A folk art product aided design system and method

Abstract

The application discloses a folk art product auxiliary design system and method, and relates to the technical field of computer-aided design, which comprises a behavior data acquisition unit, an operation record in a user design process is acquired; a design state recognition unit, a design intention state corresponding to the operation is recognized; a creative stage division unit, a design stage is divided according to intention state transition; a style context extraction unit, a similar mode of a multi-user graphic element adoption sequence in a creative stable stage is extracted, and a style evolution context diagram is formed; a creative contribution evaluation unit, a user creative contribution degree is calculated by comprehensively intersecting a design intention state, a style evolution context diagram and a color scheme adjustment path; and an auxiliary strategy matching unit, an auxiliary strategy is generated according to the combination of the contribution degree and the intention state. The application realizes dynamic analysis and accurate assistance on a multi-user collaborative design process.

Description

Technical Field

[0001] This invention belongs to the field of computer-aided design technology, specifically a system and method for assisting in the design of folk art products. Background Technology

[0002] In the field of digital design of folk art products, existing auxiliary technologies are mainly based on static feature analysis of the final design results or recording of discrete user operations. These methods treat the design process as a collection of isolated actions, and the system functions are usually limited to material matching and style classification. They cannot deeply understand the dynamic changes in intent behind design behavior, nor do they have the ability to analyze the correlation between continuous operation sequences of multiple users.

[0003] Existing technologies have limitations. Because they cannot track and compare the temporal sequence of different users' operational steps during the design process, the system struggles to reveal the specific paths through which design styles or creative patterns evolve and spread within a group. Furthermore, existing methods cannot accurately assess an individual's actual contribution to collaborative creation, as the depth of contribution is embedded in the exploratory paths reflected in the operational sequence, the phased transitions in intentional states, and the intersection of individual adjustment trajectories with those of others, rather than solely in the final output. This results in the provided support strategies often being mismatched with the user's real-time design stage and role within the collaborative network.

[0004] A technology is needed that can analyze a user's continuous operation sequence, identify the design intent state it maps to, and divide the creative stage accordingly. This technology needs to be able to extract a dynamic style evolution context from the similarity of group operation sequences, and integrate the intersection of intent state, evolution context, and process path to construct an accurate creative contribution evaluation model, thereby generating auxiliary strategies that are deeply aligned with the user's real-time design context. Summary of the Invention

[0005] This invention aims to solve at least one of the technical problems existing in the prior art;

[0006] Therefore, this invention proposes a folk art product auxiliary design system, comprising:

[0007] The behavioral data acquisition unit is used to collect continuous operation records of users during the design process of folk art products with different themes. The operation records include the adoption sequence of graphic elements, the adjustment path of color schemes, and the saved version of design sketches.

[0008] The design state recognition unit is used to identify the design intent state corresponding to each operation of the user during the design process. The design intent state includes the tentative modification state, the exploratory reconstruction state, and the decisive finalization state.

[0009] The creative stage division unit is used to divide the complete design process of a user's folk art product on a specific theme into the creative budding stage, the creative integration stage, and the creative stabilization stage based on the moment when the design intent state changes in the user's operation record.

[0010] The style context extraction unit is used to extract similar patterns in the adoption sequence of graphic elements among users during the creative stabilization phase, forming a style evolution context diagram.

[0011] The creative contribution evaluation unit is used to calculate the user's creative contribution to a specific theme based on the user's design intent status, the style evolution path diagram, and the intersection of the color scheme adjustment paths between users during the creative integration phase.

[0012] The auxiliary strategy matching unit is used to generate auxiliary design strategies for folk art products for users at different design stages based on a combination of the user's creative contribution and design intent status.

[0013] Preferably, the graphic element adoption sequence records the type of graphic element added by the user each time and the time of addition; the color scheme adjustment path records the color codes and adjustment order involved in each adjustment by the user; and the saved version of the design sketch records the complete design file corresponding to the sketch each time it is saved.

[0014] Preferably, the design state recognition unit, used to recognize the design intent state corresponding to each user operation during the design process, specifically includes:

[0015] Based on the number of types of changes in graphic element types and the number of color code adjustments that occur between any two saves in the user's operation log, determine the user's state during the operation interval between those two saves.

[0016] When the number of different types of graphic element changes exceeds a preset first threshold and the number of color code adjustments is less than a preset second threshold, the user is determined to be in an exploratory modification state.

[0017] When the number of different types of graphic element changes exceeds the first threshold and the number of color code adjustments exceeds the second threshold, the user is determined to be in an exploratory reconstruction state.

[0018] When the number of variations in graphic element types is less than the first threshold, the user is determined to be in a decisive state.

[0019] Preferably, the creative stage division unit is used to divide the complete design process of a user's folk art product on a specific theme into a creative germination stage, a creative integration stage, and a creative stabilization stage based on the time of change of design intent state in the user's operation record. Specifically, it includes:

[0020] On the complete timeline of a user's operation of a folk art product on a specific theme, mark all the moments when the user transitions from a decisive, finalized state to an exploratory, reconstructive, or tentative modification state, and record them as backtracking moments.

