338 research outputs found
Resizable outerwear templates for virtual design and pattern flattening
The aim of this research was to implement a computer-aided 3D to 2D pattern development technique for outerwear. A preponderance of total clothing consumption is of garments in this category, which are designed to offer the wearer significant levels of ease. Yet there has not previously been on the market any system which offers a practical solution to the problems of 3D design and pattern flattening for clothing in this category. A set of 3D outerwear templates, one for men’s shirts and another for men’s trousers, has been developed to execute pattern flattening from virtual designs and this approach offers significant reduction in time and manpower involvement in the clothing development phase by combining creative and technical garment design processes into a single step. The outerwear templates developed and demonstrated in this research work can provide 3D design platforms for clothing designers to create virtual clothing as a surface layer which can be flattened to create a traditional pattern. Point-Cloud data captured by a modern white-light-based 3D body-scanning system were used as the basic input for creating the outerwear templates. A set of sectional curves, representative of anthropometric size parameters, was extracted from a virtual model generated from the body scan data by using reverse engineering software. These sectional curves were then modified to reproduce the required profile upon which to create items of men’s outerwear. The curves were made symmetrical, as required, before scaling to impart resizability. Using geometric modelling technique, a new surface was generated out of these resizable curves to form the required 3D outerwear templates. Through a set of functionality tests, it has been found that both of the templates developed in this research may be used for virtual design, 3D grading and pattern flattening
Contributions for a new body representation paradigm in pattern design. Generation of basic patterns after the mobile body
Tese apresentada à Faculdade de Arquitectura de Lisboa da Universidade Técnica de Lisboa, para obtenção do grau de Doutor em Design
Study on 3D modeling and pattern-making for upper garment(上衣の三次元モデルの構築およびパターンメーキングに関する研究)
信州大学(Shinshu university)博士(工学)ThesisZHANG JUN. Study on 3D modeling and pattern-making for upper garment(上衣の三次元モデルの構築およびパターンメーキングに関する研究). 信州大学, 2017, 博士論文. 博士(工学), 甲第663号, 平成29年03月20日授与.doctoral thesi
A Reverse Approach to Virtual Shirt Prototyping and Pattern Cutting
Traditional virtual clothing prototyping is achieved by wrapping 2D pattern pieces on virtual mannequins. This paper describes a reverse approach that develops 3D garments first and unwraps 2D pattern pieces out of them. To achieve this, a 3D drawing board for men’s upper body outerwear was developed from bodyscan data by employing reverse engineering and geometric modelling techniques. The drawing platform was made scalable by integrating 12 size parameters that were found appropriate for loose-fitting shirt so that 3D grading in space can also be realised. This 3D platform can easily be used by fashion designers to develop virtual shirts by drawing simple lines and curves and by applying mesh generation tool, and to extract 2D pattern pieces automatically if an appropriate flattening engine is available within a 3D CAD environment. It has been found that a variety of shirt and jacket designs can be developed on this 3D platform. However, difficulties were faced with raglan sleeve and one-piece collar. This paper also describes the effects of technical parameters on mesh generation and pattern flattening processes
Rendering the Renaissance: A Methodology for Recreating Historical Fabrics and Fashions in Computer Graphics
Fabric and costume is an integral part of film media and increasingly so in computer graphics. There exists a growing interest in the creation of period films. To stay true to historical accuracy, creating believable, accurate costumes with appropriate fabric is key. While films such as Pixar’s Brave have made attempts at visual accuracy, there is little existing literature discussing a method of creating such costumes. This thesis aims to form a methodology and approach to historical costume using available technology, extant historical garments, period artist renderings and real world fabrics and sewing technique.
To approach this problem, a focus time period and location was selected for review and recreation. Due to the amount of visual data available, mid 16th century Florence proved a desirable candidate. Existing software packages Maya, Marvelous Designer, Mental Ray and Renderman were used for modeling, simulation and rendering respectively in order to execute the final product. The end goal was to render a model of a Florentine dress with identifiable fabrics using the designed methodology. An additional goal was to demonstrate a variety of fabric shaders to illustrate fabrics found during this period such as wool, linen, silk and velvet. The resulting renders represented visual accuracy to the sources used. Applications for this methodology can include film, games, historical documentation and education
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Transforming shape: hybrid practice as group activity
Printed textile and garment design are generally taught and practised as separate disciplines. Integrated CAD software enables textile and clothing designers to envisage printed garments by assimilating graphic imagery with 2D garment shapes and 3D visualizations. Digital fabric printing can be employed to transpose print-filled garment shapes directly onto cloth. During a recently completed practice-led PhD (1998-2003), I researched the aesthetic design potential of combining new CAD technology with garment modelling methods to create new innovative printed textiles/garments. The merging of physical and screen-based making resulted in a hybrid 3D approach to the body, cloth and print referred to as the 'simultaneous design method'.
