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Animation is a method, in which still images create the illusion of movement on the screen. We manipulate the viewer with fast-moving pictures to make them look as if they can move. This article intends to make a 2D animated film based on a screenplay template with synchronized sound. In the article, we had to provide different Software: Adobe Illustrator, Adobe Animate, Adobe After Effects, Adobe Premier Pro, Reaper (Digital Audio Workstation), and Sketchbook. In addition to the software and, of course, the computer, we also used a graphics tablet, a microphone, and a sound card During writing the article, we get to know the workflow of the creation of animation, from the design to the final product. We tested ourselves in the role of all important members of production houses to get the most realistic insight into the creation of such a project. The final product of the article is a short cartoon with a synchronization of speech and sound.

The field of 3D printing has developed greatly to date, and it is expected that this development will continue. 3D printing is already being used in the fashion industry, where it was first used for rigid, architectural shapes and later for a variety of movable structures. However, the area of mobility, comfort and softness is still under development in this field. The exploration of the above properties was also the reason for the present research work, the aim of which was to study the process of creating a textile-like 3D structure by assembling individual elements into a mesh. Various factors in both the design and technical areas had to be investigated and considered. The design process included the technical and visual part, i.e., the design of the individual elements, as well as the creation of different repeating patterns, as the shape and colour of the elements influence the final appearance. Different approaches were tested when modelling the individual elements. Through the research, other design approaches were also used, such as the use of geometry nodes or animation nodes, which are available as plug-ins in the Blender software. We combined different elements to create meshes or textile-like structures that were simple at first, but later resulted in more interesting designs by varying the size and shape of the elements, their arrangement, and colours. There are still many possibilities to develop the patterns further, for example, the elements could be arranged in different ways, or more emphasis could be placed on the shape and colour of the elements. Finally, we experimentally printed part of the chain-like structure and compared it with other structures designed in a 3D program and checked the size and density of the mesh by virtually simulating the fall of the mesh onto the body.

The double-weave structure of a fabric allows for the use of different materials and weave structures for the upper and lower layer, which can be advantageous in the functionalization of 3D printed textiles. Therefore, the aim of this research was to investigate the influence of simple and double-weave structures on the adhesion of 3D printed fabrics. From this perspective, we investigated the influence of different twill derivates and weft densities on the adhesion force. We produced fabrics specifically for this study and printed them with a polylactic acid filament using Fused Deposition Modeling technology. The T-peel test was performed to measure the adhesion, and the results were statistically analyzed. A morphological study of the surfaces and cross-sections of the 3D printed fabrics helped us interpret the results. We found that adhesion was higher for double fabrics when printed with a smaller z-distance, where the molten polymer reached the lower layer of the fabric and adhered to it. The opposite was confirmed when printing with a larger z-distance, where adhesion was higher for simple fabrics. Both weave and density had a significant effect on adhesion in all cases. Surprisingly, different twill derivatives generally had a greater influence on adhesion than density.

3D printing is used to produce individual objects or to print on different substrates to produce multi-component products. In the textile industry, we encounter various 3D printing technologies in fashion design, functional apparel manufacturing (protective, military, sports, etc.), including wearable electronics, where textile material is functionalized. 3D printing enables the personalization of the product, which in the apparel industry can be transformed into the production of clothing or parts of clothing or custom accessories. Additive technology allows a more rational use of the material than traditional technologies. In the textile industry we meet different uses of it, one is the printing of flexible structures based on rigid materials, another is the printing with flexible materials and the third is the printing directly on textile substrate. All rigid, hard and soft or flexible materials can be integrated into the final design using 3D printing directly on the textile substrate. We speak of so-called multi-material objects and systems, which have many advantages, mainly in the increasing customization and functionalization of textiles or clothing. The article gives a broader overview of 3D printing on textiles and focuses mainly on the influence of different parameters of printing and woven fabric properties on the adhesion of 3D printed objects on the textile substrate. In our research we investigated the influence of twill weave and its derivate as well as different weft densities of the woven fabric on the adhesion of printed objects on textile substrate. Therefore, five samples of twill polyester/cotton fabrics were woven and their physical properties measured for this research. 3D objects were printed on textile substrates using the extrusion based additive manufacturing technique with polylactic acid (PLA) filament. Preliminary tests were carried out to define printing parameters and different methods of attaching the fabric to a printing bed were tested. T - Peel adhesion tests were performed on the Instron dynamometer to measure the adhesion between 3D printed objects and textile substrates.