[0021] Starting from the earliest retrospective moment, a preset time window is extended backward. The end time of the time window is the beginning time of the creative integration stage, and the earliest retrospective moment is the end time of the creative germination stage.

[0022] Identify the start time of the last decisive state on the user's complete operation timeline, and record the start time as the start time of the creative stabilization stage. The start time of the creative stabilization stage is the end time of the creative fusion stage.

[0023] Preferably, the style context extraction unit, used to extract similar patterns in the adoption sequence of graphic elements among users during the creative stabilization phase, to form a style evolution context diagram, specifically includes:

[0024] For folk art products on a specific theme, all the graphic element types adopted by users during the creative stabilization phase of the specific theme are arranged according to the order of their adoption, forming a time sequence chain of graphic element adoption for each user;

[0025] Compare the graphic element adoption time series of any two users and extract the common sequence fragments in which the same graphic element type appears consecutively in the two time series;

[0026] Using users as nodes, if the length of a common sequence segment between two users exceeds a preset length threshold, an association edge is established between the two nodes, and the weight of the association edge is the length of the common sequence segment.

[0027] Based on all user nodes and associated edges, a style evolution map among users under a specific theme is generated.

[0028] Preferably, the creative contribution evaluation unit is used to calculate the creative contribution based on the user's design intent state, the style evolution path diagram, and the intersection of the color scheme adjustment paths among users during the creative fusion stage. Specifically, this includes:

[0029] For any target user under a specific theme, in the style evolution context graph, the number of other user nodes directly connected to the target user node through the association edge is calculated to obtain the direct association degree of the target user.

[0030] Extract all color codes that the target user adjusted during the exploratory reconstruction phase from all the operation records of the target user in the creative integration phase, and form the target user's exploratory color set;

[0031] Extract the color codes that other users finally adopted in the decisive finalization stage from all their operation records during the creative integration stage, and form the finalized color set of other users;

[0032] Calculate the number of colors that intersect the target user's exploratory color set with the established color sets of other users;

[0033] Multiply the direct relevance of the target user by the number of intersection colors, and then sum the results with the cumulative duration of the target user's design intent state in the decisive finalized state during the creative stabilization phase to obtain the target user's creative contribution to a specific theme.

[0034] Preferably, in the creative contribution evaluation unit, the weight used to calculate the creative contribution of the target user under a specific theme is the ratio of the cumulative time the target user is in the exploratory modification state during the creative integration stage to the cumulative time the target user's design intention state is in the decisive finalization state during the creative stabilization stage.

[0035] Preferably, the auxiliary strategy matching unit is used to generate auxiliary design strategies for folk art products for users at different design stages based on a combination of the user's creative contribution and design intent status. Specifically, this includes:

[0036] For users whose creative contribution exceeds a preset first threshold, an auxiliary strategy based primarily on the design intent state will be applied.

[0037] When the user's current design intent is in the exploratory modification state, the generated folk art product auxiliary design strategy is: recommend the graphic element type with the highest associated edge weight in the style evolution graph that is the type of graphic element already adopted by the user;

[0038] When the user's current design intent state is in the exploratory reconstruction state, the generated folk art product auxiliary design strategy is to recommend color codes corresponding to the fixed color sets of other users that intersect with the user's exploratory color set.

[0039] For users whose creative contribution is below the first threshold but above the preset second threshold, an auxiliary strategy is matched based primarily on the operation record history. The auxiliary strategy is to recommend the subsequent graphic element type of the adoption sequence chain of graphic elements from other users who have common sequence fragments with the user during the creative stable phase.

[0040] Preferably, the auxiliary strategy matching unit further includes:

[0041] For users whose creative contribution is below the second threshold, a guiding assistance strategy is matched. The guiding assistance strategy is to select the user with the highest creative contribution from the style evolution map, and recommend the first few graphic element types in the graphic element adoption sequence chain of the user with the highest creative contribution in the creative bud stage to the user whose creative contribution is below the second threshold.

[0042] Preferably, the present invention also includes a method for assisting in the design of folk art products, the method comprising all the units and process flow of the folk art product assisting design system described above.

[0043] Compared with the prior art, the beneficial effects of the present invention are:

[0044] By dynamically tracking and comparing the adoption sequences of graphic elements by multiple users during the stable creative phase, this method identifies temporally similar operational patterns and constructs a style evolution map. This shifts the focus of analysis from static work characteristics to dynamic, cross-user operational sequence relationships, revealing how the combination and usage order of graphic elements are transmitted, reused, and gradually changed within the designer community. This objectively presents the path dependence and evolutionary process of style formation in collective creative activities.

[0045] By integrating the design intent state corresponding to user actions, the user's network position in the style evolution network, and the specific intersections of their color scheme adjustment path with other user paths, a multi-dimensional contribution evaluation model is established. This model quantifies the value of users' exploratory behaviors in the design process, their pivotal role in the creative communication network, and the depth of their direct impact on the creative process of others, realizing a shift from a single evaluation of design outcomes to a composite evaluation of the influence of the creative process and the depth of collaborative interaction.

