea
• Hsiu-Ping Yueh, Taiwan

The full list with the Program Board Chairs and the members of the Program Boards of
all thematic areas and affiliated conferences is available online at:

http://www.hci.international/board-members-2019.php
 HCI International 2020
The 22nd International Conference on Human-Computer Interaction, HCI International
2020, will be held jointly with the affiliated conferences in Copenhagen, Denmark, at
the Bella Center Copenhagen, July 19–24, 2020. It will cover a broad spectrum
of themes related to HCI, including theoretical issues, methods, tools, processes, and
case studies in HCI design, as well as novel interaction techniques, interfaces, and
applications. The proceedings will be published by Springer. More information will be
available on the conference website: http://2020.hci.international/.

General Chair
Prof. Constantine Stephanidis
University of Crete and ICS-FORTH
Heraklion, Crete, Greece
E-mail: general_chair@hcii2020.org

http://2020.hci.international/
 Contents – Part I

Cross-Cultural Design Methods and Tools

The Study of Developing Innovation on Technology-Enabled

Design Process . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Chiui Hsu, Claudia Wang, and Rungtai Lin

Advanced Designing Assistant System for Smart Design Based

on Product Image Dataset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Yi Li, Yong Dai, Li-Jun Liu, and Hao Tan

A Study on Application of Enclothed Cognition in Apparel Design. . . . . . . . 34

Szuyao Lin

Persuasive Design and Application of Intelligent Healthcare Product . . . . . . . 46

Hongyu Liu and Zhirong Li

A Review of the DesignX Discourse: Knowledge Diffusion and Integration

Across Disciplines. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Jin Ma

Designing Co-design: Addressing Five Critical Areas to Increase

the Experience of Participants and Facilitator in a Co-design Session. . . . . . . 79
Paola Trapani

The Design Thinking Between Man-Made and Natural – Taking Jewelry

as an Example . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
I-Ting Wang, Hsienfu Lo, and Gao Yang

A Study on Integrated Design Process of Software and Hardware Interfaces

for Automotive Human-Machine Interaction . . . . . . . . . . . . . . . . . . . . . . . . 105
Qingshu Zeng and Qijun Duan

Culture-Based Design

Suspending Space and Time: The Body Under the Lens of the Japanese
Concept of Ma . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127
Cristina Elias and Priscila Arantes

The New Approach of Chinese Animation: Exploring the Developing

Strategies of Monkey King - Hero Is Back. . . . . . . . . . . . . . . . . . . . . . . . . 144
Wen Ting Fang, Mei-Ling Hsu, Po-Hsien Lin, and Rungtai Lin
xviii Contents – Part I

How to Preserve Taiwanese Cultural Food Heritage Through Everyday

HCI: A Proposal for Mobile Implementation . . . . . . . . . . . . . . . . . . . . . . . 156
Kuan-Yi Huang, Yu-Hsuan Ling, and Chung-Ching Huang

A Study of Cultural Ergonomics in Atayal Weaving Box. . . . . . . . . . . . . . . 170

John Kreifeld, Yajuan Gao, Gao Yang, Hui-Yun Yen, Yuma Taru,
and Rungtai Lin

Designing Gardenia-Inspired Cultural Products . . . . . . . . . . . . . . . . . . . . . . 184

Shin Ling Kuo

A Study on Productive Preservation and Design Innovation

of Taoyuan Wood Carving . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203
Mingxiang Shi and Simin Ren

Research on the Audience’s Cognition and Preference of the Styles

of Chinese Landscape Paintings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215
Jun Wu, Jiede Wu, and Po-Hsien Lin

Cross-Cultural User Experience

UsabEU: Online Platform for Translation, Validation and Native

Use of Usability Questionnaires with Multilingual User Groups . . . . . . . . . . 229
Bojan Blažica and Tome Eftimov

Design for Bilingual Information in a Cross-Cultural Context—Design

Strategy and Conceptualization in Branding Tongji Design Week . . . . . . . . . 239
Qin Du

How People Browse Mobile News Feed? A Study for Mobile

News Feed Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248
Hui Li, Nan Chen, Minjuan Zhou, Chenyi He, Jingbo Li, and Yujie Shi

3D Gesture Interface: Japan-Brazil Perceptions . . . . . . . . . . . . . . . . . . . . . . 266

Anna Carolina Soares Medeiros, Photchara Ratsamee, Yuki Uranishi,
Tomohiro Mashita, Haruo Takemura, and Tatiana Aires Tavares

Scenario-Based User Experience Differences of Human-Device

Interaction at Different Levels of Proactivity. . . . . . . . . . . . . . . . . . . . . . . . 280
Hao Tan and Min Zhu

Effect of Vibrotactile Feedback on Simulator Sickness, Performance,

and User Satisfaction with Virtual Reality Glasses. . . . . . . . . . . . . . . . . . . . 291
Bingcheng Wang and Pei-Luen Patrick Rau
 Contents – Part I xix

A Study on the Auditory-Visual Fatigue Classification Validation

Based on the Working Memory Task . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303
Xin Wang, Zhen Liao, Jin Liang, Zhiqiang Tian, Tuoyang Zhou,
Shuang Liu, Lei Liu, Chi Zhang, and Zhanshuo Zhang

Using Psychophysiological Techniques to Evaluate User Experience

of Touchscreen Protectors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 323
Man Wu, Bingcheng Wang, Qin Gao, and Pei-Luen Patrick Rau

Is SERVQUAL Reliable and Valid? A Review from the Perspective

of Dimensions in Different Typical Service Industries . . . . . . . . . . . . . . . . . 338
Quan Yuan and Qin Gao

Reliability and Validity of Measurement Scale for Perceived Service

Quality in Internet Bank: A Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 352
Quan Yuan and Qin Gao

Cultural Differences, Usability and Design

Inferring Human Feelings and Desires for Human-Robot Trust Promotion . . . 365
Xingzhi Guo, Yu-Cian Huang, Edwinn Gamborino, Shih-Huan Tseng,
Li-Chen Fu, and Su-Ling Yeh

Effect of Layout on User Performance and Subjective Evaluation

in an Augmented-Reality Environment. . . . . . . . . . . . . . . . . . . . . . . . . . . . 376
Xin Lei, Yueh-Lin Tsai, and Pei-Luen Patrick Rau

User Requirements Gathering in mHealth: Perspective from Ghanaian

End Users . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 386
Eric Owusu and Joyram Chakraborty

User Experience of Tactile Feedback on a Smartphone: Effects of Vibration

Intensity, Times and Interval . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 397
Jun Tan, Yan Ge, Xianghong Sun, Yubo Zhang, and Yanfang Liu

Research on the Relationship Between Online Merchandise Display

and Consumer Shopping Behavior. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 407
Yanyun Wang and Linong Dai

“Big Screen Is Watching Me?”: A Study on the Attractiveness

and Reading Efficiency of a Rotating Screen . . . . . . . . . . . . . . . . . . . . . . . 422
Yuan Yao, Chao Wang, Minghao He, Chuyi Yan, Robert Elder,
Chen Zhao, and Haipeng Mi

Visual Symbol Attention and Cross-Cultural Communication:

A Case Study of Catering Commercial Graphic Advertising . . . . . . . . . . . . . 440
Huang Zhang and Li Zhang
xx Contents – Part I

Comparative Analysis Comprehensibility of Healthcare Symbols

Between USA and China . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 458
Chuanyu Zou and Guangxin Wang

