Physics-driven pattern adjustment for direct 3D garment editing

Abstract

Designers frequently reuse existing designs as a starting point for creating new garments. In order to apply garment modifications, which the designer envisions in 3D, existing tools require meticulous manual editing of 2D patterns. These 2D edits need to account both for the envisioned geometric changes in the 3D shape, as well as for various physical factors that affect the look of the draped garment. We propose a new framework that allows designers to directly apply the changes they envision in 3D space; and creates the 2D patterns that replicate this envisioned target geometry when lifted into 3D via a physical draping simulation. Our framework removes the need for laborious and knowledge-intensive manual 2D edits and allows users to effortlessly mix existing garment designs as well as adjust for garment length and fit. Following each user specified editing operation we first compute a target 3D garment shape, one that maximally preserves the input garment's style-its proportions, fit and shape-subject to the modifications specified by the user. We then automatically compute 2D patterns that recreate the target garment shape when draped around the input mannequin within a user-selected simulation environment. To generate these patterns, we propose a fixed-point optimization scheme that compensates for the deformation due to the physical forces affecting the drape and is independent of the underlying simulation tool used. Our experiments show that this method quickly and reliably converges to patterns that, under simulation, form the desired target look, and works well with different black-box physical simulators. We demonstrate a range of edited and resimulated garments, and further validate our approach via expert and amateur critique, and comparisons to alternative solutions.

An implicit frictional contact solver for adaptive cloth simulation

“…appeared in the latest years, such as non-invasive parameter estimation [Miguel et al 2012], inverse design [Bartle et al 2016;Casati et al 2016], perceptual evaluation for artistic input [Sigal et al 2015], sound generation , or even manipulation by controlled avatars [Clegg et al 2015]. In computer graphics, the current background and set of tools for simulating the dynamics of cloth also gives the hope for multiple synergies to come with other disciplines: with the textile engineering community for instance, by merging virtual prototyping and real manufacturing of garments [Bingham 2012;Konaković et al 2016]; or with the robotic and medical assistance fields, by helping measure the feeling of a person when touching and grasping fabric [Erickson et al 2017].…”

Inverse elastic shell design with contact and friction

“…Moreover, although compression is predominant on our examples, dilatation still plays an important role, especially for the beret and puff sleeve examples where the natural shape needs to be inflated to account for the target. Note that such examples could not have been treated with methods limited to compression, such as [Bartle et al 2016].…”

Research on garment pattern design based on fractal graphics

“…Geometrical design and flower design are common themes in clothing design, of which rich and colorful decorative form is deeply loved by people [16], and it is an indispensable decorative form for beautifying life. The organizational foundation of geometrical design is composed of rehearsals and interweaves of points, lines, and faces, extending from a certain angle, distance, and direction, and organized into esthetic, visual, rigorous, and implicit forms of expression according to certain principles [17]. The geometrical design is the organic combination of various visual elements making people feel rich and unified, diverse, and organized, which is full of symbolism and form and exudes infinite artistic charm.…”