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Alternative Pattern-making 3D Design Software

Conference Paper · September 2020

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Alternative Pattern-making 3D Design Software

Lida Aflatoony and Abby Romine, University of Missouri, USA

Keywords: 3D design, Pattern-making, CAD, Software

Introduction: The purpose of this project was to explore alternative design software that
allow 3D designs to easily convert into 2D patterns for apparel production. The 3D design
software programs explored for this project include CAD software Rhinoceros (Rhino) and 3D
Studio Max (3DsMax). In comparison to software such as Optitex, Modaris 3D Lectra, and
other pattern-making software, these alternatives may be more accessible to design students,
present a user-friendly interface, allow a more abstract approach in design creativity, and
provide the interdisciplinary value beneficial for projects that may evolve into 3D printing.
Although learning the professional pattern-making software is essential for apparel design
students entering the apparel industry, these software programs however, are not accessible to
many students outside of their institution or working context. Learning alternative design
software assists students to not being detached from the technology while being outside of the
didactic or industry circumstances.
Literature and Background Research: There are multiple ways to approach 3D design
with CAD software programs. An approach suited for apparel design involves cutting planes to
build semantic feature classifications on the vertices, edges and faces of the body scan mesh
such as the neck, shoulder, chest, bust, waist, hips, etc., as necessary to accommodate the
garment design (Liu et al., 2010, 577). This precise base model approach then allows for
apparel design modeling to be guided by two design zones, design for fit, or design for fashion
(Kim & Park, 2007). Fit zone modelling proceeds by digitizing the body scan data to create
optimum fit as well as the ideal shape of the garment. Fashion zone modelling uses parameters
that determine the aesthetic appearance of the garment that users can design garments with
various silhouette intuitively (Kim & Park, 2007, 8). These models then transform into the next
step, which is producing patterns for garment construction.
Pattern making methods by computer, studied by Yunchu and Weiyuan (2007) identify
two types which are geometrical flattening and physical flattening. Geometrical flattening
techniques do not consider the physical properties of materials and require complex spatial
rotations and translations to transform 2D segments from individual planes of projection into a
chain-linking plane (x, z) of segments into the contours of individual 2D cutting patterns.
Physical flattening represents cloth models as triangular or rectangular grids with points of
finite mass at the intersections (336). Distortions in the 2D pattern flattened from 3D apparel
model do occur, and require examination before utilizing (Yunchu & Weiyuan, 2007). It can be
difficult to construct the real garment model in these systems but with experience and software
knowledge precision can be obtained.

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© 2018, International Textile and Apparel Association, Inc. ALL RIGHTS RESERVED
ITAA Proceedings, #75 – http://itaaonline.org
2018 Proceedings Cleveland, Ohio

Concept: Access to design software such as Optitex and 3D Modaris Lectra may present
challenges to design students, whether that includes financial, technological, or design process
challenges. Introducing 3D CAD design software to design students enables the ability to
explore a new thought process when approaching design. This exploration may involve body
to garment relationship design, or abstract design utilizing 3D objects that can then be modeled
around and transformed while varying the body shape and size through the addition of
geometric shapes that may then present new creative design thinking.
Process: The common thread amongst these 3D design software programs begin with the
use of a 3D body scan saved as a stereolithography file (.stl). The body scan creates the base
avatar, or dress form that could then be used to model 3D apparel designs. These designs could
map the body for a fitted look in case of using stretchable fabrics such as bodysuits, or away
from the body to create a more abstract, sculptural look by applying a reasonable amount of
ease. The design process involves thinking of how to obtain the end design through the use of
geometric shapes and modifications. The user interface provides examples and instruction of
each step that needs to be taken to achieve the end goal. Multiple design attributes are
available through descriptive icons, or easily typed commands that populate immediate word
lists to choose the desired action. For example, steps to follow this process in Rhinoceros
involve capturing the 3D object, alignment of the object with the horizontal and vertical axis,
providing cross sectional segments and dividing the body into critical sections (such as arms,
upper body, and lower body), connecting sections, applying ease, separating the front and back
pieces, and finally obtaining the 2D image of each piece in PDF (Figure 1). Patterns are then
created from these 2D images and allow us to construct the garment for the final stage to verify
the sewn garment represents the same characteristics of the digital 3D model.

Figure 1.

Conclusion: According to this empirical research, this design process relies on the users’
selection for each modification, making an individual apparel piece, or a full ensemble a quick
transition into patterns, sections, or exploded diagrams. These tools allow for pattern pieces to
then be printed and used for garment assembly, as well as provide design communication for
technical specification packages, presentations, and professional student portfolio projects. The
conversion from 3D to 2D designs in Rhino and 3DsMax differ in process, but both present
user-friendly interfaces, and multiple viewports for accuracy and precision in design.
Acknowledgement: Special thanks to Dr. Kristen D. Morris and Dr. Bimal Balakrishnan
for their mentorship with this project.
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© 2018, International Textile and Apparel Association, Inc. ALL RIGHTS RESERVED
ITAA Proceedings, #75 – http://itaaonline.org
 2018 Proceedings Cleveland, Ohio

References:

Kim, S., & Park, C.K. (2007). Basic garment pattern generation using geometric modeling
method. International Journal of Clothing Science and Technology, 19(1), 7-17.

Liu, Y.-J., Zhang, D.-L. and Yuen, M.-F. (2010). A survey on CAD methods in 3D garment
design. Computers in Industry, 61, 576-591.

Yunchu, Y., & Weiyuan, Z. (2007). Prototype garment pattern flattening based on individual
3D virtual dummy. International Journal of Clothing Science and Technology. 19(5),
334-348.

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© 2018, International Textile and Apparel Association, Inc. ALL RIGHTS RESERVED
ITAA Proceedings, #75 – http://itaaonline.org

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