[0046] Based on the dynamically constructed style framework and accurately assessed creative contribution, combined with the user's real-time design intent state, the system can generate differentiated support strategies for users at different design stages and with different network roles. This transforms the support strategy generation mechanism from being based on general rules or static preferences to being based on real-time responses to the user's current cognitive state and their specific position in a dynamic collaborative environment. Attached Figure Description

[0047] Figure 1 This is a sequence diagram of the folk art product auxiliary design system described in this invention;

[0048] Figure 2 A flowchart defining the content of graphic elements, color schemes, and design sketches;

[0049] Figure 3A flowchart for calculating the creative contribution of target users;

[0050] Figure 4 A bar chart comparing the contribution of user creativity;

[0051] Figure 5 Heat map showing the correlation between the themes and styles of folk art. Detailed Implementation

[0052] The technical solution of the present invention will be clearly and completely described below with reference to the embodiments. Obviously, the described embodiments are only some embodiments of the present invention, and not all embodiments. Based on the embodiments of the present invention, all other embodiments obtained by those skilled in the art without creative effort are within the scope of protection of the present invention.

[0053] See Figure 1 The behavioral data acquisition unit captures continuous operation records of users during the design process. These records cover the adoption of graphic elements, adjustment of color schemes, and saving of design sketches. The design state identification unit analyzes the operation records to determine the user's design intent state in each operation interval, including tentative modification, exploratory reconstruction, and decisive finalization. Based on the transition moments of design intent states, the creative stage segmentation unit divides the user's complete design process for a specific theme into the creative budding stage, creative integration stage, and creative stabilization stage. Within the creative stabilization stage, the style context extraction unit constructs a style evolution context diagram reflecting the relationships between users by analyzing the similarity of different users' graphic element adoption sequences. The creative contribution evaluation unit integrates the user's design intent state, style evolution context diagram, and the intersection information of the user's color adjustment path in the creative integration stage to calculate the user's creative contribution to a specific theme. Finally, the auxiliary strategy matching unit matches and generates corresponding auxiliary design strategies for folk art products based on the combination of the user's creative contribution and their current design intent state.

[0054] In one embodiment of the present invention, see [reference] Figure 2The behavior data acquisition unit records the type of graphic element added by the user each time and the time of addition, forming a sequence of graphic element adoptions. This unit also records the color codes involved in each color adjustment and their adjustment order, forming the adjustment path of the color scheme. Furthermore, this unit records the complete design file corresponding to each save operation, forming a saved version of the design sketch. The design state recognition unit determines the design intent state of the operation interval based on the number of different types of graphic element changes and the number of color code adjustments between any two saves in the user's operation record. Within the operation interval between any two saves, if the number of different types of graphic element changes is greater than a preset first threshold and the number of color code adjustments is less than a preset second threshold, the user is determined to be in an exploratory modification state. If the number of different types of graphic element changes is greater than the first threshold and the number of color code adjustments is greater than the second threshold, the user is determined to be in an exploratory reconstruction state. If the number of different types of graphic element changes is less than the first threshold, the user is determined to be in a decisive finalization state.

[0055] In practical implementation, the behavior data acquisition unit collects continuous operation records of users during the design process of folk art products with different themes. These operation records include the sequence of graphic element adoptions, the adjustment path of color schemes, and saved versions of design sketches. The graphic element adoption sequence records the type of graphic element added each time and the time of addition. The color scheme adjustment path records the color codes involved in each adjustment and the order of adjustment. The saved versions of design sketches record the complete design file corresponding to each save. The design state recognition unit identifies the design intent state by determining the user's state within the operation interval between any two saves, based on the number of different types of graphic element changes and the number of color code adjustments recorded in the user's operation records.

[0056] In some embodiments, the design state recognition unit uses a preset first quantity threshold and a preset second quantity threshold as judgment criteria. When the number of variations in the graphic element type is greater than the preset first quantity threshold and the number of color code adjustments is less than the preset second quantity threshold, the design state recognition unit determines that the user is in an exploratory modification state. When the number of variations in the graphic element type is greater than the preset first quantity threshold and the number of color code adjustments is greater than the preset second quantity threshold, the design state recognition unit determines that the user is in an exploratory reconstruction state. When the number of variations in the graphic element type is less than the preset first quantity threshold, the design state recognition unit determines that the user is in a decisive finalization state.

[0057] It can be understood that the number of variations in graphic element types refers to the total number of graphic element types added or modified by the user within an operation interval, and the number of color code adjustments refers to the number of times the user modifies the color scheme within an operation interval. The design state recognition unit determines the state by comparing the relationship between these values ​​and a threshold. In specific implementation, the determination process of the design state recognition unit can be expressed by the following formula: Let the number of variations in graphic element types be... The number of times the color coding is adjusted is The preset first quantity threshold is The preset second quantity threshold is ,if and If so, the state is a tentative modification state; if and If so, the state is an exploratory reconstruction state; if If so, then the state is a decisive, fixed state. In the formula, Indicates the number of variations in the type of graphic element. Indicates the number of times the color coding has been adjusted. This represents the preset first quantity threshold. This indicates the preset second quantity threshold.

