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6. Computational Couture

Research & Ideation

* Image reference - pinterest

References & Inspiration¶

My goal was to develop a textile technique that mimics the look and flexibility of lizard or dragon scales, a texture frequently used in fantasy and dragon-themed cosplay. Traditionally, creating this effect involves painstakingly handcrafting individual scales—an approach that is both time-consuming and often inconsistent in quality.

To streamline the process and improve visual realism, I began exploring 3D printing as a way to replicate scale patterns directly onto fabric. Using a combination of reference images from nature and costume design, I created scale-inspired patterns that could be printed onto various fabrics. The aim was to maintain both the mobility and durability needed for cosplay while achieving a professional, textured finish.

Additionally, I created a video demonstration showing the flexibility of the printed material. It highlights that it is entirely possible to 3D print directly onto fabric, provided the material is porous enough to allow the filament to grip and embed properly. Fabrics like tulle and organza performed particularly well for this technique.

Tools

Key Concepts of Parametric Design in Onshape

  • Parameters (Variables): Numeric values (e.g., #width, #spacing, #thickness) defined globally or locally to drive model geometry

  • Constraints: Geometric rules (parallel, equal, concentric) that maintain relationships between sketch entities

  • History-Based Modeling: Onshape uses a feature timeline; each modeling operation builds on previous steps

  • Associative Updates: Changing a parameter automatically updates every dependent feature

How to Use Parametric Design in Onshape

Create a New Document

  • Go to https://cad.onshape.com and create a new document

  • Open a new Part Studio

Define Variables

  • Use the “Variable” feature from the toolbar

  • Give each variable a name (e.g., #scale_width, #overlap) and assign a value (e.g., 10 mm)

Create Sketches Using Variables

  • Start a sketch and draw shapes like circles or custom scale outlines

  • Use the dimension tool and reference variables with # (e.g., #scale_width) instead of fixed numbers

Apply Constraints

  • Use geometric constraints to maintain symmetry, consistency, or alignment (e.g., equal length, vertical, tangent)

Add Features

  • Use extrude or revolve tools, again referencing your defined variables for depth or angle

Edit Variables to Update Your Model

  • Right-click on a variable in the feature tree to edit its value

  • Changes instantly update all related parts of the design

Advanced Parametric Tips

  • Use Equations: Define variables as functions of others (e.g., #height = #scale_width * 1.5)

  • Custom Featurescripts: Automate complex operations using Onshape’s scripting language

  • Configurations: Create multiple versions of the same design with different parameter values for rapid prototyping

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Version 1 – Initial Test with Tulle Fabric¶

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In the first version, I printed a three-layer scale pattern using standard PLA filament. Midway through the print, I paused the printer, applied a thin layer of 3D printing adhesive directly onto the partially completed print, and carefully placed a piece of tulle fabric over it.

The printer then resumed, embedding the fabric between the printed layers. While the result successfully fused the scales to the tulle, the adhesion was uneven and could be improved. Additionally, the fabric was slightly loose in areas, which affected the print’s accuracy.

The video clearly shows that while tulle’s porosity supports good embedding, tension and bed adhesion need careful handling to avoid warping or shifting during the print.

Version 2 – Tulle with Bed Stabilization¶

This time, I used painter’s tape to secure the edges of the tulle to the print bed, ensuring the fabric stayed in place throughout the print. The result was more stable than the first attempt.

For this attempt, I made two major changes:

  • I used painter’s tape to secure all edges of the tulle to the print bed, keeping it taut and flat.

  • I adjusted the first layer’s z-height slightly to increase contact pressure with the fabric.

These improvements led to much better stability throughout the print. The scale pattern came out cleaner, with fewer gaps between the print and the fabric. Again, the video demonstrates that maintaining fabric tension is crucial for consistent results.

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Version 3 – Organza Fabric for Visual Effect¶

In this version, I replaced tulle with organza fabric. Organza is more rigid and slightly sheer, offering a different aesthetic with added shine. I again secured it using painter’s tape, and the material held up well during printing.

The scales printed smoothly and adhered more evenly. The sheer quality of the organza gave the scales a shimmering effect, which could be especially appealing for dragon or aquatic-themed costumes. As shown in the flexibility video, organza’s slight rigidity didn’t compromise the overall movement of the printed areas, demonstrating that both flexibility and a degree of stiffness can coexist when the fabric structure is appropriate.

Version 4 – Satin Fabric and Partial Adhesion¶

This time, I experimented with satin—a smooth, glossy fabric commonly used in costume design. Satin proved trickier: the bottom portion of the print detached during the process, but the top adhered well.

Interestingly, this partial adhesion could have creative applications in costume design. The firmly attached upper section provided structure, while the looser lower part allowed for more natural movement of the fabric beneath the scales.

The video also underscores that satin’s low porosity makes it a less ideal material for direct 3D printing without special surface treatments or adhesives.

Version 5 – Smaller, Denser Scale Pattern¶

For this iteration, I modified the scale design, making the individual scales smaller and spacing them more closely together. The goal was to achieve a more detailed texture.

However, this created a new challenge: the finer design made it more difficult to remove the finished piece from the print bed without tearing the fabric. In particular, the tulle tore easily under stress, showing that this version may require a stronger, more durable base fabric—or a different removal method altogether.

The flexibility video further demonstrates that finer, denser patterns can reduce fabric flexibility if not carefully planned, emphasizing the balance between visual detail and practical movement.

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Fabrication files and video

Fabrication files