Synth Fashion: Generative Design Experiments for Creating Digital Fashion Products (Media Art Video / Print) Abstract

Total Page：16

File Type：pdf, Size：1020Kb

Synth Fashion: Generative Design Experiments for Creating Digital Fashion Products (Media Art Video / Print) Abstract

GA2015 – XVIII Generative Art Conference DamlaSoyer Synth Fashion: Generative design experiments for creating digital fashion products (Media Art Video / Print) Abstract: The Synth Fashion project is a fashion and media art project that explores a design process that overlaps between the physical world and computer environment. Synth uses a process of designing fashion products by immersion and synthesis of mixture of environments of augmented reality. The project consists of three stages: 1. Digital Sketch: First, a model’s photos or videos are taken in a chosen environment. The images are used used to create computer-generated imagery that exactly fits into the shot by data with a match-moving software. The generated data creates the base for design sketching. 2. Form Production: Final output of the sketches are designed as 2D forms and then converted into 3D shapes through 3D computer graphics software. Topic: Digital Fashion 3. Manufacturing: 3D models of the designs are prepared for the use of and AR augmented reality or prepared for laser cutting and 3D printing process to be manufactured. Project’s method is the use of data synthesizer to create a platform to digital Authors: sketch as a starting point for a design product. The process it follows starting form real life and the creating data form a real world and turning into Damla Soyer virtual into real at the end. Hongik University, IDAS https://vimeo.com/91242743 https://vimeo.com/91848981 (International Design for http://digitalfashionn.blogspot.kr/ Advanced Studies) http://augmentedfashion.blogspot.kr/ Department: Design Studies Korea www.idas.ac.kr Contact: Keywords: Digital Fashion, Augmented Reality [email protected] GA2015 ------------------------------ XVIII Generative Art conference - page 422 --------------------------------- .

Copy Link

Recommended publications

MSC Apex Generative Design Brochure
Brochure MSC Apex Generative Design Bridge the gap between design and manufacturing with Smart Generative Design At a glance MSC Apex Generative Design is the fully automated generative design solution built on the most intuitive CAE environment in the world, MSC Apex. It exploits all the easy-to-use and easy-to-learn features of MSC Apex while employing an innovative generative design engine in the background. Thus, it dramatically decreases the effort required in the design optimisation workflow. Simplicity Import and validation No expert knowledge required for conducting Import existing geometries or mesh, find optimisations through a high user-focused optimised design candidates, and perform software design design validation - all inside a single CAE environment. Automated design Direct output Almost automatically generate multiple smoothed design candidates that all satisfy the Export geometry that can be directly design criteria while minimising the weight. manufactured and used immediately without manual re-work. One process Import the resulting geometries in Simufact Additive or Digimat AM to achieve cost-efficient first-time-right result for every part MSC Apex Generative Design Design for Additive Manufacturing (DfAM) without expert knowledge MSC Apex Generative Design is designed specifically to generate the detailed and highly complex structures that only additive processes can manufacture. The optimised designs exhibit perfect transitions between structure elements such as struts and shells as well as they contain usually self- supporting structures that ensure the results can be sent straight to print. However, in cases where further manufacturing and design validation is necessary, MSC Apex Generative Design is interoperable with Simufact Additive, Digimat AM, and MSC Nastran.