[0058] In some embodiments, the behavior data acquisition unit continuously monitors user operations and transmits the operation records to the design state recognition unit for processing in real time. The design state recognition unit identifies the state of the operation interval between the previous save point and the current save point after each save operation. Optionally, the number of changes in graphic element types only counts newly added or replaced graphic element types, without repeatedly counting multiple additions of the same type. The number of color code adjustments records each independent color modification operation; continuous adjustments of the same color code are counted as multiple adjustments. In a specific implementation, the output of the design state recognition unit is the user's design intent state corresponding to each operation interval during the design process. These states are used for subsequent creative stage division and creative contribution evaluation.

[0059] Optionally, the preset first and second quantity thresholds can be set through system initialization or dynamically adjusted based on historical data. For example, the first quantity threshold can be set to 3 and the second quantity threshold can be set to 5, but the specific values ​​are not limited to these. It can be understood that the state recognition process of the design state recognition unit relies on the complete operation records provided by the behavior data acquisition unit, including the adoption sequence of graphic elements, the adjustment path of color schemes, and saved versions of design sketches. In specific implementation, the design state recognition unit traverses each saved version in the user operation record, extracts the operation interval data between adjacent saved versions, calculates the number of changes in graphic element types and the number of color code adjustments, and then applies the above formula to determine the state.

[0060] In one embodiment of the present invention, the creative stage segmentation unit marks all moments on the user's complete operation timeline for a specific theme that transition from a decisive shaping state to an exploratory reconstruction state or a tentative modification state. These moments are recorded as backtracking moments. Taking the earliest backtracking moment as the starting point, a time window of a preset length is extended backward. The end of this time window is defined as the start of the creative fusion stage, while the earliest backtracking moment is defined as the end of the creative budding stage. The unit identifies the start of the last decisive shaping state on the user's complete operation timeline and records this moment as the start of the creative stabilization stage. The start of this creative stabilization stage also serves as the end of the creative fusion stage.

[0061] In practice, the creative stage division unit divides the creative stage according to the design intent state corresponding to each operation of the user during the design process. The design intent state includes the tentative modification state, the exploratory reconstruction state, and the decisive finalization state. The operation of the creative stage division unit is based on the complete operation timeline of the user for a folk art product with a specific theme. On the complete operation timeline, the creative stage division unit marks all moments when the user transitions from the decisive finalization state to the exploratory reconstruction state or the tentative modification state. These moments are recorded as backtracking moments.

[0062] In some embodiments, the logic for identifying backtracking moments can be formally represented as follows: For any two adjacent state points on the operation timeline, if the preceding state point is a decisive finalization state and the following state point is an exploratory reconstruction state or a tentative modification state, then the moment corresponding to the following state point is marked as a backtracking moment. The creative stage division unit traverses all state transition points on the complete operation timeline to complete the marking of backtracking moments. In a specific implementation, taking the earliest marked backtracking moment as the starting point, the creative stage division unit extends backward by a preset time window. The length of this preset time window is a fixed time value. The end moment of the time window is defined as the start moment of the creative fusion stage, while the earliest backtracking moment is defined as the end moment of the creative germination stage.

[0063] Optionally, the length of the preset time window can be adjusted according to different folk art product themes, but remains constant during the analysis of a specific theme. The creative stage segmentation unit identifies the start time of the last decisive finalization state on the user's complete operation timeline, and records the start time of this last decisive finalization state as the start time of the creative stabilization stage. The start time of the creative stabilization stage is also the end time of the creative fusion stage. It can be understood that the creative germination stage is located in the time interval before the earliest retrospective moment, the creative fusion stage is located in the time interval after the earliest retrospective moment and before the start time of the creative stabilization stage, and the creative stabilization stage is located in the time interval after its start time until the end of the design process.

[0064] In some embodiments, if there is no defined transition moment from a decisive finalized state to other states on the complete operation timeline, i.e., no backtracking moment is marked, the creative stage division unit determines that the creative fusion stage and the creative budding stage do not exist, and the entire design process is considered to directly enter the creative stabilization stage. In specific implementations, the creative stage division unit outputs the division results as explicit start and end timestamps for each stage. Optionally, when determining the start time of the creative stabilization stage, the creative stage division unit strictly judges based on the state type, without relying on the absolute number of save operations. The start time of the last decisive finalized state may correspond to one save operation, or it may not correspond to one save operation but rather a point in time within the operation interval.

[0065] It is understandable that the design intent state upon which the creative stage division unit relies is provided by the design state identification unit; the creative stage division unit itself does not perform state identification operations. In specific implementation, the creative stage division unit accepts the user's complete operation timeline and the design intent state corresponding to each operation interval as input. By performing steps such as marking the backtracking time, expanding the time window, and locating the start time of the last decisive finalization state, it completes the division of the creative budding stage, the creative fusion stage, and the creative stabilization stage, and provides the division results to the style context extraction unit and the creative contribution evaluation unit.

