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Fashion needs to be updated! We are making a bespoke program for the new hybrid fashion and textile designers, artists and curious technologists combining the essential tools and knowledge of our digital era.
Hacking the fashion industry by Zoe Romano
Open source hardware for soft fabrication, by Varvara Guljajeva and Mar Canet
Computational Couture with Rhinoceros and Grasshopper by Aldo Sollazzo,
E-textiles and wearables by Angel Muñoz and Cristian Rizzuti
Bio couture , Bacteria textile dying and Bioplastics by Anastasia Pistofidou and Cecilia Raspanti
On our JAM you will make groups and collaborate with local and international artists for developing projects of the things you ve learned throughout the week!
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Bootcamp with Icelandic teachers:
Introduction to soft fabrication and the use of digital fabrication applied on textiles and fashion
New mediums of production and accessibility to new technologies are changing the way we learn, design, produce and consume. Fashion education and the industry are still in the process of adaptation to the new technologies and the open source culture. Innovative processes and multidisciplinary synergies are defining the new era, which calls upon the awareness of the way things are made and the opportunities that the new tools offer to innovate and reimagine the future.
This bootcamp with FATEX – Association of apparel and textile secondary school teachers focused on transmitting Digital Fabrication and New Technologies applied in Fashion. Digital fabrication allows us to experiment with the way we design, produce and consume fashion introducing the participants to 3D modelling, parametric design, 3D printing, new techniques and materials.
kombucha culture/ grow your own textile
Day 1 (6 hours)
Presentation of the Roadmap of the fab textiles projects.
Hands on use of laser cutting technology for fabrics, from 2D patterns to 3D structures. The participants were introduced to 2D design programs and file preparation for laser cutting fabrics. A great variety of different fabrics was tested and a catalogue of speeds and power for each fabric was generated for cutting and laser engraving. The participants brought as well local fabrics from Iceland such as fish leather, felt, cow leather and horse hair in order to learn how these materials can be used with digital fabrication technologies and apply the techniques back in their schools.
Day 2 (6 hours)
Molding Felt and CNC milling
Hands on work
Day 3 (6 hours)
Introduction to 3D printing applied in fashion
The exercise was a introduction to 3D modelling through parametric design using Rhinoceros and Grasshopper and file preparation steps and tips for 3D printing. The technique implies the use of fabric on the 3D printer platform where the flexible filament adheres. The grasshopper definition generates curly volumes that vary in width and height. If the fabric used on the platform is stretched the curly pattern can impose the deformation of the fabric into a 3D structure.
This tutorial gives an insight into the correct choice for fabric and appropriate 3D geometries that give properties to the soft structure.
3D printing on fabrics Technique
Day 4 (6 hours)
Integrating soft circuits in the garment
Basic Tilt sensor with LED circuit
Participants used basic electronic components such as conductive thread, LEDS, battery and tilt sensor in order to make a small circuit that was integrated into a laser cut bracelet pattern.
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Master in Advanced Architecture – Skin2 Seminar Final Presentations
SO.18 – Elective Seminar
What will the human of the future be like? Focusing on the human skin, as a means for protection but also a mediator of our senses and the environment, the Master in Advanced Architecture seminar Skin2 led by Manuel Kretzer and Anastasia Pistofidou, wanted to look into ways of creating novel interactions and bodily experiences.MAA students experimented with raw materials and recipes to create thin membranes and surfaces, which were further supplemented through embedded electronics. Besides developing advanced material systems, a crucial task for the students was been to think about the practical applications and implications of a second skin.
by Jonathan Irawan, Lalin Keyvan, Jean Sebastian Munera and Connor StevensWhat we envision as a result of the new skin, is that the world will no longer be defined by political or geographical boundaries, but rather territories of health zones to maintain certain liveability aspects. Whether this is a good outcome or not we shall tell. Another result of the skin is the development of a new sense, a sixth sense.As a design, pockets to analyse blood and a vein network were to combined as the encrypted biometric skin.
Video SKINS2 – Encypted Biometrics
by Thora H. Arnardottir, Noor Elgewely, Jessica Dias, Ingried RamirezWe imagine a future that is completely dark. Where humans have evolved into an altered state of organisms, forming a different species interdependent on each other. Our concept for the skin was to create a new organ as an extension of the human body. We want to host living organisms on our second skin to illuminate the otherwise invisible creatures from the deep sea.We dried the bio-plastic cast on a mannequin in order for it to take the contour of the body and spine. The geometry of this wearable was developed from the hand sketches, and then translated into a 3D model using Rhino.
