• Journal of the Korean Society of Clothing and Textiles
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• v.44 no.2
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• pp.193-208
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• 2020

This study investigated similarities and differences between 2D flat sketch, 3D virtual clothing and real clothing images. Flat sketch, 3D virtual clothing, and real clothing images of T-shirts and dresses were made. Questionnaires were prepared for fit evaluation, sensory evaluation, and location evaluation. A survey of 440 questionnaires was collected from Chinese women in their 20s and 30s. As results of the sensibility evaluation, 3D virtual clothing expressed real clothing images slightly more similar than a 2D flat sketch. As results of the fit evaluation of the dresses, 2D flat sketch and 3D virtual clothing were rated as slightly longer/wider, and real clothing images were rated as slightly shorter/narrower. The results suggested that presenting 3D images with avatars as 3D virtual clothing images will provide more accurate fit evaluation results. This study presented possibilities and methods for apparel companies to utilize 3D system as an effective apparel production tool.

• Journal of the Korean Society of Clothing and Textiles
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• v.46 no.2
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• pp.321-330
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• 2022

This study analyzed the difference between 2D image and 3D virtual clothing images based on stripe arrangement to obtain fundamental data for slim appearance. First, the slimming effect according to the three types of stripe ratio was examined. Subsequently, the slimming effects of seven types of one-piece dress designs according to the stripe location were analyzed. Subjective ranking was evaluated. The width items and radius of curvature were measured for the image's respective parts. Consequently, in 2D image and 3D virtual clothing images, the one with the narrowest stripe ratio was evaluated as the slimmest; however, the conditions for the slimming effect were different. In the seven one-piece dress designs, a difference was apparent in the ranking of the 2D image and 3D virtual clothing images. In the 3D virtual clothing image, arranging the stripes on the entire garment proved inefficient. The stripes were curved according to the curvature of the human body, creating an optical illusion that differed from that of the 2D image.

• Journal of Fashion Business
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• v.19 no.3
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• pp.130-143
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• 2015

By studying 3-D virtual human modeling, motion-capturing and clothing simulation for easier and safer work clothes development, this research aimed (1) to categorize heavy manufacturing work motions; (2) to generate a 3-D virtual male model and establish painting work motions within a 3-D virtual clothing simulation system through computerized body scanning and motion-capturing; and finally (3) to suggest simulated clothing images of painting work clothes developed based on virtual male avatar body measurements by implementing the work motions defined in the 3-D virtual clothing simulation system. For this, a male subject's body was 3-D scanned and also directly measured. The procedures to edit a 3-D virtual model required the total body shape to be 3-D scanned into a digital format, which was revised using 3-D Studio MAX and Maya rendering tools. In addition, heavy industry workers' work motions were observed and recorded by video camera at manufacturing sites and analyzed to categorize the painting work motions. This analysis resulted in 4 categories of motions: standing, bending, kneeling and walking. Besides, each work motion category was divided into more detailed motions according to sub-work posture factors: arm angle, arm direction, elbow bending angle, waist bending angle, waist bending direction and knee bending angle. Finally, the implementation of the painting work motions within the 3-D clothing simulation system presented the virtual painting work clothes images simulated in a dynamic mode.

• Journal of Fashion Business
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• v.15 no.3
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• pp.97-111
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• 2011

This study aims to apply 3D virtual fabric parameters - as obtained from previous research experiments - to 3D virtual clothing simulation in comparing its similarity with actual clothing as worn, with a view to verifying the objectivity and validity of the 3D virtual fabric simulation method devised by the drape image analysis method. In addition, the result is intended to be used as the basic data for new 3D virtual clothing simulation methods. As the results, 3D virtual fabric parameters designed to simulate 3D drape to be similar to actual fabrics were found to be Bending Strength, Buckling Point, Density, Particle Distance, and Shear. They were also found to be important measurements when evaluating visual similarity between drape shadow images and number of nodes. 3D virtual fabric simulation method devised by the drape image analysis method was appropriate in extracting 3D fabric parameters with the reflection of actual fabrics' physical and dynamic characteristics, in connection with 3D virtual fabric simulation. 3D virtual fabric parameters with the reflection of actual fabrics' physical and dynamic characteristics using the proposed 3D virtual fabric simulation method are accumulated and provided as a standard, this will facilitate the introduction 3D virtual fabric simulation technology.