In the article we present the educational process in which design students were guided through their design process, creating 3D printed jewellery inspired by the Forma Viva sculptures of the outdoor gallery Kostanjevica na Krki. The assignment was part of the international project Cumulus Re/Forma Viva, whose main goal was to implement digitization using 3D technology in the field of education for the preservation of cultural heritage. The task given to the 1st year masters students of Fashion and Textile Design at the Department of Textiles, Graphic arts and Design at the University of Ljubljana was to select a wooden sculpture and transform the visual and conceptual idea into a 3D printed jewellery collection. The curriculum of the course includes teaching the theoretical basics of 3D printing, 3D print design – fashion accessories and new production, business and marketing models as "disruptive" changes that result from this. In the practical part, students will learn the advanced design process of fashion accessory objects, including 3D technologies such as 3D modelling and 3D printing. Students are guided through a process in which selected visual and conceptual content is translated into fine jewellery that can be created using various 3D printing technologies. In this way, students tested themselves in two new areas that allowed them to expand their design knowledge and experience in 3D modelling and jewellery design with the goal of better "arming" themselves with the latest technologies for today's competitive world.

The aim of our research was to discover whether education in 3D computer graphics and visualisation can improve students' spatial visualisation skills and how the complex project as a design and synthesis of a 3D animation influences students' creativity. Spatial visualisation skills are extremely valuable in various professions, including graphic design and engineering, where 3D modelling and visualisation is becoming increasingly important for the qualitative execution of professional projects. Scientists define two types of three-dimensional skills, spatial visualisation and spatial orientation, where visualisation is understood as the ability to mentally rotate, flip and flip over presented images, while spatial orientation describes the ability to recognise the position or direction of objects in space. Creative process is defined as a sequence of thoughts and actions that lead to original and appropriate productions. The creative process can be discussed on two levels, i.e. macro and micro level with the related phases of the creative process: orientation, preparation, complementary stages after preparation, incubation, idea generation, production. The facultative course Advanced computer 3D graphic and visualisations is taught in the 2nd level studies of Graphic and interactive communication. Through project work, students are encouraged to use their creativity and imagination to create a visually attractive 3D animation that is also interesting in terms of content and in which they can convey the story they want to tell. For this reason, we often held individual sessions in which the teachers made profound corrections to the students' work and made suggestions for the further development of their projects. Experimental methods were: Questionnaires for self-assessment of the creativity process, whereby the students also interpreted their creative process with an illustration and the spatial visualisation test before and after the course. Regular evaluation of their project work with regard to the entire design process, i.e. 3D content creation, planning, technical approach and production, were also carried out. Results of the analysis present an interesting insight in students’ creative process, spatial ability and comprehension of 3D computer graphic that could be considered as teaching/learning guidelines in the coming academic years.

In this research, we developed a methodology of cloth porosity interpretation that is applicable in visualisation workflow of cloth with uneven texture and structure, especially present in cultural heritage, hand-made fabrics, artistic and experimental cloths. The illumination settings and methods of image preparation used for a 3D visualisation of woven cloth porosity were analysed. A historic fabric of a folk costume in plain weave had uneven porosity as a result of irregular yarn thickness and the fact that the fabric was worn out. The original images of the cloth were acquired with a camera under seven different illumination settings. Three groups of images were analysed, i.e. original images, images with equalised histograms and images processed with the rolling ball algorithm. The algorithm Yen was chosen for thresholding and the definition of woven cloth porosity. Furthermore, the image analysis of pore sizes and the area covered by the pores was performed. Besides, closed and connected por...

This paper presents the 3D-modelling process and visualisation of a woman’s folk costume from the Gorenjska region. In order to create a realistic 3D visualisation of the clothing, a real dress was modelled and a thorough examination of all the patterns was conducted. The 3D visualisation was completed using Blender, which is an open source software program for 3D computer graphics.