MIURA ORI SKIN
by Jengrung Hong, Sameera Chukkapalli, Hsin Li, Tanuj ThomasBased on the final system for the proposed skin design, the Material and Fabrication techniques decided are as follows: Fabric: Laser cutting / Folding, Thermochromics: Screen Printing, 3D Printing: SLS nylon / Mold casting. The Miura fold is a form of rigid origami, meaning that the fold can be carried out by a continuous motion in which, at each step, each parallelogram is completely flat.
Video Miura Ori Skin
by Robert Chacon, Khushboo Jain, Christopher WongBanteringDynamics is pleased to introduce an innovative weapons paradigm that will revolutionize the global battle against crime and disorder. VOIDSKIN (Variable Organic/Inorganic Differentiation System K_________ Inhibition N_________) transparently protects security personnel from the deleterious effects of VOID weapons technology through the thermoreaction of shielding picoparticles to the instantaneous pseudoabsolute zero generated by the discharge of a VOID weapon. VOIDSKIN’s triple layering system redundantly ensures protection against dematerialization while incorporating thermonegative resistance to plasma weapons.
EL AMOR EN LOS TIEMPOS DEL CÓLERA
by Justyna Brzakala, Lina Salamanca,Dirk Van Wassenaer, Pedro Levit ArroyoWe will create a membrane which permits people to maintain intimacy without therisk of contamination.Intimate relationships allow a social network for people to form strong emotional attachments. These relationships involve feelings of liking or loving one or more people, romance, physil or sexual attraction, sexual relationships, or emotional and personal support between the members.
Video El Amor Ee Los Tiempos Del Cólera
RE[SKIN]ULATE – [ION]TEX
by Sahana Sridhar, Nisarg sheth, Anastasia Stephany
What we need is a second skin that could produce or attract negative ion for our body. Therefore we try to invent a new material which we named [ION]-Tex. From all the experiment and research, it was figured that the best way to achieve our goal is to combine few steps with turpentine and graphene with the silicon mold, to make sure that the prototype could work. This material that we found could be produce as vary products such as blanket, mask, belt, etc.
Video RE[SKIN]ULATE – [ION]TEX
The first phase of the seminar focused on creating new materials or combining existing materials into advanced composites, with a particular focus on bioplastics and kombucha. During the second part of the course students could investigate the augmentation and actuation of the material systems through means of electronics and physical computing.
The final phase was reserved to developing a functional application, working prototype and speculative future scenario, presented through means of video and material catalogues.
What will the human of the future be like? Ray Kurzweil predicts the ‘Singularity’, the progressive amalgamation of the human brain and machine intelligence. Aubrey de Grey understands aging as a disease that can be cured and may lead to infinite life extension. And Zoltan Istvan, who with his ‘Transhumanist Party’ is currently running for US presidency, advocates -among other things- the technological enhancement of the mind and body through robotics and smart devices. Within the context of ‘Humanity +’ we want to explore the possibilities and potential effects of augmenting the self and extending the body. Focusing on the human skin, as a means for protection but also a mediator of our senses and the environment we want to look into ways of creating novel interactions and bodily experiences. We will work with raw materials and recipes to create thin membranes and surfaces, which will be supplemented through embedded electronics. Besides developing advanced material systems a crucial task will be to think about the practical applications and implications of a second skin.
The first phase of the seminar will focus on creating new materials or combining existing materials into advanced composites. During the second part of the course we will investigate the augmentation and actuation of our material systems through means of electronics and physical computing. The final phase is reserved to developing a functional application, working prototype and speculative future scenario.
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We got invited to the international workshops of the College of Management Academic Studies, COMAS in Tel Aviv, Israel and the FabLabIL with a proposal for a workshop on “Soft Space”
Soft Space is a seminar that explores new relationships between our body and the surrounding environment. Even if our body is 90% of the times enveloped in soft materials, we cannot declare the same with space and its architecture. What if we imagine a fluid , soft, maleable , interactive surrounding as an extension of our body?
Digital Fabrication and CAD-CAMM technologies give us easy and direct access to tools and create a fertile ground for experimentation.
Through the exploration of soft materials and different fabrication techniques we can design new interactions and perspectives about objects, our body and space.