• The Research Journal of the Costume Culture
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• v.32 no.4
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• pp.468-480
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• 2024

The purpose of this study is to produce virtual models of women aged in their 60s and to implement the virtual clothing with jackets. We referred to 3D images of standard and obese body types from the 8^th Size Korea and attempted to create avatars based on their images through the various trials. Final virtual models were made to reflect the appearance of women in their 60s. For the standard body type, a 3D image with average body measurements was selected. Based on numerous trials aimed at turning her image into an avatar, the auto-converted avatar on CLO 3D was slimmer than the woman in the original image, and hence it was not suitable for the virtual model. After blending, we converted the image into an uneditable avatar for which only the joint points could be moved, thereby creating an avatar that was identical to the original image. We also selected an image of an obese woman with a "beer bottle" body shape from the 8^th Size Korea. We created an avatar that resembled her shape by also converting it into an uneditable avatar for which only joint points could be moved. To use these avatars in virtual clothing, we removed masks of avatars and made faces, hair styles, and skin tones representing women in their 60s. The moderately-sized classic jackets were smooth on both virtual models and fitted satisfactorily. This study demonstrated the applicability of virtual model production of various body types or ages in special clothing studies.

• Fashion & Textile Research Journal
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• v.17 no.4
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• pp.613-625
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• 2015

This research was conducted to provide basic data to improve expressivity required for virtual clothing to replace actual clothing. For the experiment, 6 materials were selected and 12(2 kinds of length) actual flared skirts were made. At the same time, simulations were carried out on OptiTex Runway 12.0 for 36(12 kinds of skirts $\times$ KES, FTU, KES weight/10) kinds of virtual flared skirts, which were applied with the measured property values (thickness, weight, bending, shear, friction, and stretch). Also, the study compared and analyzed the wearing images, silhouette overlapping images, and skirt length measurements of the actual and virtual skirts put on a dummy. As a result, the actual skirts showed clear distinction for each material. In contrast, virtual 1 and 2 expressed fabric 3 in the most similar way, but could not recreate the uniform, soft, and natural flare shape of the actual skirts in general. Virtual 3 formed natural flares as those of the actual skirts, and expressed fabric 1, 5, and 6 in a similar way. However, virtual 3 had too much volume and barely showed any distinction for each material. All of virtual 1, 2, and 3 expressed different flare shapes on the front and back sides of the skirt similarly to the actual skirts, and had a good visual expression for the color and texture of the materials. However, they could not effectively express the elasticity and fabric sagging in the bias direction.

• Journal of Fashion Business
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• v.26 no.1
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• pp.53-67
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• 2022

The purpose of this study was to compare the appearance similarity between a 3D virtual wedding dress, and a model wearing real dress, and production efficiency, and the possibility of achieving similar results with 3D digital technology. Five wedding dresses for small weddings under the theme of 'Dream Series', were designed and produced in virtual and real dresses to quantitatively compare and analyze the appearance similarity and production efficiency. Experts compared the appearance similarity on the silhouettes, colors, materials, and details, and production efficiency was compared with time and cost. Based on our results, 3D virtual images of four out of the five dresses were similar to the real images. Our efficiency evaluation results showed that the manufacturing time was 45.4% shorter, and the manufacturing cost was 46.1% less than the existing method. This indicated that the wedding dress manufacturing process using 3D virtual software was time and cost saving competitive. Our results also confirmed that 3D virtual software technology has the potential to increase the efficiency of designing and production, and therefore an increase in competitiveness and sales of wedding dresses. Furthermore, 3D technology allows consumers to select and order wedding dresses online through 3D virtual software. This is a great advantage, and it highlights the significance of this research study.