[Show full text]
Towards an Integrated Generative Design Framework
Towards an integrated generative design framework Vishal Singh, School of Architecture and Building, Deakin University, 1 Geringhap Street, Geelong, Victoria 3220, Australia Ning Gu, School of Architecture and Built Environment, University of Newcastle, New South Wales 2308, Australia Design creativity techniques encourage divergent thinking. But how well do the existing generative design techniques support this requirement? How can these general techniques be augmented for supporting design exploration and creativity? This paper investigates these questions through a review of five different generative design techniques used in architectural design that includes cellular automata, genetic algorithms, L-systems, shape grammars, and swarm intelligence. Based on the literature on design cognition and the recent theoretical works on digital design thinking, this paper proposes the need for an integrated generative design framework to enhance design exploration support for human designers. Potential challenges and strategies towards developing such an integrated framework are discussed. Ó 2011 Elsevier Ltd. All rights reserved. Keywords: generative design, architectural design, digital design, design cognition, reflective practise he main incentives for adopting generative design (GD) systems in Tarchitecture are to use computational capabilities to support human designers and (or) automate parts of the design process. The ability to explore larger design space and support design generation is one of the main objectives besides achieving efficiency
[Show full text]
TOOLS for CONVIVIALITY Transcribing Design
TOOLS FOR CONVIVIALITY Transcribing design elif Kendir, tim schork Spatial Information Architecture Laboratory School of Architecture and Design Royal Melbourne Institute of Technology Melbourne, Australia abstract: This paper presents the outcomes and findings of a semester long trans- disciplinary design studio recently taught at RMIT University, involving students from the disciplines of architecture, industrial design and landscape design. The focus of the studio was to investigate the creation and appropriation of tools for innovative design processes. Drawing on craft theory and theories of design and computation, this paper illustrates how tools can transgress disciplinary boundaries and investigates how an understanding of the intricate relationship between tools, techniques, the media they operate in and the design outcome is the premise of a more informed design approach. keywords: Craft Theory, Design and Computation, Design studio pedagogy, Tooling résumé : Cet article présente les résultats et conclusions d’un atelier de design transdiciplinaire donné à la RMIT University avec des étudiants en architecture, en design industriel et en design de paysage. L’objectif était d’examiner la création et l’appropriation d’outils consacrés aux processus innovateurs en design. S’appuyant sur la théorie des métiers et sur les théories en design et informatique, cet article illustre comment les outils peuvent dépasser les limites des disciplines qui leur sont propres, et il explore comment une compréhension de la relation com- plexe unissant outils, techniques et médias est la prémisse d’une approche de design mieux informée. mots-clés : Théorie des métiers, design et informatique, pédagogie en atelier de design, équi- pement CAAD Futures 2009_compile.indd 740 27/05/09 10:47:13 tooL for conviviaLitY 741 1.
[Show full text]
Substantial Changes in Graphic Design with the Emergence of Generative Design Processes 2019 I Index
Universidad Internacional de La Rioja Máster Universitario en Diseño Gráfico Digital Substantial Changes in Master in Digital Graphic design Graphic Design with the Emergence of Generative Design Processes Cambios profundos en Diseño Gráfico con la Aparición de los Procesos de Diseño Generativo Master’s thesis/ Trabajo fin de Máster (Trabajo Tipo 1) Presented by / Presentado por: Schimpf, Anna Veronica Donostia, 04.02.2019 Director / Directora: Moñivas Mayor, Esther “Design is where art and science break even.” – Robin Mathew 19/09/2018 Anna Veronica Schimpf _ Máster en diseño Gráfico Digital _Substantial changes in Graphic Design with the emergence of Generative Design processes _2019 i Index 0_ Abstract 1 0_ Resumen 2 1_ Introduction 1_ Introduction 3 1.1 Introduction 3 2_ Framework 1.2 Justification 4 1.3 Approach 6 3_ Goals & Method 1.3.1 Approach of solution 6 1.3.2 Scope and boundaries 7 1.3.3 Goals and focus 7 4_ Design Generative 1.4 Structure 8 2_ Basic Research Framework 9 5_ & Future Present 3_ Goals & Method 11 3.1 Initial hypothesis and general research goal 11 6_ Creation 3.2 Specific research questions 12 3.3 Method 12 3.3.1 A comprehensive literature review for goals 1 and 2 12 7_ Conclusions 3.3.2 A practical approach for goal 3 16 20/09/2018 8_ References Anna Veronica Schimpf _ Máster en diseño Gráfico Digital _Substantial changes in Graphic Design with the emergence of Generative Design processes _2019 ii 4_ Understanding the Generative Design phenomenon 19 4.1 Introduction to Generative Design 19 4.2 Key concepts
[Show full text]
Generative Adversarial Network-Based Visual Aware Interactive