As far as the program overview, if the workshop is an intensive course of 1week / 40hours (8h/day)
1.1. Processes and techniques – digital manufacturing
1.2. New materials, intelligents, reagents, soft, technicians, biomaterials
1.3. Space as body- extention of technology and the new body
1.4. Digital fabrication techniques on materials
1.5. The imaginary space
2.1. Laboratory project proposals
2.2 Fabrication Laboratory models
2.3. Submission of proposals.
2.4 Manufacture of selection of proposals in scale 1: 1 (Cut Laser- impression 3D- CNC milling – elecronic)
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During the workshop we navigated through the Digital Fabrication technologies and had an overview of the techniques and applications the FabTextile project investigates and other references and inspiration.
We had a 3D printing Rhinoceros tutorial oriented in the creation of chain geometries that can work as flexible meshes for the body.
We also worked with different laser cut patterns that can impose change on the material properties, like flexibility , volume, texture.Also we worked in laser- cutting techniques , image and vector, patterns and manipulation on different fabrics.
Melanie worked with digitalising image and converting it to stitches for the digital embroidery machine. She also had velvet and we Raster engraved a pattern to create relief.
Everybody made his Taska Bag, check more for our product here
Thanks to all the 16 participants that came at the Lab, to Ingi Freyr, Danisa Peric Maluk, Ece Tankal and Ricardo Vallbuena for their help!
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Ece Tankal & Ilkim Er worked on the exercise “Modular Systems” where one geometry can assemble with the other to create a seamless form of textures. There are many Fashion Designers as well as product designers that work with unit repetition. We can imagine clothes that are multifuncional and you can reconfigure with this technique.
They chose a triangular form that once it’s assembled it stays bent in a 3d shape that creates volume and rotation. The distance of the hole of the triangule can vary and form less or more volume and mold.
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Print on Fabric
The process of printing on fabric is quite direct, you have to attach the fabric with black clips on the printing platform and readjusting the nozzle according to the fabric height.
After some experiments on different fabrics we ‘ve noticed that 1mm hole meshed fabric does not adhere properly on the surface. We have tried on viscose and on lycra and it works , still need more tests.
According to different fabrics and and 3d models you can impose forms on the fabrics, 3d volume, different weight and deformation.
Check this project here>
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The seminar is taught to students from the 1st and 3rd year of fashion school at Veritas University in Costa Rica,, in collaboration with Fab Lab Veritas, CINNO. In this 20hour seminar the students of fashion are introduced to the possibilities, the techniques and the processes of digital fabrication applied in fashion.
They get to understand what is the procedure from design to production, how different materials can be manipulated through laser cutting and what kind of 3D geometries can printed to imitate textiles.
The exercises imply the use of open source tools, such as Make Human, 123d make,rhinoceros, grasshopper,illustrator.
Check the students on fabtextiles vimeo
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When Stardust* founders Francesco Ducato and Carla Athayde came up with the idea of publishing a book with 2000 unique covers, I imagined that somebody had told them to reach out to me and that I would say YES to this challenge. Their idea was to use the concept of “connecting” to generate patterns that would be embroidered with the digital embroidery machine that we have at Fab Lab Barcelona.
The book is going to be published by ACTAR publishers and with the expertise of Ricardo Devesa we are inserting a custom, unique digital fabricated method into the normal industrial production of binding and printing books, maintaining the costs and making a proof of how digital fabrication is opening up possibilities in the current industry.
The workshop was full of various inputs for the participants, with all partners presenting their work, Fabtextiles, Stardust*, Actar and also Maximiliano Romero from Phyco.Lab in Milan talking about Data flows in Digital Fabrication and Bea Goller, talking about her research on sonification of architecture.
The second day there was a very interesting visit at L’Automatica where Ariadna Serrahima & Diego Bustamante talked to us about their collective, that recovered an old letterpress printshop and converted it to a local social hub for experimentation, learning and small scale production.
The theme of “connecting” was elaborated by investigating several methods and themes:
– magnetic fields
where the participants worked on small grasshopper definitions developed by Santi Fuentemilla
The objective was to fine tune one of the definitions, to optimise in machine production time and aesthetic outcome. The final definition was fine tuned according to the embroidery machine parameters and exports automatically the iterations for the book cover.
