La Bricoleuse (![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png)
labricoleuse) wrote2009-07-15 08:00 am
labricoleuse) wrote2009-07-15 08:00 am
Entry tags:
Rendering in CAD and a book review
Wow, two weeks since i last updated! I think that's a record for the amount of time this blog has lain fallow.
Part of that's due to the fact that one of my current freelance jobs is not something i'm cleared to write about at all for industry confidentiality reasons. (Wow, doesn't that sound mysterious? It's not something on the level of, "I could tell you, but then i'd have to kill you," i swear! It's just not something i can post about online in public fora.)
But, part of it also is due to a course i'm taking right now, a CAD course aimed at fashion and textiles industry folk over at NC State's Textiles college. NC State's College of Textiles is one of the best in the world--they teach it all, from design to manufacture, and their facilities have a range of state-of-the-art equipment and brand-new technology. This summer, they're offering their introductory CAD for Apparel class, which you normally have to take on-site during a regular semester. I couldn't pass up the opportunity to take it, but it's like "CAD on steroids" or something--we're doing 14 weeks of learning in only 5 weeks, so to say that it takes up a lot of my time would be an understatment. However, what i'm learning is invaluable and excellent, and today, i'd like to talk about it a bit!
When many folks talk about "CAD," they actually mean the program AutoCAD, which is heavily used in many industries for a variety of applications (for example, it's pretty much replaced hand-drafting of plans and blueprints in architecture). I've posted in the past about a few options for commercial CAD software aimed at garment-makers, in fact.
The term CAD though is an overall acronym which stands for Computer-Aided Design, and in this course, we're addressing a whole range of programs applicable to different steps in the design process, from compilation of initial research, to rendering of garment designs, to patterning the garments themselves, to establishing efficient cutting layouts. The info is of course all presented in a fashion-industry context, but I'm looking at it all with an eye to how we could utilize elements of their technology for our own purposes in costume production.
I've always suspected that Adobe Illustrator would be of great use to costume designers, particularly in a case where you need to crank out a huge number of design renderings...like, oh, say, for![[livejournal.com profile]](https://www.dreamwidth.org/img/external/lj-syndicated.gif)
nicknickleby? Sure enough, from the work i've done recently learning to use it for apparel applications, my suspicions are confirmed. If i were a designer, i'd definitely start building a library of digital croquis files and garment shapes, because the sketch-up of initial renderings would be such a breeze, and would create images that could be emailed to directors and design teams and shop staffs in a trice, without worrying about whether a scanner would pick up all the nuances of some jacked-up pencil scribbles or whatev.
We've been focusing on using Illustrator to create apparel flats, which are basically those little images on the backs of sewing patterns which detail the front and back of the garment, showing all the seamlines and major design details.
I started out doing the simple garment styles in a series of textbook projects, like these flats of a tank and long-sleeved knit top:
A couple slightly more complex flats, also a textbook exercise.
After doing a whole pile of the textbook exercise flats, I was able to move on to doing some flats of my own devising, such as this women's jacket based on a traditional insulated canvas men's work jacket:
And it's the ever-popular Lady Artisan's Apron!
Finally, once I did a bunch of apparel flats, I moved on to something as complex as a spec sheet, a document illustrating all the various construction details and measurements for a manufacturer:
In the course of converting these files to small enough JPGs to make sense on a webpage, some of the clarity of line detail was lost, but i think you can still get a good idea of what they are. I initially had converted them to PDFs, which retained all the detail and would be great to email to a design team, in that they could be printed out if need be and distributed to drapers and would be exactly the clarity desired.
That textbook i mentioned is Fashion Computing: Design Techniques and CAD, by Sandra Burke, from FashionBooks.info.
It's a really good introductory text for learning about garment rendering techniques and covers a range of different programs--not only Illustrator, but also the same techniques in CorelDRAW and Freehand, as well as a bunch of info on using other programs for garment design and construction processes. It walks you through methods for creating a whole range of garment illustrations for women, men, and children, and gives you tips for how to create different style and fabrication looks (like how to render drapey folds, or insert a pattern or print).
So! If you are an utter beginner and want to start using a vector-based drawing program like Illustrator, CorelDRAW, or Freehand to help with rendering, it's a great book to pick up, and the price point is low for a textbook (about $30), which, given that purchasing the program itself will set you back a couple hundred, is a boon.
You know, I was really struck in the course of this section of the class by the fact that, in the costume design and production process, we sometimes don't even have the apparel-flat step, going instead from the stylized rendering directly into the mockup or "sample garment." Maybe a draper will talk about seamlines and construction details in an initial conversation with a designer about renderings, or ask for a more detailed sketch of an element of a garment. Maybe a designer will provide those details in her/his initial rendering even, or send some research pictures noting seamline placements. But, in general, it's a missing step in our process, and how much miscommunication and waste of time and muslin could be avoided were we to begin to incorporate it?