GENERATIVE ADVERSARIAL NETWORK-BASED VISUAL-AWARE INTERACTIVE FASHION DESIGN FRAMEWORK By Ashenafi Workie Dessalgn A Thesis Submitted to Department of Computer Science and Engineering School of Electrical Engineering and Computing Office of Graduate Studies Adama Science and Technology University October 2020 Adama, Ethiopia GENERATIVE ADVERSARIAL NETWORK-BASED VISUAL-AWARE INTERACTIVE FASHION DESIGN FRAMEWORK By Ashenafi Workie Dessalgn Advisor: Prof. Yun Koo Chung (Ph.D.) A Thesis Submitted to Department of Computer Science and Engineering School of Electrical Engineering and Computing Office of Graduate Studies Adama Science and Technology University October 2020 Adama, Ethiopia APPROVAL PAGE The author, the undersigned, members of the Board of Examiners of the final open defense by “Ashenafi Workie Dessalgn” have read and evaluated his thesis entitled “GENERATIVE ADVERSARIAL NETWORK-BASED VISUAL-AWARE INTERACTIVE FASHION DESIGN FRAMEWORK” and examined the candidate. This is, therefore, to certify that the thesis has been accepted in partial fulfillment of the requirement of the Degree of Masters in Computer Science and Engineering. Name Signature Date Ashenafi Workie Dessalgn Name of the Student Prof. Yun Koo Chung Advisor External Examiner Internal Examiner Chair Person Head of Department School Dean Post Graduate Dean DECLARATION I hereby declare that this MSc. a thesis is my original work and has not been presented for a degree in any other university, and all sources of material used for this thesis have been duly acknowledged. Name: Ashenafi Workie Signature: _____________________ This MSc. thesis has been submitted for examination with my approval as a thesis advisor. Name: Yun Koo Chung (Ph.D.) Signature: _____________________ Date of submission: ____________________ DEDICATION To those who lost their lives through the pandemic of COVID-19 and Mr.
[Show full text]
AI and the FUTURE of MACHINE DESIGN Artificially Intelligent Systems Are Learning How to Develop New Products and Designs
DIGITAL DESIGN & MANUFACTURING AI AND THE FUTURE OF MACHINE DESIGN Artificially intelligent systems are learning how to develop new products and designs. What does that leave engineers to do? BY AHMED K. NOOR ot all that long ago, engineering was a profession conducted with pencils Nand paper. Calculations were done by hand and designs were sketched out on large sheets. From actual blueprints, physi- cal models would be made to work out how the final product should look and be made. Today, of course, engineering is a disci- pline intensely involved with computational and software tools. Computer-assisted design, computational fluid dynamics, and finite-element analysis applications are some of the basic tools that engineers deploy when creating new product designs. When physical models must be tested, prototypes can be printed directly from the computer files. Although these tools have enhanced the powers of engineers, the engineer is still clearly in control of the design process. technologies such as cognitive computing, But that control is now in question. There Internet of Things, 3-D (or even 4-D) print- is increasing interest in using new artificial ing, advanced robotics, virtual and mixed intelligence and other technologies to reach reality, and human machine interfaces, are higher levels of product automation and ac- transforming what, where, and how products celerate innovation of new products. Advanc- are designed, manufactured, assembled, es in AI, combined synergistically with other distributed, serviced, and upgraded. 1017_MEM_FEA_Generative Design.indd 38 8/31/17 3:16 PM MECHANICAL ENGINEERING | OCTOBER 2017 | P. 39 AI systems may soon design innovative new airframes and modular swappable interiors that can MACHINE DESIGN be customized to fit the needs of each flight.
[Show full text]
Exploration and Visualization of Large-Scale Generative Design Datasets
Dream Lens: Exploration and Visualization of Large-Scale Generative Design Datasets Justin Matejka, Michael Glueck, Erin Bradner, Ali Hashemi, Tovi Grossman, and George Fitzmaurice Autodesk Research, Toronto Ontario Canada {first.last}@autodesk.com Figure 1. Conceptual illustration of a collection of design variations for a single task: lifting a computer monitor 80mm off a desk. ABSTRACT Despite these advancements, the overall approach and is paper presents Dream Lens, an interactive visual interactive workflow used to design geometry has undergone analysis tool for exploring and visualizing large-scale little change: users leverage a set of primary creation and generative design datasets. Unlike traditional computer aided editing tools to build towards a single candidate design – a design, where users create a single model, with generative somewhat bottom-up approach. design, users specify high-level goals and constraints, and the system automatically generates hundreds or thousands of However, with ever increasing computing power and new candidates all meeting the design criteria. Once a large simulation methods, a relatively new technique of collection of design variations is created, the designer is left “generative design” has been introduced [27]. With this top- with the task of finding the design, or set of designs, which down approach, the designer specifies high-level goals and best meets their requirements. is is a complicated task constraints to the system, and allows the system to which could require analyzing the structural characteristics automatically generate geometry meeting those goals. Using and visual aesthetics of the designs. Two studies are this emerging computational workflow, a designer is no conducted which demonstrate the usability and usefulness of longer constrained to creating a single design solution.