Aesthetics and Mindfulness

How Flow and Mindfulness Interact with Each Other in Different

Types of Mandala Coloring Activities? . . . . . . . . . . . . . . . . . . . . . . . . . . . 471
Hao Chen, Chao Liu, Wen-Ko Chiou, and Rungtai Lin

The Aesthetic Pleasure in Design Scale for Spanish Speaking Countries:

A Method for the Cross-Cultural Implementation and Adaptation
of Psychometric Scales . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 487
Luis Miguel Garrido-Possauner and Jorge Maya

Selective Preference in Visual Design: A Case Study of Cover

Designs of Industrial Design Magazine . . . . . . . . . . . . . . . . . . . . . . . . . . . 506
Rungtai Lin, Ming-Xean Sun, Jianping Huang, and Jiede Wu

Design for Aesthetic Pleasure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 519

Po-Hsien Lin, Mo-Li Yeh, and Hsi-Yen Lin

Mindfulness Meditation: Investigating Immediate Effects

in an Information Multitasking Environment. . . . . . . . . . . . . . . . . . . . . . . . 531
Na Liu, Yubo Zhang, Gloria Mark, Ziyang Li, and Pei-Luen Patrick Rau

Effects of Mandala Coloring on Mindfulness, Spirituality,

and Subjective Well-Being . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 543
Chao Liu, Hao Chen, Wen-Ko Chiou, and Rungtai Lin

Assessment of the Sense of Pleasure in Public Artwork in Living

Environment: Taking the Streets Near the Taipei University
in Sanxia District as an Example. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 555
Hsienfu Lo, I-Ting Wang, and Gao Yang

Research and Extraction on Intelligent Generation Rules of Posters

in Graphic Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 570
Hao Tan, Biwen Xu, and Aiqi Liu

Exploring Semantic Space for Kawaii Design . . . . . . . . . . . . . . . . . . . . . . . 583

Chien-Wen Tung, Nan Qie, and Pei-Luen Patrick Rau

Research on the Influence of Interactivity on the Aesthetic

Cognition of Art . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 592
Gao Yang, I-Ting Wang, Hsienfu Lo, and Rungtai Lin

Author Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 603

 Contents – Part II

Cultural Products, Experiences and Creativity

A Framework of Experiential Service Design in Creative Tourism . . . . . . . . 3

Shu-Hua Chang and Rungtai Lin

Museum and Cultural Products Co-creation Brand Value:

Taking the Innovative Cultural Products of Ningbo Port Museum
as an Example . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Ching-Wen Chang

Communication Between Artist and Audience: A Case Study

of Creation Journey . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Yajuan Gao, Jiede Wu, Sandy Lee, and Rungtai Lin

Analysis of Cover Design Styles of Magazines: Taking THE SHORT

STORY MAGAZINE (1910–1932) as an Example . . . . . . . . . . . . . . . . . . . . 45
Jianping Huang, Si Chen, Jiede Wu, and Rungtai Lin

Contrast Research on Cognitive Differences Between Design End

and Consumption End in Cultural Products . . . . . . . . . . . . . . . . . . . . . . . . 60
Bo Li, Chao Ma, Xingyi Zhong, and Ting Han

The Display of Intangible Cultural Landscape Based on the Concept

of Eco-Museum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Jiayi Liu and Ruiguang Tan

What Makes for Successful Game Storytelling in Different Countries?

A Comparison Between Japan, Korea and China. . . . . . . . . . . . . . . . . . . . . 80
Bingcheng Wang, Yun Gong, and Pei-Luen Patrick Rau

Research on Creation Architecture of Opera Cartoons . . . . . . . . . . . . . . . . . 91

Jiede Wu, Jianping Huang, and Rungtai Lin

Design for Social Change and Development

Emo-View: Convey the Emotion of the Back-Seat Passenger with an Emoji

in Rear-View Mirror to the Driver. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Chiju Chao, Xue He, and Zhiyong Fu

New Impression of Beijing Hutongs: A Microscale Urban Emotion

Measurement Method . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122
Zhiyong Fu and LingChyi Chan
xxii Contents – Part II

User Experience in Older Adults Using Tablets for Neuropsicological Tests

in Mexico City . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
Erika Hernández-Rubio, Amilcar Meneses-Viveros,
and Laura Muñoz Salazar

Parallel Orientation Assistant, a Vehicle System Based on Voice Interaction

and Multi-screen Interaction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150
Nan Jiang and Zhiyong Fu

Can Virtual Reality Satisfy Entertainment Needs of the Elderly?

The Application of a VR Headset in Elderly Care . . . . . . . . . . . . . . . . . . . . 159
Xiaojun Lai, Xin Lei, Xuanwei Chen, and Pei-Luen Patrick Rau

Cross-Cultural Recycling and Design Methodology; to Prove

the Effectiveness of the Three-Stage Design Method of Cross-Cultural
Recycling “Why-What-How” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173
Dong Yeong Lee and Jee Yeon Ha

Mobility-as-a-Service: A Critical Review and the Generalized Multi-modal

Transport Experience . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186
Yuanjun Li, Andrew May, and Sharon Cook

Design for Urban Resilience: A Case of Community-led Placemaking

Approach in Shanghai China . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207
Minqing Ni and Tiziano Cattaneo

“We Are Actively Reaching Out to Different Organizations and Folks

to Come in”: Collective Design of the Vancouver Tool Library Project . . . . . 223
Xiaolan Wang and Ron Wakkary

Urban Interaction Design Supports Modular Design Practice for Urban

Public Space. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241
Huan Wang, Ming Yan, Han Xie, and Zhiyong Fu

City Change Maker: A Design Innovation Workshop on Social Impact . . . . . 255

Qing Xia and Zhiyong Fu

A Comparison of Critical Time Interval Between Young and Old Subjects. . . 270
Hongbo Zhang

QianLi: A Modular System for Connecting Distant Family Members

Through Tacit Interaction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279
Zhibin Zhou, Hao Jiang, Changyuan Yang, Jinglan Yang,
Yong Yi Wendy Loy, and Lingyun Sun
 Contents – Part II xxiii

Cross-Cultural Product and Service Design

The Vibrotactile Experience of the HOME Button on Smartphones . . . . . . . . 297

Jie Cai, Yan Ge, Xianghong Sun, Yubo Zhang, and Yanfang Liu

A Study of Japan’s Welfare Beauty Service from Cultural

Creative’s Perspective . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309
Chin-Lon Lin, Hui-Yun Yen, and Chun-Liang Chen

What Do Users like About Smart Bottle? Insights for Designers . . . . . . . . . . 325
Zhuo Poh, Chun Yong Chong, Pei-Lee Teh, Saramma Joseph,
Shaun Lee Wen Huey, Narayanan Ramakrishnan,
and Rajendran Parthiban

Business Practice of Service Design in New Retail Era in China . . . . . . . . . . 337

Zhan Su and Li Cui

Attempts to Leverage Interaction Design to Mimic Emotional Care

and Empathy-Based Feedback on Smart Speakers . . . . . . . . . . . . . . . . . . . . 354
Yanyan Sun, Ting Wang, Xiang Ge, Jianping Qi, Min Zhao, Liming Zou,
Dan Li, Shiyan Li, and Daisong Guan

A Feasibility Study on the Transformation and Sustainable Development

of “Disposable Tableware” in Taiwan Night Market . . . . . . . . . . . . . . . . . . 370
Yikang Sun and Szuyao Lin