• Fashion & Textile Research Journal
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• v.23 no.2
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• pp.247-260
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• 2021

While it is an important element of clothing construction, research has so far been very limited on the similarities between virtual and real clothing in terms of the type of neckline. The purpose of this study is to verify the similarity, accuracy of virtualization, and actuality of neckline, which all play an important role in individual impressions and image formation, and require considerable modification when fitting real samples. A total of 5 neckline models were selected through the analysis of dress composition textbooks. The selected designs were then planned and manufactured in muslin. The specimen clothes were then tested on a female model in her 20s. 2 kinds of virtual bodies were created in order to compare the real and the virtual dressing. The first virtual body was made through an Artec 3D Eva scan of the model, and the other was made by entering the model's measurements in a CLO 3D program. A visual image of the front, side, and back image of both the real and virtual dressing were subsequently collected. The collected images were then evaluated by 20 professional fashion workers who checked the similarity between the real and the virtual versions. The current study found that the similarity between the actual and virtual wearing of the five neckline designs with reality appeared higher with the virtual wearing image using the 3D-scanned body. The results of this study could provide further information on the selection of appropriate avatars to clothing companies that check the fit of clothing by utilizing 3D virtualized programs.

• Journal of Fashion Business
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• v.24 no.4
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• pp.63-84
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• 2020

It is essential to consider the heavy industrial working environment factors which are regarded as harmful to workers' health and safety and suitable work motion factors for the workers' motion while developing the work clothes for painting workers in the machinery and shipbuilding industries. This study suggests the use of 3D virtual clothing simulations as a solution to protect the human body from hazardous working conditions accompanying the development of painting work clothes and assessing the work motion performance associated with the comfort while workers wear them during the work clothes. The initial aim of the study is to examine a male avatar to run work motions simultaneously within a 3D virtual clothing simulator, secondly, to present the simulation images of coverall type men's painting work clothes with the application of two experimental painting work motions and one control motion to the avatar, and finally, to present the distance analysis images of the painting work clothes and the avatar body and air gap rates through the analysis of cross-sections of the avatar body while wearing the coverall work clothes according to the work motions. The results showed that the distance degree of painting work clothes to the avatar body for each part of the human body when performing painting work motions. Moreover, 3D virtual clothing simulations enabled the creation of a male model avatar to run painting work motions together and the painting work clothes developed were found to be suitable for the painting work motions.

• Journal of the Korean Society of Costume
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• v.63 no.8
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• pp.27-42
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• 2013

The study was aimed to develop men's working pants patterns through the computerized 3-D virtual clothing simulation system and to verify the effects of the 3-D simulated outfit by comparing it to the images of the actual outfits. The average body measurements of South Korean men aged between 30 and 39 used for the simulation in order to generate a 3-D virtual model and to realize outfits of men's working pants for the workers in the heavy industry in South Korea. And also the preliminary questionnaire survey results on certain aspects of the working pants such as type, detailed design preference and discomforting parts were taken into consideration. Both the simulated and real images of the developed working pants were compared in terms of the ease amount according to parts of the working pants, the position of seam lines, the appearance of darts and pleats, and the effects of the fabric surface according to expertise panels' subjective 5-point scale evaluation. The results throughout the study were (1) the basic working pants item worn by subject workers were the straight one pleated pants. The most discomforting parts of the working pants were in the order of body rise, thigh, hip, waist, pants hems and knee girth. (2) the drafting factors of pants patterns differed by the men's body features, which was related to the allocation of suppression amounts between waist and hip girths into darts and hip curve amounts on the waist line level of the pants. (3) the similarity of the virtually simulated and real images of men's working pants resulted in an average of 4.5 to the ease of appearance, 4.6 to the seam lines, 4.1 to the fabric surface effects in a 5-point scale, which means that the two were highly alike.