[Show full text]
Curated Generative Fashion Design
ISSN: 2641-192X DOI: 10.33552/JTSFT.2020.06.000636 Journal of Textile Science & Fashion Technology Opinion Copyright © All rights are reserved by Fredrick Shaap Curated Generative Fashion Design Fredrick Shaap* Qiueue Research, Texas, USA *Corresponding author: Fredrick Shaap, Qiueue Research, 401 Congress Ave., Received Date: July 16, 2020 Austin, Texas 78701, USA. Published Date: July 24, 2020 Abstract The relevance of generative algorithmic design to fashion use cases has been demonstrated by way of an example involving the design of a fashion accessory item. The concept was used for designing the hardware for a modern interpretation of a woman’s vintage cinch belt with an interlocking buckle. The design variants made from a beta titanium alloy for minimum weight and maximum stiffness were generated and curated to an optimal subset for volume manufacturing. Keywords: Generative computer-aided design; Algorithmic fashion design; Aesthetic enhancement; Parametric design program Introduction The author has previously published examples of generative construction, engineering, etc. These products are either of the algorithmic design used for fashion design [1,2]. Similar to solutions developed specifically for use cases in architecture, more specialized and advanced type which are typically provided its applications in industrial design, engineering design and as standalone application software, or they are of the generic type architectural design, it was shown that generative computer-aided which are included as a module within a CAD software package. At design (GCAD) can be utilized to create fashion design variants the time of this writing, to the best of author’s knowledge, there encompassing attributes which readily meet and exceed the technical and aesthetic requirements of the task.
[Show full text]
The Convergence of Sound and Space 2
ACADEMY OF NEUROSCIENCE FOR ARCHITECTURE ANFA 2016 CONFERENCE R Resonant Form: The Convergence of Sound and Space 2. IMPLICATIONS FOR FUTURE WORK ESONANT While this body of research and design currently remains in the realm of proposition and experimentation, the exploration SHEA MICHAEL TRAHAN, ASSOCIATE AIA, LEED AP, M.ARCH acts to exhibit how lessons learned through cross-disciplinary research might be applied into the built environment. Potential F Trapolin Peer Architects OR [email protected] programmatic uses for such architectural spaces would include sensory laboratories, sonic therapy chambers, sonic exploratoria, M : use in theater design, church/sacred spaces, and even urban follies offering a sonic oasis from a disastrous urban soundscape. The T H E “Listen! Interiors are like large instruments, collecting sound, amplifying it, trasmitting it elsewhere.” - Peter Zumthor built results of such research may someday offer the opportunity for further acoustic testing. Such a focus on the power of sound C to effect brain states could offer exciting new insight into the role of architecture in creating healthy spaces; or taken to its furthest ONVERGENCE Human spatial perception is a sensual experience of the world we inhabit. While we experience architecture through all of our senses by varying extents, create tools for meditative experience and instruments for expanded sonic perception. degrees, the process of design has long preferenced the visual at the expense of other modes of perception. This body of research and proposed design methodology aims to focus on acoustic aesthetics to create spaces which manifest sonic phenomenon that not only elicit psychological 3. REFERENCES OF responses for inhabitants but also induce shifts in brain states toward meditative and/or mystical experience.