Whether it be that a designer or design assistant sits down with the stylized renderings and bangs out apparel flats in Illustrator before turning in the designs to the shop, or that a draper evaluates a stack of assigned renderings and generates a few quick flats for the purposes of style-line and seam-placement discussion BEFORE going into mockup fabric, it seems like this technology could be of such help to our industry. Because, seriously, once you grasp the way the program works and how to draw flats with it, you can just crank them out in a few minutes! Okay, more than a few for a more complex garment, sure, but still, much faster than sketching by hand, scanning, and tweaking the sketch in Photoshop, and definitely much faster than draping or drafting a mockup and stitching it up in muslin.
I think it's one of those cases like safety regulations--chalk it up to ignorance on behalf of the average theatre practitioner, not willful negligence. The fashion industry and professional costume production have largely diverged, and because of our lower budgets, much smaller production quantities, and lack of access to new fashion technology trends, we're at an innovational disadvantage. But you know, that's one reason i really wanted to take this course: more of us need to cross over there, pick and choose from what they've developed and try to pull some of it into our industry, too.
We're moving into pattern development software so i plan to post about that experience soon, too, and we'll also be covering textile print design and digital portfolio creation, so that's on the horizon as well. And, i do have a millinery post or two brewing, hopefully coming in the next coupla weeks, about this exciting trio of hats i'm making on a bid job for the Williamstown Theatre Festival!
Part of that's due to the fact that one of my current freelance jobs is not something i'm cleared to write about at all for industry confidentiality reasons. (Wow, doesn't that sound mysterious? It's not something on the level of, "I could tell you, but then i'd have to kill you," i swear! It's just not something i can post about online in public fora.)
But, part of it also is due to a course i'm taking right now, a CAD course aimed at fashion and textiles industry folk over at NC State's Textiles college. NC State's College of Textiles is one of the best in the world--they teach it all, from design to manufacture, and their facilities have a range of state-of-the-art equipment and brand-new technology. This summer, they're offering their introductory CAD for Apparel class, which you normally have to take on-site during a regular semester. I couldn't pass up the opportunity to take it, but it's like "CAD on steroids" or something--we're doing 14 weeks of learning in only 5 weeks, so to say that it takes up a lot of my time would be an understatment. However, what i'm learning is invaluable and excellent, and today, i'd like to talk about it a bit!
When many folks talk about "CAD," they actually mean the program AutoCAD, which is heavily used in many industries for a variety of applications (for example, it's pretty much replaced hand-drafting of plans and blueprints in architecture). I've posted in the past about a few options for commercial CAD software aimed at garment-makers, in fact.
The term CAD though is an overall acronym which stands for Computer-Aided Design, and in this course, we're addressing a whole range of programs applicable to different steps in the design process, from compilation of initial research, to rendering of garment designs, to patterning the garments themselves, to establishing efficient cutting layouts. The info is of course all presented in a fashion-industry context, but I'm looking at it all with an eye to how we could utilize elements of their technology for our own purposes in costume production.
I've always suspected that Adobe Illustrator would be of great use to costume designers, particularly in a case where you need to crank out a huge number of design renderings...like, oh, say, for
nicknickleby? Sure enough, from the work i've done recently learning to use it for apparel applications, my suspicions are confirmed. If i were a designer, i'd definitely start building a library of digital croquis files and garment shapes, because the sketch-up of initial renderings would be such a breeze, and would create images that could be emailed to directors and design teams and shop staffs in a trice, without worrying about whether a scanner would pick up all the nuances of some jacked-up pencil scribbles or whatev.We've been focusing on using Illustrator to create apparel flats, which are basically those little images on the backs of sewing patterns which detail the front and back of the garment, showing all the seamlines and major design details.
I started out doing the simple garment styles in a series of textbook projects, like these flats of a tank and long-sleeved knit top:
A couple slightly more complex flats, also a textbook exercise.
After doing a whole pile of the textbook exercise flats, I was able to move on to doing some flats of my own devising, such as this women's jacket based on a traditional insulated canvas men's work jacket:
And it's the ever-popular Lady Artisan's Apron!
Finally, once I did a bunch of apparel flats, I moved on to something as complex as a spec sheet, a document illustrating all the various construction details and measurements for a manufacturer:
In the course of converting these files to small enough JPGs to make sense on a webpage, some of the clarity of line detail was lost, but i think you can still get a good idea of what they are. I initially had converted them to PDFs, which retained all the detail and would be great to email to a design team, in that they could be printed out if need be and distributed to drapers and would be exactly the clarity desired.
That textbook i mentioned is Fashion Computing: Design Techniques and CAD, by Sandra Burke, from FashionBooks.info.
It's a really good introductory text for learning about garment rendering techniques and covers a range of different programs--not only Illustrator, but also the same techniques in CorelDRAW and Freehand, as well as a bunch of info on using other programs for garment design and construction processes. It walks you through methods for creating a whole range of garment illustrations for women, men, and children, and gives you tips for how to create different style and fabrication looks (like how to render drapey folds, or insert a pattern or print).