Elderly-Oriented Design for the Instrument Panel and Central Console

of Intelligent Passengercars . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 382
Hao Yang, Ying Zhao, and Sida Hou

Luxury Industry’s Chinese User Experience Design. . . . . . . . . . . . . . . . . . . 394

Wei Yu and Wenxue Zhai

A Digital Pathway to Having Authentic Food and Cultural Experiences

While Traveling in a Foreign Country . . . . . . . . . . . . . . . . . . . . . . . . . . . . 404
Yue Yuan

Does Heat Matter in Phone Usage? Antecedents and Consequences

of Mobile Thermal Satisfaction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 421
Andong Zhang, Pei-Luen Patrick Rau, Zhaoyi Ma, Qin Gao,
and Lili Dong

Intercultural Learning

How Learners with Different Cognitive Styles Read Learning Materials

with Text and Pictures: A Gaze Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . 435
Koh Kakusho, Fumiaki Takase, Masayuki Murakami, Weijane Lin,
and Hsiu-Ping Yueh
xxiv Contents – Part II

The Classification of Different Situations in a Lecture Based on Students’

Observed Postures. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 446
Yuki Kotakehara, Koh Kakusho, Satoshi Nishiguchi, Masaaki Iiyama,
and Masayuki Murakami

Design of an Online Education Evaluation System Based on Multimodal

Data of Learners . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 458
Qijia Peng, Nan Qie, Liang Yuan, Yue Chen, and Qin Gao

Integrating Multimodal Learning Analytics and Inclusive Learning Support

Systems for People of All Ages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 469
Kaori Tamura, Min Lu, Shin’ichi Konomi, Kohei Hatano, Miyuki Inaba,
Misato Oi, Tsuyoshi Okamoto, Fumiya Okubo, Atsushi Shimada,
Jingyun Wang, Masanori Yamada, and Yuki Yamada

Collaborate or Compete? How Will Multiplayers’ Interaction Affect Their

Learning Performance in Serious Games . . . . . . . . . . . . . . . . . . . . . . . . . . 482
Jui-Ying Wang, Weijane Lin, and Hsiu-Ping Yueh

Virtual Simulation Based Intercultural Learning . . . . . . . . . . . . . . . . . . . . . 492

Guangwei Zhang

Author Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 505

Cross-Cultural Design Methods and
Tools
 The Study of Developing Innovation
on Technology-Enabled Design Process

Chiui Hsu1(&), Claudia Wang2(&), and Rungtai Lin3(&)

1
Department of Material and Fiber,
Oriental Institute of Technology, Taipei, Taiwan
hsu.chiui@msa.hinet.net
2
Interactive Design, National Taipei University of Technology, Taipei, Taiwan
w93524@yahoo.com.tw
3
National Taiwan University of Arts, Taipei, Taiwan
rtlin@mail.ntua.edu.tw

Abstract. The worldwide industries are pondering how to redefine the domain
they belong to. The industry, by taking views from functional approach, has
shifted from “What equipment is doing” to “What equipment is representing?”
Therefore, from the status of the equipment itself, the instant visibility of the
design, to the data of the first-draft, etc., all these elements are required to be
united, communicated and innovated. The philosophy behind this study is
“technology alignment, product innovation, and service integration.” It will
introduce research and development applications such as interconnection with
3D software, etc., which means to apply the “Virtual-design System” as its
conceptual foundation and to reach cross-domain applications in conventional
industries with animation tools, such as iClone and Clo 3D. Hence, it allows free
communication between science and technology, humans and machines, people
and people. With the help of the cutting-edge equipment of digital process in
production line, it innovates design process. To save time and cost of design and
creation, by applying technology alignment and verification, the innovation
process will become a complete medium for just-in-time customization. The
design will no longer be fettered by complicated and tedious techniques.
Designers can realise his original contents by utilize various materials and
technology to express their ideas more effectively and efficiently. Further, the
conclusion by the applications with Clo3D and iClone technology, accelerates
design innovation mechanisms, speeds up production and delivery while
instantly meets customer satisfaction with “Virtual communication production;”
therefore, enhances the design services.

Keywords: Virtual-design
Digital process

The instant visibility of the 3D design
High customization

1 Introduction

1.1 Fashion Industry Status

Innovative design and management are common in international fashion brands.
Development models constructed in response to the trends and difficulties in the
© Springer Nature Switzerland AG 2019
P.-L. P. Rau (Ed.): HCII 2019, LNCS 11576, pp. 3–17, 2019.
https://doi.org/10.1007/978-3-030-22577-3_1
4 C. Hsu et al.

fashion industry are not limited to application solely in fashion design fields. Focusing
on creating original interdisciplinary products on the basis of the brand’s image and
value, international fashion brands are integrating art, technology, and culture to cus-
tomize services and reach out to consumers through diverse methods. This approach
not only impresses consumers but also enhances brand value.
Although fashion products are rich in cultural and artistic elements, fashion design
is time-consuming and complex. However, designers have to produce collections twice
a year to keep up with trends. From the setting of a theme to fabric planning, product
planning, pattern development, style development, and series sampling, innumerous
iterations of the process of trying on, adjusting, resampling, and readjusting are
required. When the designs of the garments have been finalized, processes including
promotion, photographing, dynamic and static exhibition, order receiving, stock
preparation, production confirmation, and shipment are required for the final product to
reach consumers. Despite stagnant global economies, fashion designers must still
launch a new collection every season, which is highly costly. Designing apparel can
itself deplete a designer’s resources. Moreover, designers have to market their products
and increase their popularity by holding fashion shows or attending international
fashion shows [1] in addition to selling their products through consignment, online
shops, and brick-and-mortar shops. Because of the environment and their limited
resources, designers worldwide are confronted with the challenge of survival and
development. Therefore, solving the problem of lengthy and costly development
processes is a critical issue for the global fashion industry.

1.2 Emerging Virtual Design Technology

Fashion design and the practice of making garment samples is a highly professional
field that requires interdisciplinary techniques. Computer-aided design (CAD) systems
and computation technologies for fashion design have long been developed. In 1990,
the first accurate garment simulation application was developed, with many comple-
mentary technologies being considered in addition to fabric simulation [2]. Among the
technologies used are body modeling and animation [3] and fabric layers [4]. One study
used geometrics to process grid positions and speed [5]. In recent years, each specific
system has been successfully integrated into separate stages of product design pro-
cesses. Three-dimensional (3D) virtual simulation software has advanced to the point
that it can simulate realistic effects of products to reduce or eliminate lengthy time spent
sampling and without needing to create actual garments. The simulation software
provides an opportunity to view a design or produced pattern in a 3D environment
immediately during virtual garment sampling and fitting [6].
Because CAD has been an advanced technology in the field of garment design,
research institutes and manufacturers worldwide have endeavored to integrate 3D
garment virtual simulation software with fashion design, patterning, sewing, printing
and laminating, and other production tasks. Computers have been used to simulate the
entire garment production process. Well-developed 3D scanning and human body data
analysis and processing have been combined with management applications and 3D
design of garments. Through the combination of multidisciplinary theoretical knowl-
edge and multiple technical fields and methods, a digitized model has been established
 The Study of Developing Innovation on Technology-Enabled Design Process 5

