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Minor 3D Hypercraft

STUDY YEAR

2018-2019 Flexible programme DMCI AD3DH

SEMESTER

5, 6 & 7

GR ADU AT ION SPECIAL IS AT ION

Fashion Design, Management and Branding

ECTS

30

COORDINATOR

Birgit Muis

E-MAIL

b.muis@hva.nl

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Content

1. Introduction 2. Programme 2.1 Programme Composition 2.2 Programme Description 2.3 Learning Objectives 3. Assignments 3.1 Assignments 3.2 Products 4. Practical info 4.1 Timeline Minor 3D Hyper 4.2 Guest Lectures 4.3 Literature 4.4 Websites 4.5 Excursions 4.6 Contacts 5. Assessments, Re-sits & Feedback 5.1 3D Hypercraft Test and Test Moments 5.2 Feedback 5.3 Re-sits 5.4 Euro Credit Transfer System (ECTS) and Study load 5.5 Assessment forms

1. Introduction 2

We all know consumerism and the unstoppable production of clothes has brought the fashion industry in a dangerous position of being the second most polluting industry in the world. We are destroying the planet with adding more and more clothing. It is necessary that something changes and the industry needs to offer various solutions for this urgent problem.

Designers houses do not offer solutions yet, start-ups try., but lack the structure to really make a difference. The questions stay unanswered so far, as the industry keeps on producing and selling. Global change is needed. Are you the game changer? Could you create with the tool of VP, timeless products; saving people, places, waste, within the virtual environment? Will you come up with an idea for clothing that is circular, a collection that answers the need for emotional durable design, or that one timeless technological jacket that replaces all other options for now and the coming 10 years.

Now that would be a radical shift! We want ideas, we want you to stop feeding consumerism.

Think about what you design for: To protest? To protect? Or just to produce?

Stick to simple rules: use less fabrics, create toiles in recycled or waste material. Choose your way of communicating on paper carefully; avoid waste!

“Buy less. Choose well. Make it last. Quality, not quantity.

Everybody’s buying far too many clothes.”

Vivienne Westwood

“It takes 145 million tonnes of coal to produce a year’s supply of fibre. Over 70 million trees are logged every year and turned into fibres like rayon and modal. Fashion is the source of 10% of global carbon emissions, making it the second dirtiest industry in the world.”

“The industry creates 80 billion clothing items each year of which 60 billion is thrown away each year.”

Source: Fashion for Good.

2. Programme 2.1 Programme Composition

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This minor will take you through the experience of developing a highly personal vision on clothing. You need a visionary approach of fashion and its importance in today’s world where creative thinking is necessary.

You will learn to translate your ideas into a challenging way of designing in the virtual world of 3D prototyping. Essential for your success will be the number of challenges you are willing to research and develop during the process; development in process and products on all related areas is key.

In the first couple of weeks you'll research the zeitgeist. Why, who, where and what is important to detect. A concept will arise from your vision and a strong view on society and its needs. Or more specific: What does the fashion world need today? You will define this in a personal research question Next to that a 3D ‘moulage’, deconstructing and technical research into shape and statement will take place at a high pace. Part of that will be colour, materials and print development.

You will meet and get to know two different virtual software applications; Lectra Modaris 2D/ 3D for pattern design and the technical 3D virtual fit and design evaluation of your collection, as well as Clo 3D for the visualisation and more experimental design.

This program will give a ride into the future of the fashion industry that will provide an in-depth know how and great technical skills that will be a landmark on your portfolio and professional career.

We expect a highly professional and very passionate attitude.

We expect you to keep a digital process book in which you keep track of things on a daily base.

We expect you to attend each and every lesson and bring everything to each lesson. we expect a high standard in everything you do, from 3D stuff into a great 2D presentation at the end.

2.2 Programme Description The first weeks will serve as an experimental design phase in which toiles, tests, research and concepts are developed. A pressure cooker to prepare for the digital developments. In the third week, we go to Paris for the Première Vision, where we will research fabric trends and seek inspiration for your concept and collection; the whole of Paris is, of course, a source of inspiration!

In the weeks leading up to the concept check you experiment with, and research, drape, patterns and form in close collaboration with digital developments. You work on your concept, and learn to use the software and start up first experiments with that.