[0066] In one embodiment of the present invention, the style context extraction unit, for a specific theme, arranges all graphic element types adopted by all users during their creative stable phase according to the order in which the elements were adopted, forming an independent graphic element adoption sequence chain for each user; compares the graphic element adoption sequence chains of any two users, and extracts common sequence segments in which the same graphic element type appears consecutively in the two sequence chains; taking users as nodes, if there is a common sequence segment between two users whose length exceeds a preset length threshold, an association edge is established between the two user nodes, and the weight value of the association edge is equal to the length of the common sequence segment; based on all user nodes and the association edges between them, a style evolution context diagram reflecting the relationship between users under the specific theme is generated.

[0067] In practice, the style context extraction unit operates on folk art products with specific themes. It extracts similar patterns in the sequence of graphic element adoption among users during the creative stabilization phase, forming a style evolution map. The unit then arranges all graphic element types adopted by all users during the creative stabilization phase of a specific theme according to the order in which the graphic elements were adopted in each user's operation record, forming an independent graphic element adoption sequence chain for each user.

[0068] In some embodiments, the graphic element adoption sequence chain is an ordered list, where each item records a graphic element type and the timestamp of when it was added to the design by the user. The timestamp originates from the addition time recorded by the behavior data acquisition unit. The style context extraction unit processes each user who completes a design under a specific theme, filters out all graphic element addition operations within the creative stable stage from the user's operation records, and generates a graphic element adoption sequence chain based on the order of the timestamps. In a specific implementation, the style context extraction unit compares the graphic element adoption sequence chains of any two users and extracts common sequence segments of consecutive occurrences of the same graphic element type in the two graphic element adoption sequence chains.

[0069] It can be understood that a common sequence fragment refers to the longest subsequence of consecutive graphic elements of completely identical type, starting from a certain position, in the time sequence chain of graphic element adoption by two users. The style context extraction unit uses a sequence alignment algorithm to identify and extract such common sequence fragments. In some embodiments, with users as nodes, if the length of the common sequence fragment between two users exceeds a preset length threshold, an association edge is established between the nodes representing the two users, and the weight value of the association edge is defined as the length of the common sequence fragment.

[0070] Optionally, the preset length threshold is a positive integer used to filter out accidental, transient coincidences in the adoption order of graphic elements, thereby ensuring that the associated edges reflect significant style similarity. The style context extraction unit traverses all user pairs under a specific topic, calculates the length of the longest common sequence fragment for each user pair, and compares it with the preset length threshold to determine whether to establish an associated edge. In specific implementations, the logic for determining whether to establish an associated edge and determining the weight can be formally expressed as: Let the length of the longest common sequence fragment of the graphic element adoption time chain between user A and user B be... The preset length threshold is ,like Then, an edge is established between user node A and user node B, and the weight of this edge is... . In the formula, This represents the length of the longest common sequence segment in the graphical element adoption time chain between user A and user B. This indicates a preset length threshold. This indicates the weight of the associated edge.

[0071] The style context extraction unit generates a style evolution context diagram among users under a specific theme based on all user nodes and established connecting edges. This style evolution context diagram can be understood as a network graph, where nodes represent users, edges represent significant similarities in the order of adoption of graphical elements among users, and edge weights represent the degree of similarity. In practice, the style context extraction unit outputs the generated style evolution context diagram in a structured format containing a list of nodes, a list of edges, and edge weight data, for use by the creative contribution evaluation unit and the auxiliary strategy matching unit. Optionally, the style evolution context diagram can be visualized, with node size or edge thickness mapping weight information; however, the internal system processing primarily relies on its structured data.

[0072] In one embodiment of the present invention, see [reference] Figure 3The Creative Contribution Assessment Unit, targeting a specific user within a particular theme, calculates the number of other user nodes directly connected to the target user node via association edges in the style evolution graph; this number represents the target user's direct correlation. From the target user's complete operation records during the creative fusion phase, all color codes adjusted during the exploratory reconstruction phase are extracted, forming the target user's exploratory color set. From other users' complete operation records during the creative fusion phase, the color codes ultimately adopted during the decisive shaping phase are extracted, forming other users' shaping color sets. The number of intersection colors between the target user's exploratory color set and other users' shaping color sets is calculated. The target user's direct correlation is multiplied by the number of intersection colors, and then weighted and summed with the cumulative time the target user spent in the decisive shaping phase during the creative stabilization phase. The weight used in the weighted summation is the ratio of the target user's cumulative time spent in the exploratory modification phase during the creative fusion phase to their cumulative time spent in the decisive shaping phase during the creative stabilization phase. This weighted summation yields the target user's creative contribution to that specific theme.