for constructing and simulating fitting and garment demonstration [4, 7]. Virtual gar-
ment fit technologies were first developed in western research. Example systems
include MIRACloth developed by MIRALab in Switzerland, the virtual garment fitting
software developed by the Fraunhofer Society in Germany, the cross-platform system
developed by those companies of PAD producer in Canada, the E-Design system
developed by lectra in France, and the virtual fitting room jointly developed by Gerber
and Browzwear in the United States [8]. Companies in various countries continue to
develop advanced 3D software for the virtual garment fitting; for example, PGM 3D
Runway in the United States and CLO3D by CLO Virtual Fashion in South Korea.
Although the 3D Runway has stronger application functions and more refined settings
than other software, CLO3D has easy and intuitive operation to facilitate learning and
comprehension; moreover, the garment sizes and virtual contour effects in CLO3D are
close to those of real garments [9]. Among the numerous software programs, CLO3D is
an outstanding technical software package that provides complete garment simulation,
high-quality fabric simulation editing, and technical effects, imitating garment manu-
facturing [10, 11].
Fashion designing is a charming, diverse, and large industry. During the process of
fashion design, each step from patterning to material selection, size measuring, sewing,
and sampling requires repeated revisions and approvals, which is extremely time-
consuming. In the increasingly challenging global economy, strategies tailored to
current market or industrial needs and involving 3D virtual simulation functions are
crucial to achieving rapid improvement in the fashion industry. CLO3D virtual design
technologies enable simultaneous 2D and 3D simulation. Users can immediately see
the effects of pattern, color, texture, and detail revisions [12]. During the design pro-
cess, software users can examine and revise the style and fit of a garment quickly. This
reduces the preparation time required for designs. Existing modules can be used for
combinational design. Users may also swiftly design garments on a virtual model to
produce garment patterns automatically. This is a near zero cost method and creates
numerous possibilities such as the generation of patterns, color set samples, pattern and
print alignments, and layouts. Immediate examination of the revisions to 3D garments
can reduce the number of unnecessary processes and transportation costs that are
required in actual sample creation. A reduction of the production time leads to lower
costs. The process from sketching to 3D virtual simulation and the sampling and
production of finalized products is illustrated in Fig. 1. The proposed design method
not only overhauls the materials (e.g., paper, brushes, and pigment) required from those
in traditional design drawing but also considerably reduces the patterning, sampling,
and material costs. Using the CLO virtual design technology to develop designs can
save time and money and enable fashion designers to create products of higher quality
[13]. In addition, options including concept communication, explanation, color, fabric,
print pattern, and design styling provide opportunities for fashion designers to innovate
and be more creative.
6 C. Hsu et al.

Fig. 1. Process of 3D sampling

1.3 E-Marketing in the Fashion Industry

In October 2018, the 30th anniversary of its founding, the luxury fashion retailer I.T
(ithk.com), headquartered in Hong Kong [14, 15], declared for the first time that future
digitization of the fashion industry is a keynote idea. I.T requested digital fashion
companies to create a new promotional collection symbolic of its 30 years of devotion
to the Chinese fashion industry. The promotional collection was designed by brands
such as Marques Almeida, Helmut Lang, and Alexander McQueen. Customers can
only view digital forms of the products before purchasing them in I.T concept stores.
The collection was presented in a 60-s film made by The Fabricant and through static
images obtained using CLO3D. This method of presentation indicates that virtual and
digital technologies will lead e-commerce in the 21st century. A trend has formed for
the use of applications that enable fast communication and visual garment revision by
incorporating relevant virtual software. Such applications solve cost and time problems
for the fashion industry. Under the momentum of Industry 4.0, design, production, and
marketing are commonly being performed using virtual approaches to communicate
advanced concepts. The integrated application of CLO3D and other animation software
packages has resulted in the novel concept of garment customization within micro
factories. The demand for such applications and concepts is increasing [16].
 The Study of Developing Innovation on Technology-Enabled Design Process 7

2 Research Process

The research framework had three steps. Step 1 involved a review of the literature to
analyze the fashion trends and status quo of digital software in practical operations.
Step 2 involved design development based on original themes. Step 3 involved veri-
fication of the process from designing to sampling. The benefits obtained using the
process and the comprehensive procedural analysis were used to make suggestions for
optimizing innovative design and production processes.

2.1 CLO3D and Key Integration Software

The CLO3D, Alembic Importer, and iClone 7 Pro 3D software tools were considered in
this study.
CLO3D. This tool has various functions useful for fashion design, including drawing
high-quality curves, partial sewing, free sewing, folding, and inserting flexibility
effects. The drawing tool can be used along with 3D patterning and cutting. The
physical properties of fabric are digitized and parameterized to facilitate the editing of
fabric flexibility, cutting, curvature, friction, density, and thickness to simulate the
textures of different materials. Various functions, such as examining points of contact
and fabric pressure, can be used to measure the fit of a designed garment to a model [9]
to achieve accurate fitting.
Alembic Importer. The objective of using this software is to completely display the
detailed fabric simulation effects of CLO3D in iClone and further optimize the
instantaneous display performance. In addition to fabric simulation, the Alembic format
is suitable for processing various types of dynamic and static topological grid infor-
mation such as fluid and particle effects. Use of this function enhances integration with
other mainstream tools of the fashion industry.
iClone 7 Pro. This is a 3D animation software package that can be used to create 3D
animations by integrating various fine art materials, movement performance, and
lighting effects. It also exports various technological materials for the development of
other digital content (e.g., virtual reality and augmented reality).
To clarify the process through which these integrated software tools can be applied,
this study analyzed the contexts of the 3D digital software tools. We estimate that
during the design and technology application communication process of CLO3D, few
scholars have proposed the concept of integrated design, customization, and micro-
factory production from the perspective of the designer as the innovative organizer.
This study employed innovative and practical methods in the design process by
importing virtual and digital technologies as a solution to problems in fashion pro-
duction processes. Table 1 shows the research steps of the design process and software
integration application.
8 C. Hsu et al.

Table 1. Steps in the research methods

Research Steps
1 Literature review of key concepts related to the application of CLO3D and iClone
in production processes and product demonstration
2 Learning of software tool application (added-value application) technologies and
suitable software integration applications
3 Create the design structure of “real-time virtuality” and actual sampling
procedures
4 Verification that original content is convertible into visualized fashion design
proposals and innovative sampling processes
5 Concept connection, design simulation, product sampling, demonstration, and
experience of interactive virtual reality
6 Construction of innovative work models of the “cyber-design process” serving as
the reference for the industry, government, and academia
Source: this study

3 Framework for Studying the Virtual Design System

3.1 A Design Services of a Real-Time Virtual Design Model
Using the communication of CLO3D, the author proposed a real-time virtual design
system structure that integrates multiple software tools (Fig. 3). The system combines
CLO3D, Alembic Importer, Character Creator, and iClone to facilitate product design
and sampling and is an example of an innovative fashion production process. The
potential users of the system include designers and design customers. Through the real-
time virtual effect, users can complete communication and revision without wasting
time and money. The proposed system structure focuses on the operation sequence and
technologies between the users and software as well as the sequence between software
applications and the production processes. The new process improves the development
and communication methods in traditional design, providing designers with the ability
to customize garments in detail. Designers can thus design freely, unlimited by
materials and technologies. Multiple concept generation and real-time communication
can enhance the essence of design services, freeing fashion designers from their pre-
vious constraints. In future, real-time and effective communication methods can help
create new work modes of design in the fashion industry. Advancement of multimedia
technologies and interpersonal and human–machine communication and cooperation
can promote increasing the application of interactive designs in innovative
demonstration.