After the concept check a research question based on circular thinking is erased and you develop your collection / product further (period 2) within the virtual possibilities of 3D VP, and on a smaller scale in toiles and 3D tests. You collect your fabrics, and work more on your digital and paper patterns. You also research into the prints you want to use.

In the third period your collection is translated from the digital realm into a 3D collection or product, and presented on paper / digital, photo / video, and in a fully student-produced show / event, think also outside the catwalk. All the patterns are technically elaborated to professional standards and well archived including the digital files.

2.3 (Learning) Objectives The end products:

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A number of outfits or product(s), (quantities discussed with coaching teaching staff) of which the results are a highly qualitative outcome of using digital 3D techniques, next to 2D experiments and 3D research. Your commentary is both on paper / digital and verbal. In case of a product this is elaborated on behalf of (technical) research and into depth with detailing. (for FM there will be a bigger focus on the technical part / for FD more on the design part)

•

You will examine and work on the possibility of using digital 3D to apply a print, or several print designs, to a finished garment (executing the print is optional).

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We expect variations on your designs digital and a clear technical explanation of the outfit(s)/product.

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A final event in which you show your outfits/products (digital or physical) including a movie and a digital presentation of your 3D VP developments.

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The Presentation includes info about, concept, colour card, selection of fabrics, print ideas + placing (optional), tool book patterns.

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Process book: Description of the process/development of the concept. (Tumblr)

3. Assignments 3.1 Assignments Design

by Peter Leferink

GLOBAL CHANGE COLLECTION

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The aim of the design assignment is the realisation of a collection of high-end outfits. These outfits come to live after a full drape in real or digital, designed and constructed silhouette in phase 1 in close collaboration with 3D VP, translated and developed both virtually in 3D VP and some toiles and samples in phase 2, and then executed on high level in real or digital phase 3. We will work from 3D designs using ‘toiles’, via 2D paper patterns, to 3D digital garments and digital patterns and vice versa. Students also research into print possibilities.

The outfits are fully elaborated in complete looks, including appropriate styling.

The design assignment is directed at necessary change within the fashion industry and the current need for new visions and design developments. In this minor, you act as a developer of innovation and sustainable solutions for both industry and catwalk. Construction plays a crucial role within the process; Whether you work with 3D-VP or from drape; it all leads to a high levelled interaction between virtual and live pattern magic.

Pattern by Saskia Stockler The first lessons will be dedicated to playful pattern drawing and the elaboration of architectonic constructions. How are such forms constructed using basic patterns? We will work using the two Japanese Pattern Magic books.

We then turn to the technical development and translation of the designs. There is strong interaction between manual and digital pattern designing and there are also combined lessons.

All patterns will be further developed in a technically professional way, filed in a pattern Tool book (which includes the digital files), and assessed by the teacher concerned.

Technical product development

by Stella Walker

As you work through the concept, design and produce phases of this fast paced module it is important to maintain a focus on elevating craft through considered execution of form and function.

Utilizing 2D and 3D prototyping as a way to explore different executions of various functional elements, details, constructions and finishes, you will build a physical and digital tool-box to supplement your process and to drive your designs forward.

As you move into design and produce phase we will create industry standard tools of the trade including tech packs, cost evaluations, BOM's, Critical paths. These will support your decisions making and product creation process through research, evaluation and analysis of your designs.

Technical fabric research by Chris Koeleman | Sandra Kuijpers | Jacqui Haker Technical aspects of textile and the environmental impact are addressed by Chris Koeleman.

The fabrics mechanical and physical properties and the relation between the physical and virtual fabric drape created with the properties are subject in the classes of Sandra Kuijpers.

The FAST system to measure the fabrics objective properties to enable you to virtualise your own fabrics is explained by Jacqui Haker.

Deliveries: Your process book shows evidence of your research and knowledge of technical textile, as well as how it is applied in your outfits.

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FAST measurements are included in your process book, as well as the evaluation between the real and virtual material created based on the properties.

Study materials: On T-partition and MijnHvA Fashion textiles

by Carolien Huizinga

In the textile lessons for Hypercraft you will do research into contemporary fabric-use and your own textile-identity. There will be a strong focus on developing new visions on the sourcing of materials and sustainable fabric use.

