Time Legend: The Story of Light and Darkness¶
For the first page of my project, I decided to illustrate the Time Legend, a myth about the balance between light and darkness. The story describes Time as an old man with white hair, sitting on a high mountain, controlling the cycle of day and night. He holds two spools of thread—one white and one black.
- When he winds the white thread, light spreads, and the day begins.
- When he winds the black thread, darkness falls, and the night takes over.
I really liked this idea of light and shadow being woven together, so I started working on an illustration that brings this concept to life.
Starting the Illustration 🎨 I opened Photoshop and grabbed my pen tablet to start sketching. Since Time is described as an old man, I focused on his wise and aged appearance, giving him long flowing hair and a calm, powerful presence.
To create the atmosphere, I used Photoshop brushes to add texture and depth to his robes and the mountain he sits on. I experimented with different brush settings to make the threads of light and darkness feel more dynamic, like they’re really being pulled through time.
This is just the beginning, but I’m excited to refine the details and add more depth to the illustration! ✨
Completing the Illustration 🖌️
After two days of focused work, I finally finished the drawing! ✨
I paid special attention to the details and the contrast between light and shadow. I wanted to make sure the balance of light and darkness in the composition reflected the essence of the legend.
Exploring Techniques: Computational Couture & 3D Printing on Fabric
After completing the illustration, I started thinking about different techniques I could use to bring my design to life in a more unique way. Then, I remembered our week on Computational Couture and 3D printing on fabric—so why not experiment with it?
Step 1: Finding the Right Patterns
To complement my illustration, I wanted to create patterns that would enhance its aesthetic while maintaining a connection to Armenian heritage. I turned to a book about Armenian patterns, which provided inspiration for intricate geometric and ornamental motifs.
Step 2: Creating the Patterns in Illustrator
Once I selected the most suitable patterns, I opened Adobe Illustrator and began digitizing them.
- First, I traced the patterns using the Pen Tool, making sure they had clean, precise lines for further processing.
- I adjusted the proportions and symmetry to ensure they would look good when combined with my illustration.
- Since these patterns were meant for 3D printing, I focused on creating designs that would be structurally strong and printable on fabric.
After refining the patterns, I exported them as SVG files, which are easy to import into 3D modeling software.
Step 3: Converting the Patterns into a 3D Model
Next, I opened Blender and uploaded my SVG patterns to start transforming them into 3D-printable objects.
- I imported the SVG file into Blender.
- Then, I converted the vector paths into mesh geometry, making them ready for 3D modeling.
- To add depth and thickness, I used the Solidify Modifier, giving the pattern a defined structure.
- I fine-tuned the thickness and scale, making sure it would work well for 3D printing on fabric.
At this stage, my patterns were fully transformed into solid, printable 3D models. The next step would be preparing them for 3D printing and testing how they interact with fabric! 🚀
Experimenting with 3D Printing on Tulle¶
Once I had my 3D pattern ready, I decided to test 3D printing directly onto fabric, specifically Tulle. I knew this technique could be challenging, but I was excited to experiment and find the best approach.
First Attempt: Direct Printing on Fabric
For my first try, I simply placed the Tulle fabric on the printer bed and started printing directly onto it. However, this approach had several issues:
- Some parts of the printed design did not stick well to the fabric.
- Certain thin sections detached too easily, making the print unstable.
- The material didn’t properly bond with the Tulle, meaning the design could be peeled off easily.
I realized that I needed a method that would help the print attach more securely to the fabric.
Adjusting the Pattern for Better Adhesion
After evaluating the results, I realized that the pattern was too small and detailed, contributing to adhesion issues. To improve the outcome, I simplified the pattern, reducing intricate details and ensuring a stronger connection between the printed sections. This adjustment significantly improved adhesion.
Second Attempt: Standard Printing on Fabric
With the simplified pattern, I attempted direct printing on fabric again. Unfortunately, the problem persisted:
- Weak adhesion
- Unstable design
This led me to explore alternative methods for better bonding.
Third Attempt: TPU Sandwich Technique
Next, I experimented with the sandwich technique using TPU (Thermoplastic Polyurethane). This method involved placing a thin TPU layer on the fabric before printing to enhance bonding.
Results
✔️ Improved adhesion compared to previous attempts
❌ The bond was still not strong enough
❌ Some sections remained flexible and detached easily
❌ TPU’s texture and flexibility affected print quality
Final Attempt: Switching to PLA Filament
To solve the bonding issue, I switched from TPU to PLA filament, which has stronger adhesion properties and integrates better with fabric materials.
Results:¶
✅ The print adhered securely
✅ Stable and durable outcome
✅ Successfully maintained structure and flexibility
Conclusion¶
Through multiple iterations, I found that:
🔹 Simplifying the pattern
🔹 Using the sandwich technique
🔹 Switching to PLA filament
led to the best results. This process highlights the importance of material compatibility and design adjustments when 3D printing on fabric.
The final outcome was a well-adhered, durable print that seamlessly integrated with the Tulle fabric.