3.2 Unified Procedure of Design Production and Showcasing

The method used by designers to express an original concept involves their overall
conception of the garment. Garment showcasing is a method of presenting a designer’s
 The Study of Developing Innovation on Technology-Enabled Design Process 9

ideas and is thus necessary for converting designs into fashion products. In addition to
having aesthetic value, effect drawings demonstrate a designer’s intentions regarding
their design. Accurate comprehension of the structure of a fashion design can help turn
the drawing into a physical garment. Therefore, creating high-quality effect drawings is
a requirement before interaction between designers and customers. Additionally, it is a
critical problem in fashion design.
Traditional 2D drawings often neglect the rear and lateral views of garments, as
well as the aesthetics when the garment view is turned from the front to the back. The
powerful 3D virtual simulation performance of CLO3D enables designers to create
complete, 3D fashion designs. The software is also convenient for designers, pattern-
makers, and consumers because it can display eye-catching designs created by changes
to pattern structures. This study examined how garments are created. The first stage
focused on the development planning of original content and established figure model
dimensions. The key software technologies and the application of future product
showcasing were then evaluated. This study secondly analyzed the functions and
technical aspects of CLO3D, CC, iClone animation, and plug-in software tools that
facilitate practical learning and operation. The tools were then integrated to form a
digital tool for idea conception, design planning, construction and showcasing of 3D
patterns, real-time virtuality, and cyber-design processes. As well as, convert into a
plug-in for iClone to construct dynamic and static figure models according to the
garments’ characteristics and styles. (e.g., personality and posture) The unified tool can
be further integrated with interactive virtual reality to construct an integral part of the
fashion industry ecosystem. The predetermined procedure is illustrated in Fig. 2.

4 Real-Time Design and Work Procedure

The process from virtual fitting and revision to practical sampling emphasizes con-
sensus on humanistic theme exploration, followed by software technology examina-
tion. Because CLO3D can simulate garments realistically, designers can revise and
design patterns in a 2D right-side view. After pattern revision is complete, the result
can be previewed in 3D left-side view instantly. Garment fit is crucial to fashion
design; therefore, placing garments on virtual models and viewing from multiple angles
can serve as an effective reference for reviewing the designed garments. With 360°
observation of a garment, designers, customers, vendors, and technicians can identify
more defects in the design. Revisions can then be immediately made to improve the
garment design. The steps with which innovative design can be implemented using a
unified design and showcasing process are detailed in the following sections.
10 C. Hsu et al.

Fig. 2. Unified work modes of cyber-design processes to marketing

4.1 Creative Thinking—Original Content Converted into Design Elements

See Table 2.

Table 2. Thematic elements and patterns

Item Content
1. Taiwanese mountain landscape patterns: Inspired by an old song, Qing
Chun Ling, which describes birds, red springtime flowers, bees, herbs, and
wings. Like the song, the patterns describe the flow of youth and freedom.
2. The graffiti spirit of the youth never dies. From one end of the street to the
Creative
other, spirits and fashion monsters look for sprouting contexts, becoming the
thinking
new-generation contexts and textures of Taiwan.
Theme (con-
cept)
Color (image)
Appearance
a
(pattern form)

4.2 Practical Operation of CLO3D Pattern Production Process

See Table 3.
Another random document with
no related content on Scribd:
 A young lady, newly married, being obliged to show her husband
all the letters she wrote, sent the following to an intimate friend:

I cannot be satisfied, my dearest friend,

blest as I am in the matrimonial state,
until I confide to your most friendly keeping
trusting to your interest in what interests me,
the various deep sensations which swell
with the liveliest feelings of satisfaction
my almost bursting heart. I tell you, my dear
husband is one of the most amiable of men.
I have been married nearly seven weeks, and
have never found the least possible reason to
repent the day that joined us. My husband is
in person and manners far from resembling those
ugly, cross, old, disagreeable and jealous
monsters, who think by confining to secure
a wife, it is his maxim to treat as a
bosom friend and confidant and not as a
plaything or menial slave the woman
chosen to be his companion. Neither party
he frequently says, ought to obey implicitly,
but each yield to the other in turn.
I know my husband loves nothing more
than he does me; he flatters me more
than the glass, and his intoxication
(for I must so call the excess of his love,)
often makes me blush for the unworthiness
of its object, and wish I could be more deserving
of the man whose name I bear. To
say all in one word, my dearest friend, and to
crown the whole, my former gallant lover
is now my indulgent husband. My fondness
is returned, and I might have married
a prince, without the felicity I find with
him! Adieu! May you be blest as I am unable
to wish that I could be more
happy.

(The key to the above letter is to omit every alternate line:

reading the first, third, fifth, &c., consecutively.)
 It is said that among ancient Christian devices the figure of a fish
occurs very frequently, with the inscription anthropou (in Greek
letters), signifying of man. The following explanation has been given:
The Greek word for fish is ichthus, and each of the five letters
composing the Greek word, (ch and th being each represented by
only one letter,) is the initial of a significant word, as follows:

iesus—Jesus,
christos—Christ,
theou—of God,
uios—Son,
soter—Saviour.

The whole, followed by anthropou, (the word inscribed upon the

figure of the fish,) forms a profession of Christian faith:
JESUS CHRIST, SON OF GOD, SAVIOUR OF MEN.

Pilate’s question addressed to our Lord, “What is truth?” “Quid

est Veritas?” contains in itself, by a perfect anagram, its own answer:
“Est vir qui adest:” “It is the Man who stands before you.”

When “I cry that I sin” is transposed, it is clear

My resource, “Christianity,” soon will appear.

The following very curious sentence, “Sator arepo teret opera

rotas,” is not first-class Latin, but may be freely translated: “I cease
from my work; the mower will wear his wheels.” It is, in fact,
something like a nonsensical verse, but has these peculiarities: 1st.
It spells backward and forward the same. 2d. Then, the first letter of
each word spells the first word. 3d. Then, all the second letters of
each word spell the second word. 4th. Then, all the third, and so on
through, the fourth and fifth. 5th. Then, commencing with the last
word, the last letter of each word spells the first word. 6th. Then, the
next to the last, and so on, through.

The lines which constitute the Pyramid below, may be read from
the base upward, or from the apex downward, indifferently.

There
For aye
To stay,
Commanding,
’Tis standing,
With God-like air,
S u b l i m e l y f air.
Its form declaring,
Its height admiring,
Looks on it from afar
Lo! every s m i l i n g star.
To raise the pile to heaven
These beauteous stones are given,
Each prayer for truth-inspiring light,
Each manly struggle for the right,
Each kindly word to cheer the lowly,
E a c h a s p i r a t i o n f o r t h e holy,
E a c h s t r o n g t e m p t a t i o n overcome,
Each clamorous passion held in silence dumb.
As it arises slowly toward the upper heaven
Stone after stone until the mass is given.
Its base upon the earth, its apex in the skies,
The good man’s character, a pyramid doth rise.
 “Revolution” is transposed “to love ruin,” and “French Revolution,”
“Violence run forth.”
One of the prettiest of modern anagrams is “Florence
Nightingale,” “Flit on, cheering angel.”