With this new vision, your concept and the inspiration from Paris, you will develop a textile collection for your designs that connects application with tactility, appearance and sustainability.

Digital Pattern Design

by Sandra Kuijpers, Jacqui Haker, Ineke Siersema

Digital Pattern Design by Sandra Kuijpers, Jacqui Haker, Ineke Siersema 3D Virtual prototyping: Today 3D virtual prototyping technology tools are adapted by various job profiles in fashion design, development, marketing and sales. The combination of digital pattern development and 3D garment simulation enables new ways of working, material savings and easily enhancing your designs are important benefits. The tools for 2D pattern drawing open new possibilities of working with yourpatterns and your designs are quickly visualized in 3D on the Avatar. This opens unlimited possibilities to experiment with silhouette, fit, details, prints, colour, textures and different draping fabrics before cutting any fabric. The marker making software gives a clear insight in the fabric use and this will challenge you to design from a different perspective to achieve your sustainable goals. What is more, the virtual assets dare you to experiment with new business models.

But…… challenging new working methods demand a dedicated and studious attitude right from the start. From scratch, you create digital patterns and show silhouette, fit and details in 3D simulation on avatars in the right size.

Trial and error need to be overcome and the boundaries of the software will be pushed to create outfits that show a hybrid craftsmanship.

3D simulation and performance: In Hypercraft you will also meet the working methods of CLO3d, search online (.com) for content information. Because of the high-quality 3D simulation of the garments in all details and the real time animations and renders, it seems that this software has endless possibilities in visualization and performance of fashion. As an open source, it challenges you to communicate with other 2D and 3D software and when skilled with VR/AR environments (Atacac.com). Of course, your total garment design, the avatar and visualization are core and your concept is leading but research all possibilities.

Classes and assignments are given from week 7 by Ineke Siersema and we expect experiment and research driven attitude as well as your decision to learn quick via challenging exercises online. The working method is user friendly and intuitive, so from scratch you will learn to create professional 3d garment simulations. Lectra patterns, just import them in CLO and new alterations can be done with the pattern tools or switch to Lectra. Learn both and find your best working method you can motivate in your online process book. It’s learning by doing!

Deliverables: Research, virtual experiments and proposals in design, craftsmanship and technology is clearly explained and easily accessible in your digital process book, Tumblr pages or other medium. This document demonstrates how you use the digital tools to enhance your work, verify between physical and virtual and how set it in to reduce your fabric consumption.

Further it includes:

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• • • • • • • • • • •

Outcomes week assignments Avatar with correct measurements from body scan 3 Completed digital outfits, pattern design is digital from scratch and basic blocks.

FAST fabric test results implemented Detailed visualisation of the physical mock-ups and garments Film showing concept and virtual collection Digital presentation of your final virtual work Organised Archive of most important files in folders Study materials: -Find study material with articles, sites and publications on the T-partition in the folder /3D Hypercraft / 2018 2019 -In the first week apply for a license and install the Lectra software on a Windows laptop with needed specs. Supplied by Wensley de Kom w.de.kom@hva.nl

Concept

by Birgit Muis

During this class, you will make a concept. This concept will emerge out of a given word. This word is for all the students the same. The interpretations are individually.

Start doing research by finding synonyms of the given word. Visualise your findings in text, photos, illustrations, sculptures and structures or anything that helps you to clarify your starting point.

The outcome is a concept that consists out of images, a title and keywords. You’re free to add anything you feel the need to as long it is in done in an aesthetic way.

Based on this idea you will create a material scheme that fits the feel and form chosen in your concept. The scheme consists of (existing and self-designed) woven, knits and prints, together with other materials such as non-woven, leather, plastics, coatings and laminates, seam treatments, and other fabrics treatments. The scheme will also comprise all elements you elaborated in print design in the lessons given by Brigitte Hendrix.

The result is a materials scheme divided into max. 5 fabric groups. The groups comprise all the woven, knits, prints and sundries you have in mind for your collection. Describe the materials (composition and fabric name).

Inspired by your concept there also need to be a colour card which consists of max. 12 colours.