[Show full text]
Generative Design: Redefining What's Possible in the Future of Manufacturing
GENERATIVE DESIGN: REDEFINING WHAT’S POSSIBLE IN THE FUTURE OF MANUFACTURING 4 GENERAL MOTORS 8 SOCIAL HARDWARE Driving a Lighter, More Efficient Meet the Prosthetics Start-Up Future of Automotive-Part That’s Aiding Amputees in Rural Design at GM India With Helping Hands 12 STEPHEN HOOPER 16 CLAUDIUS PETERS 21 PHILIPPE STARCK The Promise of Manufacturing Heavy-Equipment Manufacturer From Analog Ideas to Digital Automation for All Starts With Brings Generative Design Down Dreams, Philippe Starck Designs Generative Design to Earth the Future With AI 25 EDERA SAFETY 29 DENSO This Spine Protector That’s Worn Japan’s DENSO Takes on the as a Second Skin Makes Extreme Engine Control Unit, a Small but Sports Extremely Safer Mighty Auto Part GENERATIVE DESIGN: REDEFINING WHAT’S POSSIBLE IN THE FUTURE OF MANUFACTURING Introduction Technology has played a key role in the design and French creator and visionary Philippe Starck designed the manufacturing of products for years. Having said that, I world’s first production chair created by AI in collaboration think it’s fair to say that technology has been used primarily with humans. And find out how heavy-equipment as a productivity tool. But imagine if technology could be manufacturer Claudius Peters is using generative-design our partner in the process instead. That’s the idea behind technology for traditional fabrication methods. generative design, an artificial intelligence–based design exploration process that lets humans and machines create But not only well-known brands are embracing generative together. design. Start-ups, makers, and universities are also using it to create everything from affordable prosthetic devices With generative design, designers and engineers shift their to search-and-rescue drones to a humanoid robot that may focus from drawing things and storing them in a computer to allow us to better understand the human brain.
[Show full text]
Generative Design for Textiles: Opportunities and Challenges for Entertainment AI
Proceedings, The Thirteenth AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment (AIIDE-17) Generative Design for Textiles: Opportunities and Challenges for Entertainment AI Gillian Smith Worcester Polytechnic Institute Worcester, MA, USA [email protected] Abstract into the final product. Producing textiles is a long and labor- intensive process, but also an enjoyable one performed by This paper reports on two generative systems that work hobbyists and professional artists alike; thus, there are also in the domain of textiles: the Hoopla system that gener- parallels to experience-driven procedural generation (Yan- ates patterns for embroidery samplers, and the Foundry nakakis and Togelius 2011), where the focus is on creating system that creates foundation paper piecing patterns for quilts. Generated patterns are enacted and inter- interesting and valuable play processes. Finally, textile pat- preted by the human who stitches the final product, tern generation must also be heavily product-driven: the aes- following a long and laborious, yet entertaining and thetics of the final piece are important and must be formally leisurely, process of stitching and sewing. The blend- represented and evaluated, whether by machine or human ing of digital and physical spaces, the tension between curator. Textile pattern generation is thus an interesting, new machine and human authorship, and the juxtaposition of domain for computational creativity that sits at the intersec- stereotypically masculine computing with highly femi- tion of three major concerns of the field: authorship, process, nine textile crafts, leads to the opportunity for new kinds and product. of tools, experiences, and artworks. This paper argues for the values of textiles as a domain for generative As part of an exploration into textiles as a domain for methods research, and discusses generalizable research generative design research, this paper reports on two experi- problems that are highlighted through operating in this mental generative systems each for a different craft.
[Show full text]
Sonic Interaction Design Sonic Interaction Design
Sonic Interaction Design Sonic Interaction Design edited by Karmen Franinovi ć and Stefania Serafin The MIT Press Cambridge, Massachusetts London, England © 2013 Massachusetts Institute of Technology All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval) without permission in writing from the publisher. MIT Press books may be purchased at special quantity discounts for business or sales promotional use. For information, please email [email protected] or write to Special Sales Depart- ment, The MIT Press, 55 Hayward Street, Cambridge, MA 02142. This book was set in Stone Sans and Stone Serif by Toppan Best-set Premedia Limited, Hong Kong. Printed and bound in the United States of America. Library of Congress Cataloging-in-Publication Data Sonic interaction design / edited by Karmen Franinovi ć and Stefania Serafin. pages cm Includes bibliographical references and index. ISBN 978-0-262-01868-5 (hardcover : alk. paper) 1. Sonic interaction design. 2. Product design. 3. Sound in design. 4. Human-computer interaction. I. Franinović , Karmen, 1975 — editor of compilation. II. Serafin, Stefania, 1973 — editor of compilation. TS171.S624 2013 004.01 ' 9 — dc23 2012028482 10 9 8 7 6 5 4 3 2 1 Contents Introduction vii I Emergent Topics 1 1 Listening to the Sounding Objects of the Past: The Case of the Car 3 Karin Bijsterveld and Stefan Krebs 2 The Experience of Sonic Interaction 39 Karmen Franinovi ć and Christopher Salter 3 Continuous Auditory and Tactile Interaction Design 77 Yon Visell, Roderick Murray-Smith, Stephen A.
[Show full text]