If the name Napoleon be successively “beheaded” till only two

letters are left, each remainder forms a significant word; and these
words, combined in a certain manner, form a concise sketch of
Napoleon the First. Thus:
Napoleon, Apoleon, Poleon, Oleon,
destroying, cities, destructive,
Leon, Eon, On,
lion, going about, being.

Napoleon, on, oleon, leon, eon, apoleon, poleon.

Napoleon being a destructive lion, going about destroying cities.
 The following sentence of only thirty-four letters contains all the
letters of the alphabet:
John quickly extemporized five tow bags.

HISTORY.
Sir Walter Raleigh, in his prison, was composing the second
volume of his “History of the World.” Leaning on the sill of his
window, he meditated on the duties of the historian to mankind,
when suddenly his attention was attracted by a disturbance in the
court yard before his cell. He saw one man strike another whom he
supposed by his dress to be an officer; the latter at once drew his
sword, and ran the former through the body. The wounded man
felled his adversary with a stick, and then sank upon the pavement.
At this juncture the guard came up, and carried off the officer
insensible, and then the corpse of the man who had been run
through.
Next day Raleigh was visited by an intimate friend, to whom he
related the circumstances of the quarrel, and its issue. To his
astonishment, his friend unhesitatingly declared that the prisoner had
mistaken the whole series of incidents which had passed before his
eyes.
The supposed officer was not an officer at all, but the servant of a
foreign ambassador; it was he who had dealt the first blow; he had
not drawn his sword, but the other had snatched it from his side, and
had run him through the body before any one could interfere;
whereupon a stranger, from among the crowd, knocked the murderer
down with his stick; and some of the foreigners belonging to the
ambassador’s retinue carried off the corpse.
Raleigh’s friend added that the Government had ordered the
arrest and immediate trial of the murderer, as the man assassinated
was one of the principal servants of the Spanish ambassador.
 “Excuse me,” said Raleigh, “but I cannot have been deceived as
you suppose, for I was eye-witness to the events, which took place
under my own window; and the man fell there on that spot where you
see a paving stone standing up above the rest.”
“My dear Sir Walter,” replied his friend, “I was sitting on that stone
when the fray took place, and I received this slight scratch on my
cheek in snatching the sword from the murderer. Upon my word of
honor, you were deceived in every particular.”
Sir Walter, when alone, took up the second volume of his history,
which was in manuscript, and, contemplating it, thought: “If two men
see the same thing so differently—nay, if I cannot believe my own
eyes, how can I be assured of the truth of a tithe of the events which
happened ages before I was born?” and he flung the manuscript into
the fire.
Charles Dudley Warner, travelling in Nubia and Egypt, asserts
that “The Arabian Nights’ Entertainment” is the best history ever
written. In the light of the above facts, perhaps it is.

ST. ANTHONY’S FISH-SERMON.

From a German versification of a passage from the works of
Abraham à Santa Clara, a Jesuit preacher of the Seventeenth
Century.

St. Anthony, one day

Found the Church empty, Sunday:
So he goes to the river,
A discourse to deliver:
They’re ready to listen—
Their tails flop and glisten.

The carps, those old scorners,

Come out of their corners;
Their carping suspended,
Their jaws wide extended,
(Ears wanting—) to swallow
Remarks that might follow.

The pouts, cross-grained pouters—

Those well-known come-outers,—
For this once go-inners,
Confessed themselves sinners.
The pouts said they never
Heard a sermon so clever.

Crabs and mud-turtles also,

That usually crawl so,
And in dirt their heads bury,
Came up in a hurry.
Crabs and turtles had never
Heard sermon so clever.

Eels and sturgeons, best livers

Of all in the rivers—
Forsaking their dinners
Bewailed themselves sinners.
Eels and sturgeons had never
Heard sermon so clever.

And lastly, those odd fish

We mortals call codfish—
Their glass eyes distended—
Devoutly attended,
Like rational creatures,
This greatest of preachers.

And dog-fish and cat-fish,

And flounders and flat-fish,
And, finally, all fish,
Both great fish and small fish,
Came swimming and squirming
In shoals to the sermon;
And all said they never
Had heard one so clever.

But when it was ended,

To their business all wended;
The pikes to their thieving,
The eels to good living;
 The crab still went crooked,
The codfish was stupid:
Yet none of them ever
Heard sermon so clever!

A susceptible youth addressed the following highly classical letter

to a young lady whose poetical effusions, dated “Pine Woods,” had
won his heart:
Permittere me dicere, carissima puella, ego habeo visus vestris
dulces funes in papyrus. Ego lignum simile videre te plurimo. Ego
nosco nos lignum autumnus in amore cum unus alter. Tuus versus
spectaculum genius et tener cors. Ego lignum calcitro tuum durum
cordatum patrem ex portis, et ego possum duo, si ille erat non
complacens et omnis rectus. Volo ad vistare te, sed non nosco ubi
Pinus Sylva sit. Prendam Erie maledictum-viam? Ubi est id? Ero
membrum legis, proximo vero, et tun, cum pocket libro pleno
stamporum, cano in manu, silko castore super capito, ego non curo
pro omnibus tauricanibus in Pino-silva, nam meum canum est fors,
et decutiam sua capita—sed sufficit.
Omnium pro te,
Unus qui amat.

FELIS ET MURES.
BY GREENE KENDRICK.

Felis sedit by a hole;

Intenta she, cum omne soul,
Prendere rats;
Mice cucurrerunt over the floor,
In numero, duo, tres, or more,
Obliti cats.

Felis saw them oculis;

“I’ll have them,” inquit she, “I guess,
 Dum ludunt;”
Tunc illa crept toward the group,—
“Habeam,” dixit, “good rat soup;
Pingues sunt!”

Mice continued all ludere;

Intenti they in ludum vere,
Gaudenter:
Tunc rushed the felis into them,
Et tore them omnes, limb from limb,
Violenter.

MORAL.
Mures, omnes, now beware!
Of hungry felis have a care
Nox et die;
Si hoc facis “verbum sat;”
Avoid a huge and hungry cat,
Studiose!

Ego nunquam audivi such terrible news,

As at this present tempus my senses confuse;
I am drawn for a miles, I must go cum Marte,
Et, communis ense, engage Bonapar-te;
But soon we will show to this Corsican vaunter,
That, though times may change, BRITONS never mutantur.
Dr. Porson.

Tres fratres stolidi

Took a boat for Philippi;
Stormum surgebat
Et boatum overturnebat;
Omnes drownerunt
Qui swimmere non potuerunt
 THE RHINE.

Oh the Rhine, the Rhine, the Rhine!

Comme c’est beau! wie schön! che bello!
He who quaffs thy Lust and Wein,
Morbleu! is a lucky fellow.

How I love thy rushing streams,

Groves of ash and birch and hazel,
From Schaffhausen’s rainbow beams,
Jusqu ’à l’echo d’ Oberwesel!

Oh, que j’aime the Brüchen, when

The crammed Dampschiff gayly passes!
Love the bronzed pipes of thy men,
And the bronzed cheeks of thy lasses!

Oh, que j’aime the “oui,” the “bah,”

From the motley crowd that flow,
With the universal “ja,”
And the Allgemeine “So!”

LATIN POEM.
FOR THE LEARNED.

Hei didulum, didulum, atque iterum didulum,

Felisque, Fidisque!
Vacca super Lunæ cornua prosiluit
Nescio qua catulus risit dulcedine ludi,
Abstunt et turpi lanx cochleare fuga!