Print design by Birgit Muis Based on your design principles developed from your concept you will create a print.

You will learn about all-over and placed prints. These prints will be used In the VP classes to learn how to place, re-colour and scale the print.

After experimenting with the print, you will decide if you want to execute your print for your outfits. If necessary for the right look of your outfits you can make a digital print out of it.

Deliveries: A print derived from your concept Experiments (play with scale, colour and placement) with the prints in the VP class.

Visual communication

by Birgit Muis

The aim of the visual communication class is to make a suitable presentation for your project.

What kind of tool do you need to present your work at is best. This can be anything from a 2D collection book up to a 3D presentation like a website / social media.

Important here is the question what is your target group and how can you reach them.

The presentation contains all the information you need to display your collection/ product as a whole to its best advantage; information such as concept, colour cards, materials, illustrations, a photo shoot and also technical drawings (including Lectra designs). It is essential to develop the form language that gives clearest expression to your concept and collection. Besides its

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content, the layout, technique and materials you use are key to producing a lively, inspiring, and above all original presentation.

A trailer / moody (short inspiring, informative movie) will be made by all of you.

3.2 Products Concept check: Week 7: Peter Leferink, Birgit Muis, Stella Walker • • • • • •

Concept Fabric choices from the fabric groups Colour card One outfit in ‘drape’ Form studies in ‘drape’ Justification of choices from a circular / sustainable perspective

Learning goals: • • • •

How to define a concept into design tools How to choose and source fabrics How to translate a colour card in collection design How to justify product and process from a circular / sustainable point of view

Collection / product check: Week 15: Peter Leferink, Birgit Muis, Sandra Kuijpers, Stella Walker • • • •

• • • •

3D: outfits / product in toile experiment.

Completion of concept together with materials, colours and a print file proposal.

Virtual collection / product presentation: min 5 variations on a virtual garment including printed colour experiments.

Tool book digital pattern research, shows: o Exercises, practice and experiments with 2D CAD and 3D simulations. o FAST fabric tests and simulated fabrics, or drape comparison of physical virtual material. o Avatar creation based on measurements.

Visualisation of target group.

Inventarisation of constructions/details/trims used in your collection/product.

Justification of choices from a circular / sustainable perspective.

Proposal for final presentation.

Learning goals: • • • • • •

How to translate a concept into a collection How to use fabrics optimally How to translate a colour card in collection design How to create patterns digitally How to create a digital tech pack How to justify product and process from a circular / sustainable point of view.

Final presentation:

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Week 19: Peter Leferink, Birgit Muis, Sandra Kuijpers, Stella Walker •

• • • • •

A number of outfits or product(s), (quantities discussed with coaching teaching staff) of which the results are a highly qualitative outcome of using digital 3D techniques, next to 2D experiments and 3D research. Your commentary is both on paper / digital and verbal. In case of a product this is elaborated on behalf of (technical) research and into depth with detailing. (for FM there will be a bigger focus on the technical part / for FD more on the design part) You will examine and work on the possibility of using digital 3D to apply a print, or several print designs, to a finished garment (executing the print is optional).

We expect variations on your designs digital and a clear technical explanation of the outfit(s)/product.

A final event in which you show your outfits/products (digital or physical) including a movie and a digital presentation of your 3D VP developments.

The Presentation includes info about, concept, colour card, selection of fabrics, print ideas + placing (optional), tool book patterns.

Process book: Description of the process/development of the concept. (Tumblr)

Learning goals: • • • • • •

How to demonstrate and present a collection / product in view of the concept How to use digital presentation software and -formats How to use 3D prototyping software to make variations on a pattern How to report the process of translating a concept into a collection / product How to reflect on this process How to distinguish the different relevant stages

4. Practical info 4.1 timeline

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4.2 Guest lectures Visual artist Zil Vostalova is an independent designer. Vostalova is investigating the relationship between Fashion & Technology Inspired by digital techniques.

