{"id":18970,"date":"2025-05-20T16:27:04","date_gmt":"2025-05-20T20:27:04","guid":{"rendered":"https:\/\/parsons.edu\/undergrad\/?post_type=student-work&p=18970"},"modified":"2025-05-20T16:27:04","modified_gmt":"2025-05-20T20:27:04","slug":"julia-huang-4","status":"publish","type":"student-work","link":"https:\/\/parsons.edu\/undergrad\/student-work\/julia-huang-4\/","title":{"rendered":"Julia Huang"},"content":{"rendered":"\n

During the initial research about the history of textiles, I was intrigued by the more modern developments in textile design, largely 3D printing. This aspect influenced my attitude or approach to some of my thumbnails and mood board. For most of my pattern developments, I wanted to keep in mind the 3D printing aspect, thus making an effort to design a pattern that I could picture being brought into Rhino to then be printed in 3D. I was really excited to try block printing for this project. I prefer more organic and randomized shapes and patterns to the uniform or symmetrical ones, so block printing seemed like the perfect way to achieve the type of pattern that I was looking for. While block printing, I loved experimenting with different materials, especially ones that we might not normally consider using. And, I was really happy with my results, so I ended up using quite a few of them for my digital mockups. While developing my patterns, I used Photoshop to manipulate color and form. Then, I chose one design and further simplified it so that it could easily be brought into Rhino. My initial patterns were prototype printed at the UC. The 3D file was printed on fabric in the school’s 3D lab after some manipulation in the software.<\/p>\n\n\n\n

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