We finished our four day workshop with a visit to Valldaura Self Sufficient Labs, where Jonathan Minchin explained us the vision and the projects currently running at the Green Fab Lab.
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Laboral organised a meeting on community and the critical use of technology with a weekend programme of presentations, round tables and workshops in November 2015.
Here you can see the streaming of the presentation.
WinterLAB is aimed at exchanging community work experiences that foster the creative use of technology and bring the new media for creation and production closer to the public.The aim of the hands-on workshops is to disseminate maker and DIY culture among the general public and, at the same time, provide professionals with open source tools and techniques suitable for creative projects.
The workshop was an overview of techniques and digital fabrication methods where different background participants worked with 3D printing on Fabric, 3D modeling and laser Cutting.
We have used the customizer application of Thingiverse and the mesostructured materials development of Andreas Bastian to create different patterns and understand adjustable flexibilities imposed by the density, the shape, the thickness and the height. Flexible structures, auxetic, bistable geometries are one of the options on 3D printing for elastic performance.
We also had some participants that brought patrons and wanted to digitalise them, so we made an “easy patron” tutorial.
We took pictures of the paper patron and designed their outlines in Rhinoceros. We also applied patterns for laser engraving on the synthetic neoprene that turn to be darker after the etching. White color turns brown and dark colours would not make much difference.
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Fab Textiles V5: Redefining pattern making and traditional seam joinery
Participants to this edition of the Fab textiles workshop were introduced to digital modelling techniques that allowed them to develop designs in Rhino and fabricate personally customised clothing using the technology provided at the lab.
The first assignment was to transform an image using Grasshopper into complex geometry using a series of data manipulations based on colour information.
Once participants had a basic understanding of digital model and manipulation techniques, they learned methods to digitally design and produce individually designed clothing. First, a mannequin was scanned using Kinect and imported into Rhino. Participants then collectively decided on the design of the garment by physically projecting lines onto the body. These lines were then imported into rhino and digitally projected onto the mannequin. These lines delineated the components that would then be laser cut from textiles and assembled as a kit of parts.
Using this process, participants have learned how to fully develop their textile based projects digitally from the design project, all the way through to development and fabrication.
Introduction to the Fab Lab Machinery
Fabrication of Textile Patterns
Rastered Textiles with Patterns
Kinect scanning of the Mannequin
Video of Digital Production:
Fab Textiles V5 from Fab Lab Barcelona on Vimeo.
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Rhinoceros ha sido el programa que se ha usado para el diseño y la cortadora láser para la fabricación.
Diseño de unas piezas modulares en fieltro, para crear prendas de ropa a partir de la fabricación digital en textil.
Además del sistema modular, también se desarrolló un sistema para el circuito cosido en el textil, para introducir iluminación LED en la prenda.
Fab Textiles Workshop V2 by Furqan Habib & Coral Martinez
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Traditional sandal making enhanced with pattern engraving on natural leather.
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En este primer Taller inicial, la propuesta era explorar en nuevos medios de producción a través de herramientas de fabricación digital.
En el taller se exploraron diferentes métodos de fabricación digital como: impresión 3d, corte por láser, corte por cuchilla y bordado digital, usando diferentes tipos de programas para diseñar objetos y generar estrategias para fabricarlos.
El primer ejercicio fue “Hack a T-Shirt”:
Cuello cortado a Láser y piezas impresas en 3D cosidas encima.
Volumen cortado a Láser con goma eva y pegado posteriormente.
Bolso con grabado triangular cortado y grabado con Láser y posteriormente cosido.
Patrón de camiseta cortado a Láser, estampado trabajado con Grasshopper y posteriormente cortado y grabado a Láser.
Patrón cortado y dibujo rasterizado a Láser.
Imagen trabajada con Grasshopper y posteriormente cortda a Láser en una plancha. Posteriormente plancha usada como Stencil para pintar con resina y dar más color y rigidez a los puntos escogidos para crear la imagen.
Volumen cortado con goma eva y forrado con tela cortada y rasterizada con imagen en la cortadora Láser. Volumen con función de bolsillo.
Tiras cortadas y rasterizadas a Láser.
Botones de metacrilato cortados a Láser.
Camiseta cortada en tiras a Láser,tiras vueltas a coser e integración de otra tela con imágenes rasterizadas.
Mapa del mundo tratado con Grasshopper como imagen y cortado en el tejido. Patrón cortado a Láser.