[0073] In practice, the Creative Contribution Assessment Unit calculates a user's creative contribution to a specific theme based on the user's design intent state, style evolution path, and the intersection of color scheme adjustment paths among users during the creative fusion phase. For any target user within a specific theme, the unit calculates the number of other user nodes directly connected to the target user node through associated edges in the style evolution path, thus obtaining the target user's direct correlation degree. From the target user's complete operation records during the creative fusion phase, the unit extracts all color codes adjusted by the target user in the exploratory reconstruction state, forming the target user's exploratory color set. Similarly, from other users' complete operation records during the creative fusion phase, the unit extracts the color codes finally adopted by other users in the decisive finalization state, forming other users' finalized color sets.

[0074] In some embodiments, the number of intersecting colors between the target user's exploratory color set and the fixed color sets of other users is calculated. The number of intersecting colors refers to the number of different color codes that appear simultaneously in the target user's exploratory color set and at least one other user's fixed color set. The creative contribution evaluation unit multiplies the target user's direct relevance by the number of intersecting colors, and then performs a weighted summation with the cumulative time the target user's design intent state is in a decisive and fixed state during the creative stabilization phase, to obtain the target user's creative contribution to a specific theme. In a specific implementation, the weight used in the weighted summation is the ratio of the cumulative time the target user is in an exploratory modification state during the creative fusion phase to the cumulative time the target user's design intent state is in a decisive and fixed state during the creative stabilization phase.

[0075] As is understandable, Table 1 presents the intermediate and final data required to calculate the creative contribution of three users under a hypothetical topic. The data is used to illustrate the calculation process rather than to limit the numerical range. In practice, the creative contribution evaluation unit iterates through all users under a specific topic, performing the above calculation process for each user.

[0076] Table 1: Example Data Table for Calculating Creative Contribution

[0077]

[0078] In some embodiments, the exploratory color set for the target user is obtained by parsing the user's operation records during the creative fusion phase. The system only extracts color codes that were adjusted during the time periods explicitly marked as exploratory refactoring states in the operation records. The finalized color set for other users is obtained by parsing the operation records of each other user during the creative fusion phase. The system locates the operation interval of each other user's last time in the decisive finalized state and extracts all color codes adopted in the design at the end of that interval. Optionally, the calculation of the cumulative duration is based on the timestamps recorded by the behavior data acquisition unit, and the creative contribution evaluation unit sums the continuous time periods in a specific state according to the state markers provided by the design state identification unit.

[0079] After calculating the creative contribution of all users, the Creative Contribution Assessment Unit outputs a list containing user identifiers and their corresponding creative contributions to the Auxiliary Strategy Matching Unit. It can be understood that direct correlation reflects the target user's local influence in the style evolution map, the number of intersecting colors reflects the degree to which the target user's color explorations are ultimately adopted by others, and the weighting factor reflects the moderating effect of the user's own balance between design stability and early exploratory nature on the final contribution. In practice, the Creative Contribution Assessment Unit relies on the style evolution map, the design intent state sequence, and detailed user operation records to complete the calculations.

[0080] See Figure 4 This is a bar chart comparing user creative contributions, visually illustrating the differences in creative contributions among three users in the design of folk art products. User A has the highest contribution (approximately 12.75), indicating stronger stylistic influence (high direct correlation), more color explorations adopted by others (larger number of overlapping colors), and a longer time spent finalizing the design during the creative stabilization phase. User B has the second highest contribution (approximately 11.67), with balanced performance across all indicators, making them a significant contributor to the design team. User C has the lowest contribution (only 3.00), significantly lagging behind the other two, requiring more supportive strategies (such as guided recommendations and referencing the design paths of high-contribution users) to enhance their creative contribution.

[0081] In one embodiment of the present invention, the auxiliary strategy matching unit generates auxiliary design strategies for folk art products for users at different design stages based on a combination of the user's creative contribution and design intent state. The auxiliary strategy matching unit receives the user's creative contribution calculated by the creative contribution evaluation unit under a specific theme, and receives the user's current design intent state identified by the design state identification unit. The auxiliary strategy matching unit classifies users according to a preset first threshold and a preset second threshold to match different strategy generation logics. The preset first threshold is a value used to distinguish users with high creative contribution, and the preset second threshold is a value used to distinguish users with low creative contribution, wherein the preset first threshold is greater than the preset second threshold.

[0082] In some embodiments, the auxiliary strategy matching unit determines whether the user's creative contribution is higher than a preset first threshold. For users whose creative contribution is higher than the preset first threshold, the auxiliary strategy matching unit matches an auxiliary strategy based primarily on the design intent state. When the user's current design intent state is a tentative modification state, the generated auxiliary design strategy for folk art products recommends the graphic element type with the highest weight of the associated edge in the style evolution context graph, which is the type of graphic element already adopted by the user. The auxiliary strategy matching unit queries the style evolution context graph, finds all other user nodes that have associated edges with the current user node, compares the weight values ​​of these associated edges, selects the user connected by the associated edge with the highest weight value, and uses the graphic element type that the user has adopted in the design but the current user has not yet adopted, and which appears in the common sequence segment of the style evolution context graph, as the recommended content. When the user's current design intent is in the exploratory reconstruction state, the generated folk art product auxiliary design strategy recommends color codes corresponding to the fixed color sets of other users that intersect with the user's exploratory color set. The auxiliary strategy matching unit retrieves the exploratory color set formed by the target user in the creative integration stage from the system storage, compares it with the fixed color sets of other users stored in the system, and directly uses the color codes that exist in the exploratory color set as the recommended content.