FRENCH SONG.
Chantons une chanson à six sous,
 La poche pleine de blé;
Vingt-quatre oiseaux noirs
Cuits dans un pâté!
Quand le pâté s’ouvrit,
Les oiseaux levaient leurs voix;
N’était-ce pas un joli plat,
Mettre devant le Roi?

ICH BIN DEIN.

ENGLISH, LATIN, GREEK, FRENCH AND GERMAN “MACARONI.”

In tempus old a hero lived

Qui loved puellas deux,
He ne pouvait pas quite to say
Which one amabat mieux.

Dit-il lui-même, un beau matin,

“Non possum both avoir;
Sed si address Amanda Anne,
Then Kate and I have war!”

Amanda habet argent coin

Sed Kate has aureas curls
Et both sunt very agathæ
Et quite formosæ girls.

Enfin, the youthful anthropos

Philoun the duo maids,
Resolved proponere ad Kate
Avant cet evening’s shades.

Procedens then to Kate’s domo,

Il trouve Amanda there,
Kai quite forgot his late resolves
Both sunt so goodly fair.

Sed, smiling on the new tapis,

Between puellas twain,
Cœpit to tell his vœux to Kate
Dans un poëtique strain.
 Mais, glancing ever and anon
At fair Amanda’s eyes,
Illæ non possunt dicere
Pro which he meant his sighs.

Each virgo heard his demi vow

With cheeks as rouge as wine,
And, offering each a milk-white hand,
Both whispered “Ich bin dein.”

MACARONIC ADVERTISEMENT.
An inn-keeper in Germany sets forth the accommodations of his
house in the following lines, inscribed upon one of its windows:

In questa casa trovarete

Toutes les choses que vous souhaitez;
Vinum bonum, costas, carnes,
Neat post-chaise, and horse and harness.

ANN HATHAWAY.
(PROBABLY NOT SHAKESPEARE’S.)

Would ye be taught, ye feathered throng,

With love’s sweet notes to grace your song,
To charm the heart in thrilling lay,
Listen to Ann Hathaway.
She hath a way to sing so clear,
Phœbus might, listening, stoop and hear:
To melt the sad, make blithe the gay,
And nature charm, Ann hath a way.
She hath a way,
Ann Hathaway.

When Envy’s tongue and Rancor’s tooth

 Do soil and bite fair worth and truth,
And merit to distress betray,
To soothe the soul, Ann hath a way.
She hath a way to chase despair;
To heal all grief, to cure all care,
Turn foulest night to fairest day,
Thou knowest, fond heart, Ann hath a way,
She hath a way,
Ann Hathaway.

Tell not of gems the Orient list;

The diamond, topaz, amethyst,
The emerald mild, the ruby gay;
Talk of my gem Ann Hathaway.
She hath a way with her bright eye,
Their various lustre to defy;
The jewel she, and the foil they,
So sweet to look Ann hath a way.
She hath a way,
Ann Hathaway.

But to my fancy were it given

To rate her charms, I’d call it heaven;
For, though a mortal made of clay,
Angels might love Ann Hathaway.
She hath a way so to control
And rapture the imprisoned soul,
And love and truth so to display
That to be heaven Ann hath a way.
She hath a way,
Ann Hathaway.

INSTRUCTIVE FABLES.
THE DOG AND THE SPARE RIB.—A mastiff crossing a bridge and
bearing in his mouth a piece of meat, suddenly swallowed the meat.
He immediately observed that the shadow of the aforesaid in the
water had disappeared.
Moral: We learn from this fable that life is but a shadow.
 THE ASS AND THE LOCOMOTIVE.—A donkey one day was quietly
munching thistles when he heard the screaming whistle of a
locomotive. Pricking up his ears, he started into a gallop and raced
across lots, with his tail high in the air.
Moral: This fable teaches what an ass he was.
THE MOUSE AND THE CAT.—A mouse once peeped from his hole
and saw a cat. The cat was looking the other way, and happened not
to see the mouse.
Nobody killed.
Moral: This little fable doesn’t teach anything.

PRONUNCIATION.
The difficulty of applying rules to the pronunciation of our
language may be illustrated in two lines, wherein the combination of
the letters ough is pronounced in no less than seven different ways,
viz: as o, uf, off, up, ow, oo, and ock.

Though the tough cough and hiccough plough me through,

O’er life’s dark lough my course I still pursue.

And in the subjoined couplets, which should be read rhymingly:

Peasant Arcadian, guiding the plough,

Loam on your garments, your aspect is rough.

Peasant imprudent, I hear you’ve a cough:

Do you feel sure you’re clad warm enough?

Home to your cottage, and bend o’er the trough,

Kneading the loaves of digestible dough.

Though the bread’s heavy, unsweetened and tough,

Well sharpened teeth can go easily through.
 And the opposite difficulty, which sometimes occurs, of
determining the sense of a word from its pronunciation, is shown in
the following verses:

Write, we know, is written right,

When we see it written w-r-i-t-e;
But when we see it written r-i-g-h-t,
We know it is not written right.
For write, to have it written right,
Must not be written r-i-g-h-t, or r-i-t-e,
Nor yet must it be written w-r-i-g-h-t,
But w-r-i-t-e, for so ’tis written right.

Some one asks: “If W-o-r-c-e-s-t-e-r is pronounced Wooster,

wouldn’t r-o-r-c-e-s-t-e-r be an excellent way to spell rooster?”
That is “the English of it,” and, on the same principle—whatever it
is—C-h-o-l-m-o-n-d-e-l-e-y is pronounced Chumley; M-i-c-h-i-l-i-m-a-
c-i-n-a-c, Mackinaw; M-a-r-j-o-r-i-b-a-n-k-s, Marchbank; L-e-i-c-e-s-t-
e-r, Lester; N-o-r-w-i-c-h, Norrij, and C-o-l-o-n-e-l, Curnel.
The ways of English pronunciation are, indeed, past finding out.
So are the secret motives of those who, having once adopted a
false pronunciation, adhere to it in the face of all precept and
example; who persist in calling Garibaldi, Gar-i-bawld-i; guipure, gim-
pure; alpaca, al-a-pac-a; and a polonaise, a polo-nay. Of this class
was the young person of Boston—she couldn’t have been a young
person of BOSTON!—who, passing out of an Art Gallery with a friend
not long since, read aloud the inscription beneath a statuette of
Psyche, and pronounced it Pi-sish. Her friend mildly suggesting the
true pronunciation, the young person rejoined: “I know it. Some folks
call it Si-kee, and some Pi-sish. I like Pi-sish the best.”

THE QUESTION.
 It is said that when a young lady enters society in one of our
leading Eastern cities, the question invariably asked about her, by
those who have not met her, is, in New York, “How much is she
worth?” in Baltimore, “How does she look?” in Boston, “What does
she know?” in Philadelphia, “Who is she?”

ALLITERATION.
The best specimen of alliteration in the English language is,
perhaps,

THE SIEGE OF BELGRADE.