4.3 Literature / Projects/ Websites -Pattern Magic Volumes 1 & 2, Bunka Academy -Software comparison: T-partition /AMFI/3dHypercraft/ Research&Development Important readers and manuals to find on: T-partition /AMFI/3dHypercraft/ Research&Development HVA Bibliotheek: Knovel (Woodhead publishers): -Advances in Military Textiles and Personal Equipment -Textiles in Sport Publicities: http://amfi.nl/3d-hypercraft-pioneers-in-fashion-design/ http://fashiondigitalstudio.com/ Mode ontwerpen in een 3d virtuele omgeving: http://issuu.com/kunsteducatie_ahk/docs/mode_ontwerpen_in_een_3d_virtuele_o http://www.boijmans.nl/nl/7/kalender/calendaritem/1285/the-future-of-fashion-is-now http://vimeo.com/album/3049536 Projects: http://medialab.hva.nl/blog/project/3d-fashion/

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Websites: Supplier Coats yarns (wetsuits, protective clothing, body armour) http://www.coatsindustrial.com/en/products-applications/technical-sewing/flame-retardant-protectivewear http://fashiondigitalstudio.com/ http://holition.com/portfolio www.miralab.ch/ www.lectra.com/en/education/program.php

Atacac.com changeofparadigm.com thefabricant.com 4.4 / Exhibitions Amsterdam

Tropenmuseum VAN MALI NAAR MEMPHIS, EN TERUG Stedelijk Museum ‘Echte Luxe’ Lily van der Stokker: ‘Friendly Good’ starts 25 October ‘Amsterdam magical centre 1967-1970’ Klederdrachtmuseum The collection Oude Kerk Giorgio A. Calo- Anastasis- a color experience ! till 23 September THE NEW METRO LINE !

Rotterdam

Kunsthal Viktor & Rolf till 30 September ‘100 years Kinetic Art’ starts 22 September Boymans van Beuningen Bertjan Pot: ‘Hot Glue’ till 30 September

The Hague

Gemeentemuseum ‘Femmes Fatales’ from 17 November on

Tilburg

Textielmuseum, Simply Scandinavian | Nordic Design 1945 -2018 till 11 November

Groningen

Groninger Museum LaChapelle till 28 October

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Eindhoven

Campina Melkfabriek ‘Robot Love’ till December 2

Paris

ideas : Musee Pierre Cardin Centre Pompidou Palais de Tokio Jardin des Plants

4.5 Excursions •

Première Vision (www.premierevision.fr) for inspiration in fashion, technical and innovative fabrics.

4.6 Contacts Birgit Muis

b.muis@hva.nl

Peter Leferink

p.leferink@hva.nl

Sandra Kuijpers

a.a.m.kuijpers@hva.nl

Jacqui Haker

j.f.haker@hva.nl

Mireille van de Wiel-Stegehuis m.p.van.de.wiel-stegehuis@hva.nl Ineke Siersema

i.siersema@hva.nl

Stella Walker

s.p.walker@hva.nl

Saskia Stockler

s.stockler@hva.nl

Carolien Huizinga

j.c.huizinga@hva.nl

5. Assessments, Re-sits & Feedback 5.1

3D Hypercraft Tests and Test Moments

Test / Product

Test form

Grade Form

ECTS

Week

1 Excursion 2 Concept 3 product 4 Digital collection / product presentation 5 Presentation project 6 Final assessment

Check Check Check

pass / fail 1-10 1-10

0 7 7

3 7 15

11 20

Check Check Check

1-10 1-10 1-10

7 2 7

20 20 20

By appointment By appointment

Total

Re-sits week

30 ECTS

13

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Note there will be an event to present you work to the outside world in week 19.

Assignments are concluded by means of a check, presentation or assessment, and graded.

We assume every participant has a professional attitude: and active participation during lectures, workshops and excursions is held to be self-evident. Guest lectures and workshops are an important component of the project. If you register for this minor, this means you can only obtain credits for the programme as a whole. Following separate components is not possible.

5.2 Feedback Feedback is given during checks in both written and spoken form. It is one of the most important aspects of the programme.

5.3 Re-sits If you fail a subject, the re-sit offers an opportunity to improve your product. Results have to be positive before the end of the programme. If your product fails an interim check, you can present the improved product for assessment at the next check. Your final presentation is also the re-sit for any remaining failed product; this is individually arranged at the final assessment.