[0083] In practical implementation, the auxiliary strategy matching unit determines whether a user's creative contribution is below a preset first threshold but above a preset second threshold. For users whose creative contribution is below the first threshold but above the second threshold, an auxiliary strategy based primarily on operation history is matched. The generated auxiliary design strategy for folk art products recommends subsequent graphic element types from the adoption sequence chains of graphic elements from other users who share common sequence fragments with the current user during the creative stability phase. The auxiliary strategy matching unit, based on the style evolution map formed by the style context extraction unit, finds other users with related edges (i.e., those sharing common sequence fragments) with the current user node, extracts the graphic element adoption sequence chains of these other users, locates the end of the common sequence fragment, and uses the graphic element type immediately following the common sequence fragment as the recommended content. The recommendation logic can be formally represented as: Let the current user be... Its creative contribution is The preset first threshold is The preset second threshold is ,when At that time, the system selects from the set of users that meet the conditions. Extract recommended elements from the formula. This indicates the current user's contribution to the creative work. This represents the preset first threshold. This represents the preset second threshold. Indicates the relationship with the current user Other users with related edges, Indicates the weight of the associated edge. This indicates the preset length threshold used by the style context extraction unit.

[0084] The auxiliary strategy matching unit determines whether a user's creative contribution is lower than a preset second threshold. For users whose creative contribution is lower than the preset second threshold, a guiding auxiliary strategy is matched. The generated guiding auxiliary strategy selects the user with the highest creative contribution from the style evolution map and recommends the first few graphic element types in the graphic element adoption sequence chain of the user with the highest creative contribution in the creative budding stage to users whose creative contribution is lower than the second threshold. The auxiliary strategy matching unit first queries the creative contribution ranking list of all users, identifies the user with the highest creative contribution, and then extracts the earliest adopted specified number of graphic element types in the creative budding stage from the historical operation record of the user with the highest contribution to form a recommendation list. Optionally, the number of recommended graphic element types can be a fixed value or dynamically determined according to the design progress of the current low contribution user. In some embodiments, after generating any type of recommendation strategy, the auxiliary strategy matching unit provides the strategy content to the user in a structured data format or a visual interface prompt. It is understandable that the auxiliary strategy matching unit is the terminal link of the entire system to output intervention measures. Its strategy generation depends entirely on the analysis results provided by the creative contribution evaluation unit, design status identification unit, style context extraction unit, and behavioral data acquisition unit.

[0085] See Figure 5 This is a heatmap showing the correlation between the styles of five folk arts: paper-cutting, embroidery, ceramics, wood carving, and New Year paintings. Darker colors represent higher correlation (above 0.8), while lighter colors represent lower correlation (below 0.2). This heatmap can provide important reference for your folk art product design system. During the creative integration phase, the system can recommend combinations of elements from different art themes with lower correlation based on high correlation, serving as a starting point for differentiated innovation and helping designers explore unique styles. It quantifies the connections between different folk arts, providing data-driven evidence for cultural heritage preservation. For example, the high correlation between paper-cutting and multiple categories indicates that paper-cutting is a core carrier of folk art preservation and should be a key area for protection and promotion.

[0086] The above embodiments are only used to illustrate the technical methods of the present invention and are not intended to limit it. Although the present invention has been described in detail with reference to preferred embodiments, those skilled in the art should understand that modifications or equivalent substitutions can be made to the technical methods of the present invention without departing from the spirit and scope of the technical methods of the present invention.

Claims

1. A folk art product auxiliary design system, characterized in that, include: The behavioral data acquisition unit is used to collect continuous operation records of users during the design process of folk art products with different themes. The operation records include the adoption sequence of graphic elements, the adjustment path of color schemes, and the saved version of design sketches. The design state recognition unit is used to identify the design intent state corresponding to each operation of the user during the design process. The design intent state includes the tentative modification state, the exploratory reconstruction state, and the decisive finalization state. The creative stage division unit is used to divide the complete design process of a user's folk art product on a specific theme into the creative budding stage, the creative integration stage, and the creative stabilization stage based on the moment when the design intent state changes in the user's operation record. The style context extraction unit is used to extract similar patterns in the sequence of graphic element adoption among users during the creative stability phase, forming a style evolution context diagram. Specifically, it includes: for folk art products with a specific theme, arranging all the types of graphic elements adopted by all users during the creative stability phase of the specific theme according to the order of element adoption, forming a graphic element adoption sequence chain for each user. Compare the graphic element adoption time series of any two users and extract the common sequence fragments in which the same graphic element type appears consecutively in the two time series; Using users as nodes, if the length of a common sequence segment between two users exceeds a preset length threshold, an association edge is established between the two nodes, and the weight of the association edge is the length of the common sequence segment. Based on all user nodes and associated edges, generate a style evolution path diagram among users under a specific theme; The creative contribution evaluation unit is used to calculate a user's creative contribution to a specific theme based on the user's design intent state, the style evolution path diagram, and the intersection of color scheme adjustment paths among users during the creative fusion phase. Specifically, it includes: For any target user under a specific theme, in the style evolution context graph, the number of other user nodes directly connected to the target user node through the association edge is calculated to obtain the direct association degree of the target user. Extract all color codes that the target user adjusted during the exploratory reconstruction phase from all the operation records of the target user in the creative integration phase, and form the target user's exploratory color set; Extract the color codes that other users finally adopted in the decisive finalization stage from all their operation records during the creative integration stage, and form the finalized color set of other users; Calculate the number of colors that intersect the target user's exploratory color set with the established color sets of other users; Multiply the direct relevance of the target user by the number of intersection colors, and then sum the results with the cumulative duration of the target user's design intent state in the decisive finalized state during the creative stable phase to obtain the target user's creative contribution to a specific theme. The auxiliary strategy matching unit is used to generate auxiliary design strategies for folk art products for users at different design stages based on a combination of the user's creative contribution and design intent status.

