6. Computational Couture¶

Where fashion meets computation, new digital design methodologies emerge. This week we entered the world of parametric design. Parametric design uses algorithms and parameters to create models and patterns where one change automatically updates the entire design.

In this unit, we learned to use Rhino (powerful 3D software) & Grasshopper (a plug-in for parametric design). Such computational tools enable fashion-tech designers to create intelligent textiles and wearables that extend the human body. Programming and electronics interconnect with design for expression (wearable art, custom jewelry, etc.), interaction (responsive to the environment, others), and function (e.g. clothes for health and sports).

References & inspiration¶

I am fascinated by the mesmerizing "randomness" of veronoi patterns.

A voronoi diagram is a type of diagram where a number of points are scattered on a plane and divided into n number of cells, which enclose a region of the plane closest to each respective point. Voronoi diagrams are found in nature, architecture and art.

~ From The Fascinating World of Voronoi Diagrams

La Pedrera gates by Antoni Gaudi, Florescence Onata by Nervous System, Hyper Rhizome by Diana Scherer:

Dress by Iris Van Herpen:

Projects employing parametric design by Julie Koerner:

Research & learning¶

My process was to learn basics of Rhino 3D software and Grasshopper parametric design, then try 3 paths:

Rhino model > 3D print (voronoi panel)
Sketch > vector > Rhino > 3D print on fabric (circles analog sketch)
Voronoi pattern in Grasshopper > Rhino > 3D print on fabric (voronoi attractor points)

Rhino & Grasshopper basics¶

Goal: Learn Rhino 3D software and Grasshopper plug in. Wow, hard goal, given that I was flying solo this week (“at my lab/home”). So many tutorials, and each one felt like climbing a mountain in the dark. I needed my learning community! I was very proud of my first steps in working with algorithms in this basic circle, below. :)

I moved on to other basic shapes, distorting shapes ... and a mess of spaghetti, too:

I made these boxes (shown on the left in Rhino) in Grasshopper (shown on the right) without ever "touching" Rhino. Crazy, huh? When designing in Grasshopper, you're typically laying out the instructions and parameters from left to right. I found it super helpful to label the steps (numbers, points, etc.).

There is soooo much functionality possible within Grasshopper. I found it helpful to keep this Grasshopper icons window open as a holistic reference to all the categories and sub-categories.

Assignment

Create samples/swatches of 3D printing as fabric or on fabrics and a 3D/parametric model
Document the concept, sketches, references also to artistic or scientific articles on 3D printing and parametric modeling
Design a parametric model using Grasshopper3D or Blender (or alternative parametric software) and upload the 3D design file + required parametric files
Check out the full weekly assignment here.

Alum inspiration

Blender research and tutorials - Erika Mirzoyan - FabLab Armenia
Documentation grasshopper - Ola Muhanna - CPF
Dual filament 3d print research - Stephanie Johnson - TextileLab Amsterdam
3d print on fabric - Zahia Albakri - CPF Makerspace
3d print on fabric - Aslı Aydın Aksan - TextileLab Amsterdam
Visaulisations & Ideation - Dinesh Kumar - FabLab Bcn
Voronoi pattern exploration - Viviane Labelle - Echofab Montreal

Voronoi panel¶

Goal: Work with an existing complex 3D model — understand it, manipulate/adjust it, export and print it. √ Check.

Voronoi Panel by Kim Ducharme on Sketchfab

Circles analog sketch¶

Goal: Go from analog image or sketch > vector > Rhino > 3D print.

Process: Start with a sketch > bring it into Illustrator > trace outlines to create a vector > adjust shapes as needed > save as an .svg > bring it into Rhino > adjust dimensions, thickness > export GL code to Prusa slicer > 3D print.

I used an image from an Attractor Circles tutorial by Fredrik Skåtar. I was not yet able to create the model from scratch, but that's next! I did not have time to take this all the way to 3D printing, but look forward to experimenting with printing on different fabrics when I get back to Artisans Asylum in Boston.

Voronoi attractor points¶

Finally, I tacked a veronoi pattern inspired by the work of alum Viviane Labelle.

Once I was happy with the pattern and arrangement of shapes created with Grasshopper, I prepared the Rhino file for export. There was a question of whether the print needed to have a gap in order for the 3D printer nozzle to not drag on the mesh fabric. So, I prepared test files with no gap, a 0.1mm gap, and a 0.2mm gap.

Here are the initial Prusa slicer settings for those tests, with the print set to pause at 0.40, after the first two layers of filament:

After the first two layers of filament are printed, the fabric is carefully secured to the 3D printer bed, then printing resumes:

The test prints failed several times using organza fabric. It turns out the 3D printers are very finnicky about fabrics and thicknesses. This photos below show organza and mesh fabrics full of possibility on the left, and a few failed prints on the right.