5.4

Euro Credit Transfer System and Study Load

In this minor, SBUs and study credits are indicated per product. One ECTS represents 28 study load hours. In this minor you can earn 30 ECTS in all. These credits can only be added to SIS when all assignments have been assessed with a minimum grade of 5.5 per assignment.

Cesuur (Pass/Fail Borderline): 5,5 or higher is sufficient / pass.

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Assessment Form Minor 3D Hypercraft 2018-2019: Concept check Class: M3DH

grade

Teacher(s): Peter Leferink, Stella Walker, Birgit Muis Re-sit:

Student:

Date:

Competences

Criteria •

Orientation

• • •

Decision-making

• • • •

Actualisation

• •

Presentation Reflection

• •

Organisation

Researches into a variety and depth of inspirational and contemporary sources Operates with creativity, experimentation and innovation in fabric, colour, print and form Investigates sustainability Creates an innovative and inspiring concept using the research Shows a clear vision on fashion and sustainability Strikes a good balance between ambition and reality Develops a personal research question based on 3d virtual prototyping Develops a strong, original and fashionable signature in the concept Shows insight in a clear direction for future-proof products / ideas Articulates, justifies and defends the concept and work both 2D and 3D as a professional The team reflects on their processes and results, and turns this into identified areas for improvement Oversees and executes the (design) process; including time management

Explanation of the mark:

Recommendations / Feed forward regarding the research question:

Remarks

Assessment Form Minor 3D Hypercraft 2018-2019: Class: M3DH Date:

Competences • • • • • Decision-making

• • •

Actualisation

• • •

Presentation

Self-reflection Organisation

grade:

Teacher(s): Peter Leferink, Stella Walker, Sandra Kuijpers, Birgit Muis

Student:

Research

Finished Product / Collection

Re-sit:

Remarks

Criteria Researches into a variety and depth of inspirational and relevant sources.

Seeks creativity, experimentation and innovation in fabric, colour, print and form Investigates sustainability Creates a relevant and innovative research question from a sustainable perspective translated research into a relevant and interesting product from a sustainable and contemporary perspective Oversees and executes the design process Strikes a good balance between ambition and reality Uses research and experiment in ‘moulage’, construction and pattern technique and virtual prototyping within a 3D design process.

Convincingly translates a personal vision and signature into a ‘design-driven’ conceptual product.

Applies knowledge of pattern drawing, fabrics, prints, colours and design principles to design in silhouette, form and function.

•

Articulates, justifies and defends the concept and work (both 2D and 3D) in a professional manner: Open, critical and well informed Attunes presentations to a target group and collection/product context

•

Reflects on own process and results, and turns this into identified areas for improvement

• •

Combines a passionate and professional work attitude with planning and organisation Oversees a design process in a strategic and goal-oriented way

Explanation of the mark: Recommendations / Feed forward: Paris report: Assessment Form Minor 3D Hypercraft 2017/18: Final Assessement

Re-sit:

Class: M3DH

Teacher(s): Peter Leferink, Sandra Kuijpers, Birgit Muis, Stella Walker

Student: Competences

Criteria •

Orientation

• • •

Decisionmaking

• • • • •

Actualisation

• • •

Presentation

Self-reflection

• • •

Organisation

Final grade

Date:

•

Made use of research that contains a variety and depth of inspirational and relevant sources Manages own creative research process; innovated and experimented in fabric, colour, print and form Investigated sustainability Created a relevant and innovative research question from a sustainable perspective Independently developed a conceptual starting point from a personal vision of fashion Oversees and executes the design process Strikes a good balance between ambition and reality Convincingly translated a personal vision and signature into a ‘design-driven’ conceptual collection/product.

Used research and experiment in ‘moulage’, construction and pattern technique and virtual prototyping within a 3D design process Applies knowledge of fabrics, prints, colours and design principles to design in silhouette, form and function Uses research and experiment in visualising the 2D/3D design process Articulates, justifies and defends the concept and work (both 2D and 3D) in a professional manner: Open, critical and well informed Attunes presentations to a target group and collection/product context Reflects on own process and results, and turns this into identified areas for improvement Combines a passionate and professional work attitude with planning and organisation Oversees a design process in a strategic and goal-oriented way

Presentation mark: Explanation of the mark

Remarks