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.
Tools¶
- TinyPNG-Image compression for texture maps and references
- 3D Scanning(Skanect)-Captured human body scans for accurate pattern placement
- Mesh Repair Software-Used for fixing surface errors in 3D scans (software name TBD)
- 3d Model MakeHuman-Generated a base 3D model for fitting costume elements
Version 1 – Initial Test with Tulle Fabric¶
In the first version, I printed a three-layer scale pattern using a 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 then 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.
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:
1.I used painter’s tape to secure all edges of the tulle to the print bed, keeping it taut and flat.
2.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.
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.
Version 4 – Satin Fabric and Partial Adhesion¶
This time, I experimented with satin—a smooth, glossy fabric that’s commonly used in costume design. The 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.
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.