In 2001 this hybrid practice provided the catalyst for a collaborative textile research project at the Nottingham Trent University, UK. The group included surface, shape and multimedia designers. The key group aim was to explore the transforming effects of computer-aided textile design through dialogues between two and three dimensions. In parallel with my own practice, print and embroidery were considered from a 3D starting-point through the relating of geometric cloth shapes to the form. Each designer took an idiosyncratic approach to the selection and integration of imagery with the shapes.
The novel consideration of the final modelled textile at the start of the designing process influenced each designer in different ways, leading to a collection of contrasting, original outcomes that were displayed in the exhibition Transforming Shape (UK 2001, Denmark 2003). The exhibition demonstrated the design opportunities (and limitations) of new and existing technologies, specifically the relationship between innovative textile imagery and three-dimensional form. The designs illustrated the premise that surface designs can be engineered through different pattern shapes and that engineer-printed shapes transform the body
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Transforming shape: a simultaneous approach to the body, cloth and print for garment and textile design (synthesising CAD with manual methods)
Printed textile and garment design are generally taught and practised as separate disciplines. Integrated CAD software enables textile and clothing designers to envisage printed garments by assimilating graphic imagery with 2D garment shapes, and 3D visualisations. Digital printing can be enlisted to transpose print-filled garment shapes directly onto cloth. This research challenges existing 2D practice by synthesising manual and CAD technologies, to explore the integration of print design and garment shape from a simultaneous, 3D perspective.
This research has identified three fundamental archetypes of printed garment styles from Twentieth Century fashion: 'sculptural', 'architectural' and 'crossover'. The contrasting spatial characteristics and surface patterning inherent in these models provided tlýe theoretical and practical framework for the research. Design approaches such as'textile-led', 'garment-led'and 'the garment as canvas' highlighted the originality of the simultaneous design method, which embraces all of these concepts.
This research recognises the body form as a positive influence within the printed textile and printed garment designing process, whereby modelled fabric shapes can be enlisted to determine mark making. The aim of the practice, to create printed garment designs from a 3D perspective, was facilitated by an original method of image capture, resulting in blueprinted toiles, or cyanoforms, that formed the basis of engineer-printed garments and textiles. Integrated CAD software provided the interface between manual modelling, design development and realisation, where draping software was employed to digitally craft 3D textiles. The practical and aesthetic characteristics of digital printing were tested through the printing of photographic-style, integrated garment prototypes.
The design outcomes demonstrate that a simultaneous approach to the body, cloth and print can result in innovative textile vocabulary, that'plays a proactive role within the design equation, through its aesthetic integration with garment and form. The integration of print directly with the garment contour can result in a 3D orientated approach to printed garment design that is empathetic with the natural body shape
The development of a hybrid system for designing and pattern making in-set sleeves
This research investigates the relationship between the designer, the pattern maker and the elements that constitute a multiplicity of in-set sleeves. Present sleeve drafting methods represent unpredictable, single-style variations of past methods. They do not vary from the normal non-cohesive practises for any current inset sleeve styles. Current sleeve drafting methods contain only surface explanations for many of the features contained within the sleeve design. Drafting methods are restricted to surface, point-to-point drafting descriptive - they do not convey the actual detailed mechanisms required of the complete scye and sleeve assembly. My perspective suggests that designing and pattern making has scarcely advanced since the beginning of the nineteenth century, or earlier. Therefore, the principal research question is: How might the role of the designer, the tasks of the pattern maker, the many in-set sleeve styles and related fabrics, be combined to create a unique inclusive in-set sleeve design system that is advantageous to the apparel industry? In order to create a unique in-set sleeve design system, this study incorporates a hybrid process derived from a number of design methods. Case studies of a number of sleeve styles and fabrics, representative of a major percentage of the sleeve design range, are developed to confirm the proposition that although each sleeve is a unique entity, they are, contradictory, all one and the same. This is because they are composed of the same limited number of parts and elements. The study details the parts and elements that compose the scye (armhole) and sleeves. These are united with a compilation of engineering drawing methods which are explained and analysed prior to incorporation with additional drawing interpretations. The adoption of engineering drawing methods as a base, with further adaptations, to create a new logical sleeve design system, is seen as a complete break from current trial and error practises to a predictable outcomes-focussed process
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