INTRODUCTION

My project topic is Surface Creation I choose in my theme is 3D

printing and Inspiration is Architecture screens of japan, Mood
is sublimation its means purify , peace , attraction , asthetic feel
THEME : 3D PRINTING.
3D printing technology has already had significentbimpacts in
different indusrty sectors and will continue to be a game changer
technology in the year.Also it is increasingly becoming more
efficent .During the early year of introduction, 3D printing had
many limitations in terms of material.The accelerating growth if
3D priniting and their associated equipment have openedup
many new possibilities in advance manufacruring of complex
products
In this project ,the future of 3D printing technologies,their
impact in fahsion industry it is in top 10 future fashion because
its easy to made fabric like dishwash waterproof .made for
events runnways ,fashion shows etc
INSPIRATION: ARCHITECTURE SCREENS OF JAPAN
I choose architecture screens for design , merge different screens
and made 5 designs of screens as seen in figure ,the collection is
intended to provide the viewer wuth a sense of dark
sophistication, hard metallic , sharp lines ,netted darkness , and
glimmers of light with subtle ,yet distint curves .
The intended use for the garment are some purely art to wear on
the runway or in a gallery .fashion industry gas not been entirely
converted to digital process over analog but manual task will be
done .This printing made by CAD software or printers .but I
have not printer or such Software so I do it with manual
MOOD : SUBLIMATION.
My project theme inspiration and mood are related to each other
because architecture screens are also 3d and I made it with
chemical and it seams like mold .
3D-printing in the fashion industry – its origin and current use
The 21st century has seen the emergence of disruptive
innovations that have changed business models used within the
fashion industry, such as renting and swapping, as well as new
technologies, including, but not limited to 3D-printed fashion,
zero-waste garments, and those designed for circularity
(Henninger et al., 2017a; Park & Armstrong, 2017). This
chapter focuses on 3D-printing technologies, and more
specifically, Chinese millennial consumers’ perceptions of 3D-
printed garments, which currently lacks research (Perry, 2018).
3D-printing technology is not a new phenomenon per se, but
was introduced three decades ago when Charles W. Hall
patented the process of stereolithography (Huang et al., 2013).
3D-printing can best be defined as “an automated additive
manufacturing process that builds a product by depositing
material into successive layers until it is complete”
(Vanderploeg et al., 2017: 170). Within the fashion industry
automated additive manufacturing, also known as three
dimensional (3D) printing, is predominantly used to visualise
and test new product developments for fit and form. This
implies that prototypes are often created using this technology.
A key advantage of implementing an additive manufacturing
process is that it reduces risks in the manufacturing process, as
items can be tested prior to being mass-produced. However,
prototyping is not the only use of 3D-printing, it is further
utilised for customised made-to-order garments and within haute
couture fashion houses (Fitzgerald, 2013; Perry, 2018). A key
question often posed and addressed in this chapter is: “are we
ready to 3D print our own clothes?” (Mariott, 2015). As
indicated, the predominant use for 3D-printing technologies
or additive manufacturing processes is within the prototyping
phase of producing new garments and/or accessories (Yap &
Yeong, 2014). Today this has changed, with Dutch designer
Iris van Herpen making 3D-printed garments more
accessible, as she introduced 3D-printing as a ‘staple piece’
to the haute
couture fashion scene almost one decade ago (Lewis, 2013;
Logan, 2015).
Today 3D-printed fashion items are increasingly popular and
have trickled
down from being solely used within haute couture fashion
(Yap & Yeong, 2014)
to being used for jewellery (Shapeways, 2018a), bikinis (aRks,
2016), and
shoes (Heater, 2018) and thus, have become available for a
wider audience.
To reiterate this further, the popularity of 3D-printed garments
excelled in 2014
when a red dress dominated the media, which was inspired
by nature to
replicate fish scales and thus, created an elegant flow that
looked irresistibly
light and fashionable. Newspaper outlets indicated that there
was “finally a 3D-
printed dress that drapes,

and

moves like actual fabric” (Meinhold, 2014), as
opposed to being static and artificial looking. The ‘red dress’
is revolutionary in
that it is not only 3D-printed, but also is a kinematics dress, and
quite literally
printed to order. This provides a sense of exclusivity, further
enhanced through
the fact that it was featured as future couture in the Museum of
Modern Art in
New York thereby adding to the luxury vibe (Lenander,
2015). The term
‘kinematics’ finds its origins in the field of mathematics and
describes the
motions of points. 3D-printing enables designers to make use of
these motion
of points allowing the creation of geometrically complex
structures that are not
only elegant, but also fluid, translating into a naturally
flowing fabric (Rosen,
2014). provides a visualisation of the geometrical pattern used
to
create the red kinematics dress. Triangular shapes are carefully
positioned next
to one another, which allows for movement and makes it easy to
wear.
LITERATURE REVIEW
As the time passes , we as human beings , we migrate and lives
in different places , socialize with different peoples ,eat different
foods , improve the way we create things , increase our atnderd
of living , accelerate our methods of transportation, reduce
barriers to communication, embrace change and much more , the
same is the true apparel production process .we have always
need forQuite simply, the term “3D printing” also known as
“additive manufacturing”
1) Hyungjoo kin , Market Analysis and the future of sustainable
design using 3D printing technology, Archivs of design
research, PP :23-35 , 2017.
2) Santhosh kumar parupelli and salil desai , A comprehensive
review of additive manufacturing (3D Printing ) Processes
Application and future potential, American journal of Applied
science ,PP :244 -272,2019
3) Eda Hazan baran and H.Yildirium Erbil , surface
modification if 3D printing PLA objects by fused deposition
modeking :A review, colliodsand interfaces ,PP: 1-25,2019
4) Mohd javid , Abid haleem , Additive manufacturing A
literature based review , Alexandria journal
5 ) Don Hong ,David perrault ,Milan stevanioc , Alidid Ghiassi
., A review of current literature