2. The folk art product auxiliary design system according to claim 1, characterized in that, The graphic element adoption sequence records the type of graphic element added by the user each time and the time of addition; the color scheme adjustment path records the color codes involved in each adjustment by the user and the adjustment order; the saved version of the design sketch records the complete design file corresponding to the sketch each time it is saved.

3. The folk art product auxiliary design system according to claim 2, characterized in that, The design state recognition unit is used to identify the design intent state corresponding to each user operation during the design process, specifically including: Based on the number of types of changes in graphic element types and the number of color code adjustments that occur between any two saves in the user's operation log, determine the user's state during the operation interval between those two saves. When the number of different types of graphic element changes exceeds a preset first threshold and the number of color code adjustments is less than a preset second threshold, the user is determined to be in an exploratory modification state. When the number of different types of graphic element changes exceeds the first threshold and the number of color code adjustments exceeds the second threshold, the user is determined to be in an exploratory reconstruction state. When the number of variations in graphic element types is less than the first threshold, the user is determined to be in a decisive state.

4. The folk art product auxiliary design system according to claim 3, characterized in that, The creative stage division unit is used to divide the complete design process of a user's folk art product on a specific theme into three stages: the creative germination stage, the creative integration stage, and the creative stabilization stage, based on the moment of change in the design intent state in the user's operation record. Specifically, it includes: On the complete timeline of a user's operation of a folk art product on a specific theme, mark all the moments when the user transitions from a decisive, finalized state to an exploratory, reconstructive, or tentative modification state, and record them as backtracking moments. Starting from the earliest retrospective moment, a preset time window is extended backward. The end time of the time window is the beginning time of the creative integration stage, and the earliest retrospective moment is the end time of the creative germination stage. Identify the start time of the last decisive state on the user's complete operation timeline, and record the start time as the start time of the creative stabilization stage. The start time of the creative stabilization stage is the end time of the creative fusion stage.

5. The folk art product auxiliary design system according to claim 4, characterized in that, In the creative contribution evaluation unit, the weight used to calculate the creative contribution of the target user under a specific theme is the ratio of the cumulative time the target user is in the exploratory modification state during the creative integration stage to the cumulative time the target user's design intention state is in the decisive finalization state during the creative stabilization stage.

6. The folk art product auxiliary design system according to claim 5, characterized in that, The auxiliary strategy matching unit is used to generate auxiliary design strategies for folk art products for users at different design stages based on a combination of the user's creative contribution and design intent status. Specifically, these strategies include: For users whose creative contribution exceeds a preset first threshold, an auxiliary strategy based on the design intent status is matched; When the user's current design intent is in the exploratory modification state, the generated folk art product auxiliary design strategy is: recommend the graphic element type with the highest associated edge weight in the style evolution graph that is the type of graphic element already adopted by the user; When the user's current design intent state is in the exploratory reconstruction state, the generated folk art product auxiliary design strategy is to recommend color codes corresponding to the fixed color sets of other users that intersect with the user's exploratory color set. For users whose creative contribution is below the first threshold but above the preset second threshold, an auxiliary strategy based on operation record history is matched. The auxiliary strategy is to recommend the subsequent graphic element type of the adoption sequence chain of graphic elements of other users who have common sequence fragments with the user during the creative stable phase.

7. The folk art product auxiliary design system according to claim 6, characterized in that, The auxiliary strategy matching unit further includes: For users whose creative contribution is below the second threshold, a guiding assistance strategy is matched. The guiding assistance strategy is to select the user with the highest creative contribution from the style evolution map, and recommend the first few graphic element types in the graphic element adoption sequence chain of the user with the highest creative contribution in the creative bud stage to the user whose creative contribution is below the second threshold.

8. A method for assisting in the design of folk art products, characterized in that, It includes all the units and method flow of the folk art product auxiliary design system as described in any one of claims 1 to 7.

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