An Austrian army, awfully arrayed,
Boldly, by battery, besieged Belgrade.
Cossack commanders cannonading come,
Dealing destruction’s devastating doom;
Every endeavor engineers essay,
For fame, for fortune, fighting, furious fray!
Generals ’gainst generals grapple—Gracious God!
How honors Heaven heroic hardihood!
Infuriate, indiscriminate, in ill,
Kinsmen kill kindred—kindred kinsmen kill.
Labor low levels longest, loftiest lines,—
Men march ’mid mounds, ’mid moles, ’mid murderous mines.
Now noisy, noxious, numbers notice naught
Of outward obstacles opposing ought;
Poor patriots! partly purchased, partly pressed,
Quite quaking, quickly “Quarter! Quarter!” quest.
Reason returns; religious right redounds,
Suwarrow stops such sanguinary sounds.
Truce to thee, Turkey! triumph to thy train,
Unjust, unwise, unmerciful, Ukraine!
Vanish, vain victory! Vanish, victory vain!
Why wish we warfare! Wherefore welcome were
Xerxes, Ximenes, Xanthus, Xavier!
 Yield, yield, ye youths; ye yeomen yield your yell!
Zeno’s, Zarpater’s, Zoroaster’s zeal,
Attracting all, arms against arms appeal.

A droll example of French alliteration is the following inquiry as to

the efficacy of a certain remedy:

“Ton thé, a-t-il oté ta toux?”

One of the neatest of ACROSTICS was written by Desmond Ryan,

for the London Musical World:

Art and Genius burn within her,

Dearest fondling of the Graces!
Every charm is centered in her;
Like a poet’s page her face is!
In her voice the lark is thrilling—
Now to weep the heart is willing—
And now with joy and hope ’tis filling!

Praised, admired, two worlds all hail her—

Artless, pure, no tongues assail her!
Trust, love, triumph, never fail her!
Tell me, sooth, whose praise all that is?
I say, ADELINA PATTI’S!

But apropos of ingenuity, the author of the following exquisite

poem seems, without half trying, to have distanced all competitors.
Many years ago, twenty-five or thirty, perhaps, two Cincinnati
editors engaged in a newspaper controversy, which was, for a long
time, conducted with all candor and courtesy. At length, however,
one of them so far forgot himself as to become first personal, then
scurrilous, then virulent; and the other, at an early stage of this
radical change, quietly withdrew from the contest. Editor No. One
thereupon indulged in loud pæans of victory: he had spiked his
adversary’s guns, put him to rout, utterly demolished him. While he
was in this complacent frame of mind, he received from an
anonymous contributor a seasonable poem on SPRING, which he
published with a eulogium on its beauty, and a warmly-expressed
wish that he might often hear from its gifted author:

SPRING.
The genial Spring once more with chaplets crowned,
Has showered her choicest blessings all around.
Each silent valley, and each verdant lawn,
Enriched with flowers, looks smiling as the dawn;
Demure and modest here the violet grows,
In yonder garden blooms the blushing rose:
To these the lilac adds her fragrant dower
Of perfume cherished by the sun and shower:
Reviving Flora walks the world, a queen
Of kingdoms peerless as a fairy scene.
Far o’er the hills, in many a graceful line,
The rainbow blossoms of the orchard shine.
How softly mingled all their tints unite,
Embalm the air, and bless the grateful sight!
Sweet voices now are heard on every tree,
The breeze, the bird, the murmur of the bee;
And down the cliff, where rocks oppose in vain,
Runs the clear stream in music to the plain.
In noisy groups, far from their southern home,
Now ’round the lofty spire the swallows roam;
The fearless robin builds, with glossy leaves,
Her fragile nest beneath the farmer’s eaves;
Embowered in woods the partridge makes her bed
With silken moss o’er tender osiers spread:
Each happy bird expands his dappled wings,
Soars with his gentle mate and sweetly sings.
The sounds of early husbandry arise,
In pleasing murmurs, to the pale blue skies;
Shrill floats the ploughman’s whistle, while he speeds
Along the yielding earth his patient steeds.
Joyous the life which tills the pregnant soil,
And sweet the profits of the farmer’s toil:
Content, as smiling as an angel’s face,
Keeps peaceful vigil ’round his dwelling-place;
And gentle Hope, and Love, forever bright,
 Smiling like seraphs in their bowers of light,
Salute his mornings, and embalm each night.

A few days passed, and this self-complacent gentleman had the

satisfaction of reading in a Boston paper that the editor of The Star in
the West had fully justified the acrostic contained in a late beautiful
poem on SPRING, by publishing and praising it in his paper.

EXTEMPORE SPEAKING.
It is no small thing to be called suddenly to address a public
meeting of any sort, and to find all your wits gone wool-gathering,
when you most require their services. Such being the case, and
standing admitted, the following speech of a compulsory order, at the
opening of a free hospital, is recommended as a model:
Gentlemen—ahem! I—I—I rise to say—that is, I wish to propose
a toast—wish to propose a toast. Gentlemen, I think that you’ll all
say—ahem—I think, at least, that this toast is, as you’ll all say, the
toast of the evening—toast of the evening. Gentlemen, I belong to a
good many of these things—and I say, gentlemen, that this hospital
requires no patronage—at least, you don’t want any
recommendation. You’ve only got to be ill—got to be ill. Another thing
—they are all locked up—I mean they are all shut up separate—that
is, they have all got separate beds—separate beds. Now, gentlemen,
I find by the report (turning over the leaves in a fidgety manner), I
find, gentlemen, that from the year seventeen—no, eighteen—no,
ah, yes, I’m right,—eighteen hundred and fifty—no, it’s a three, thirty-
six—eighteen hundred and thirty-six, no—less than one hundred and
ninety-three millions—no—ah? (to a committee-man at his side),
what? thank you!—thank you, yes—one hundred and ninety-three
thousand, two hundred and thirty-one! Gentlemen, I beg to propose:
Success to this Institution!
 If no selections from the writings of our modern humorists,
Artemus Ward, P. V. Nasby, Mark Twain, and others, grace these
pages, the omission arises partly from the difficulty of selecting and
partly from the fact that these writings are only too well known for our
purpose. While the compiler has, doubtless, brought her readers
face to face with many of their old acquaintances, she naturally
prefers not to introduce those whom they are certain to meet every
day at their own tables. “There must be a line drawn somewhere.”
But there is a word to be said about K. N. Pepper, whose
irresistibly droll papers were contributed to the Knickerbocker
Magazine, early in the ’50’s. He was, in fact, pioneer in that region of
illiterature, in which so many others, since he withdrew, have
apparently settled for life. Artemus Ward learned from him (and
never hesitated to give him credit for the original idea,) the trick of
bad spelling, and caught many of his fantastic ways of thought. His
Betsey Jane was Pepper’s Hannah Gane amplified,—but the twins,
and the son who read the Clipper, and the daughter who delighted in
the Ledger, were original Wards. (And what a guardian they had, in
their hi-minded father!)
K. N. Pepper describes in the Knickerbocker, his first visit to New
York. He arrived there on the twenty-fifth of November, and that
anniversary suggested many solemn reflections. “I thinc,” he
pensively remarks, “that I see the British evacuating of the sitty. I
thinc I se them gathering up their goods and things. I thinc I hear
them cuss, and then I thinc I doant.”
Very suddenly he retired from the field, leaving his laurels to be
picked up and won by others, and presently disappeared from public
view. But it is possible that Mr. James W. Morris, of Onondaga
County, N. Y., could, if he chose, furnish some information
concerning him.[4]
The Widow Bedott, too, was precursor and prototype of Miss
Slimmins, Josiah Allen’s wife, and all of that ilk; and, among her
imitators, has, thus far, had no equal. Her prose was a model of
absurdity; but there are no words to characterize her poetry.