So! If you are an utter beginner and want to start using a vector-based drawing program like Illustrator, CorelDRAW, or Freehand to help with rendering, it's a great book to pick up, and the price point is low for a textbook (about $30), which, given that purchasing the program itself will set you back a couple hundred, is a boon.
You know, I was really struck in the course of this section of the class by the fact that, in the costume design and production process, we sometimes don't even have the apparel-flat step, going instead from the stylized rendering directly into the mockup or "sample garment." Maybe a draper will talk about seamlines and construction details in an initial conversation with a designer about renderings, or ask for a more detailed sketch of an element of a garment. Maybe a designer will provide those details in her/his initial rendering even, or send some research pictures noting seamline placements. But, in general, it's a missing step in our process, and how much miscommunication and waste of time and muslin could be avoided were we to begin to incorporate it?
Whether it be that a designer or design assistant sits down with the stylized renderings and bangs out apparel flats in Illustrator before turning in the designs to the shop, or that a draper evaluates a stack of assigned renderings and generates a few quick flats for the purposes of style-line and seam-placement discussion BEFORE going into mockup fabric, it seems like this technology could be of such help to our industry. Because, seriously, once you grasp the way the program works and how to draw flats with it, you can just crank them out in a few minutes! Okay, more than a few for a more complex garment, sure, but still, much faster than sketching by hand, scanning, and tweaking the sketch in Photoshop, and definitely much faster than draping or drafting a mockup and stitching it up in muslin.
I think it's one of those cases like safety regulations--chalk it up to ignorance on behalf of the average theatre practitioner, not willful negligence. The fashion industry and professional costume production have largely diverged, and because of our lower budgets, much smaller production quantities, and lack of access to new fashion technology trends, we're at an innovational disadvantage. But you know, that's one reason i really wanted to take this course: more of us need to cross over there, pick and choose from what they've developed and try to pull some of it into our industry, too.
We're moving into pattern development software so i plan to post about that experience soon, too, and we'll also be covering textile print design and digital portfolio creation, so that's on the horizon as well. And, i do have a millinery post or two brewing, hopefully coming in the next coupla weeks, about this exciting trio of hats i'm making on a bid job for the Williamstown Theatre Festival!
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you mean I'm supposed have a clue
how the garment is sposed to be constructed?
silliness aside looks like a great class
it is a good filler for that chunk of the process-
think many folks rely on a stock pile of patterns
and blend and alter them to make the design in mind.
well i did. when i was sewing alot-
fortunately i only had to worry about one size mine-
a whole cast of all sizes you'd need a room of patterns!
it'd be easier to have the info in a computer , draft in software
and print the pattern- but the fitting still needs human hands
think thats why McCalls patterns where better than butterick-
they test drove the patterns and altered them after drafting them.
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Also thanks for the valuable perspective on the difference between costume production and apparel manufacture. You do have naturally different goals, but putting it to words formalized the difference in my mind.
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And I have yet another advice request, if it's something you can help with. I have a pair of boots I want to redye. I know the basic process for this -- use a deglazer to remove sealants and dirt, condition the leather, dye, and seal.
My problem is, I don't exactly know exactly what will work best for my boots. They've been lacquered slightly and it's a smooth aniline leather. It's not a full out patent sheen, just a subtle gloss. Would regular deglazer remove that or would I need something else? A lot of leather refinishing tutorials say to just sand away the existing surface. Would that be better?
I don't care about getting rid of the existing color, I just need to remove the lacquer so that the leather will accept new color. I'm dyeing from a med brown to oxblood or cherry, so not a huge change.
One other question: if I want to do a rub off finish, can that be done with a water based dye or will it dry too quickly?
So, any ideas? Specific product recommendations? (I've seen one rec for fiebings.) Thanks for any help you can give me! I really like these boots so I want to make sure I don't destroy them. (It's the fluevog dame agnes boot, if you want to see exactly what I'm working with.)
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A rub-off finish has two components to it. The whole item is dyed the lighter value (so say, a true red in your case) and then the darker value is applied over top and buffed partially off. I think what you want to do is use something like Fiebings Red to dye the whole boot, then use an oxblood or cordovan colored shoe cream over top to achieve the rub-off effect.
Or at least, if i were given a pair of the Dame Agnes boots with a note to turn them a rub-off cherry effect, that's what i'd try doing!
Good luck! Those'll be beautiful shoes! (Already are, but the red sounds great.)
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The 'vogs were a stroke of luck! I happened to be in NYC the day they were having a mega clearance sale, so I got them for $60 instead of $375 or whatever the retail price was. My love for the rococo line outweighs my loathing of this kind of orangey brown. I've tried to like it, but it's got to go. IMO red goes with everything, so a good earthy, neutral red color will fill the same wardrobe niche.