6. Computational Couture

Research & Ideation

Introduction to computational couture

In the world of fashion and textile design, computational couture is an innovative approach that leverages algorithms, parametric design, and digital fabrication to craft unique, customizable pieces. Unlike traditional methods, where physical material constraints and manual skills play a significant role, computational couture harnesses the power of computational design to manipulate shapes, forms, and patterns in a digital environment. These digitally created designs can then be fabricated with precision, pushing boundaries in aesthetics and functionality that are challenging or impossible to achieve through conventional methods.

Inspirations from computational couture pioneers:

When I first came across the term 3D printing, the first thing that came to mind was the work of Iris Van Herpen. She has been my greatest inspiration for 3D printing and laser cutting, motivating me to create a small sample inspired by her collection. Most of my inspiration comes from—

-Iris Van Herpen

-Julia Koerner

-Labeledby

-Buj Studio

Grasshopper with Rhino 3D

Grasshopper is a visual programming language plugin for Rhino 3D, offering a powerful environment for parametric design. This tool allows designers to automate and manipulate complex geometric forms by creating algorithms through a node-based workflow. Rather than manually modeling every detail, designers can use Grasshopper to create rules and parameters that dynamically adjust the design, making it invaluable for computational couture and architectural applications.

Process and workflow

STEP 1

To design a parametric pattern in Rhino with Grasshopper, first, ensure Grasshopper is added to Rhino. In Rhino's top toolbar, navigate to 'Tools,' find 'Grasshopper,' and click on it to launch the interface. Once open, you can start placing components and adjusting parameters to generate your desired pattern. Let me know if you need further assistance with specific patterns or algorithms.

STEP 2

I worked on designing a flower pattern in Grasshopper, drawing on my background in crop sciences and my interest in design. My goal was to create a parametric design that could adapt to various shapes and sizes, making it versatile for different spaces. This process allowed me to experiment with geometry and structure, balancing aesthetics with functionality. Through this approach, I aimed to design a visually appealing flower pattern that is both easy to assemble and practical for real-world application.

STEP 3

STEP 4

I keep working in Grasshopper and Rhino to refine my design and reach the desired outcome. This process enables me to tweak the structure and details until everything fits seamlessly.

STEP 5

STEP 6

STEP 7

STEP 8

Slicing

3D printers work with GCODE files, which are interpreted by them to create layers of material, which will be stacked and generate the printed 3D model. With the modeling ready, the next step is to send it to a slicing software that will analyze the file to be printed and can configure wall patterns, filling, layer height, temperature, support, speed, among other settings. I used the cura software with the following settings:

3D Printer

There are several types of 3D printing, and the one I used is FDM (Fused Deposition Modeling). This technique works by feeding a thermoplastic filament into a heated nozzle, where it melts and is carefully deposited onto the build platform. As the material cools and solidifies, additional layers are added on top, gradually forming the final structure. This layer-by-layer approach allows for the creation of complex shapes while maintaining strength and precision in the printed object.

I transferred the .gcode file to the removable card of the Ender 3D printer. Using the display screen, I navigated through the digital interface to access the card and select the file for printing. Once initiated, the nozzle began heating up, and when it reached the required temperature to melt the filament, the extruder fed the filament into the hot end. This prepared the printer for material deposition—in my case, Esun’s PLA+.

The print head (HotEnd) moves down to the build platform and begins extruding the heated filament. As the material is deposited, it quickly cools and solidifies with the assistance of the part cooling fan(s), ensuring proper adhesion and structural integrity. The printer builds the object one layer at a time, carefully following the programmed path. Once a layer is completed, the print head shifts slightly upward along the Z-axis, allowing the next layer to be printed on top. This process repeats continuously until the entire part is fully formed, resulting in a precise and detailed final print.

Final result

I printed a version without the fabric on the table before the final version.

Printing on Fabric

Preparing the print bed

Regardless of the intended goal, the initial step should always be to clean the print bed using a small amount of alcohol and a tissue paper to ensure a smooth surface. When working with fabric, it is essential to secure it properly to the print bed. The fabric may be stretched to varying degrees depending on the desired outcome, but it must always lie completely flat to prevent printing issues. To achieve this, the fabric should be firmly taped to the back of the print bed using paper tape. After securing it, it is important to test whether the fabric remains in place or shifts. If there is any movement, it indicates that the fabric is too loose, which can cause problems such as the nozzle burning the textile or damaging the print quality. Proper attachment and stability are crucial for achieving the best results.

3D Printing

With my G-code file ready and the printer bed properly prepared, I was set to begin printing. Here are the steps I followed:

1. Powering on the printer – I switched on the Ultimaker 2+ using the power button located at the back.

2. Selecting the filament – I chose the filament I wanted to use, ensuring it had a diameter of 2.85 mm, which is required for the Ultimaker.

3. Loading the filament – I positioned the filament spool correctly and inserted the filament into the designated opening.

4. Initiating the filament loading process – On the printer’s digital screen, I selected "Load Filament."

5. Waiting for the correct filament color – I observed the nozzle until the melted material of the correct color was extruded. Since residual material from previous prints is often left in the nozzle, I waited until the new filament fully replaced the old one. Once the color was correct, I confirmed that the loading process was complete.

6. Selecting the material type – I navigated to the "Material" settings on the screen and selected the type of filament I was using—mostly PLA. The printer automatically adjusted the nozzle and print bed temperatures based on my selection.

7. Calibrating the print bed – I accessed the "Maintenance" menu, selected "Build Plate," and followed the guided process to calibrate the nozzle’s position relative to the print bed.

8. Uploading the G-code file – I inserted an SD card to transfer my G-code file to the printer.

9. Starting the print – The object I was printing was a flower design, which I planned to turn into an earring.

When printing PLA on fabric, it is wise to adapt two settings, namely the speed from 100% to 75% (from 60 mm/sec to 45 mm/sec), and the bed temperature from the predefined setting of 60 degrees celcius to 100 degrees celcius. The nozzle temperatue I kept on the predefined setting of 215 degrees celcius. These adaptations help the print quality and make sure that the plastic adheres better to the fabric. So these were the settings I adhered to for all my print work on the Ultimaker.

TIME TO PRINT

RESULT