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Research Article
Real-Time Animation Complexity of Interactive Clothing Design
Based on Computer Simulation
Yufeng Xin ,
1
,
2
Dongliang Zhang,
3
and Guopeng Qiu
1
1
College of Art and Design, Sanming University, Sanming 365004, Fujian, China
2
Krasnodar State Institute of Culture, Krasnodar 350076, Krasnodar Krai, Russia
3
International Design and Research Institute, Zhejiang University, Hangzhou 310058, Zhejiang, China
Correspondence should be addressed to Yufeng Xin; 20161131@fjsmu.edu.cn
Received 8 March 2021; Revised 19 April 2021; Accepted 26 April 2021; Published 11 May 2021
Academic Editor: Zhihan Lv
Copyright ©2021 Yufeng Xin et al. is is an open access article distributed under the Creative Commons Attribution License,
which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited.
With the innovation of computer, virtual clothing has also emerged. is research mainly discusses the real-time animation
complex of interactive clothing design based on computer simulation. In the process of realizing virtual clothing, the sample
interpolation synthesis method is used, and the human body sample library is constructed using the above two methods (primitive
construction method and model reconstruction method) first, and then, the human body model is obtained by interpolation
calculation according to the personalized parameters. Building a clothing model is particularly important for the effect of trying
on. e clothing that needs to be displayed can be scanned and then input into the computer to build the model. e model can be
directly built in 3DMAX and other software and then its surface texture can be mapped, or the clothing model can be directly built.
e 3D model in the 3ds file is loaded by the loop body nested switch branch selection structure. Correspondingly, the write-back
operation of 3ds files is similar. Just follow the general structure of the 3ds file and write the root block, version information block,
edit information block, key frame information block, etc. to a brand new file in sequence. e main reason for this article to
perform the 3ds file write-back operation is that, after the clothing model is dynamically simulated through the dynamic principle,
the deformed key animation frame needs to be saved as a 3ds file so that it can be further imported into the 3DSMAX software and
generated by the renderer, form high-quality picture information, and finally get high-definition animation video. In the CPU-
GPU hybrid method, modules such as force calculation, collision processing, and position update use the GPU method, while
overstretching is processed by the CPU method, making the overall performance 10 times higher than the pure CPU method. is
research helps to promote the development of 3D virtual clothing design.
1. Introduction
Clothes are generally made of fabric. Many techniques are
used in clothes animation, and naturally most of them come
from fabric simulation. Fabrics in clothes are very soft and
deformable, especially those light and thin fabrics in the real
world, which can also show rich wrinkles. is brings op-
portunities and challenges to the simulation of deformable
bodies such as fabrics and clothes. How to simulate the effect
of cloth and clothes that are close to the reality through
computer simulation and how to make the simulation speed
meet the real-time requirements of animation have always
been research hotspots and difficulties in the field of virtual
reality.
e research goal of this paper is to study the feasibility
of dynamic simulation-based clothing animation and online
fitting based on the difficulty of fitting on existing online
clothing sales channels and to carry out in-depth research
and improvement on the key technologies. First, introduce
the basic concepts of 3D virtual clothes animation, then
describe the relevant research background, status, prospects,
etc., and introduce the key issues, main innovations, and
contributions in the 3D virtual clothes animation, including
the key issues in the 3D virtual clothes animation, clothing
modeling, numerical solution, and key frame animation
program.
As the key of virtual reality, computer simulation has
been widely used in the field of sports. Yili believes that this
Hindawi
Complexity
Volume 2021, Article ID 9988623, 11 pages
https://doi.org/10.1155/2021/9988623
revolutionary has had a huge impact on traditional teaching
ideas and teaching methods and has brought huge oppor-
tunities for the development of sports. In view of the lim-
itations of the traditional physical education model,
combined with the theory of stimulus response, he analyzed
the simulation in the field of physical education and in-
novated the physical education model. It provides a refer-
ence for the better development of sports. His research-
assisted teaching can help students make better use of
simulation to strengthen physical learning theory and
physical practice, but it lacks a teaching model that can
provide an effective reference for the innovation of physical
education [1]. In interior design, the computer’s drawing
function can greatly improve the design efficiency, with the
advantages of accuracy, repeatability, and modification. Sai
analyzed the architectural design and interior decoration
based on virtual reality and computer simulation. In his
research, the computer’s drawing function is an important
tool for the computer-aided design of interior designers, but
the research process lacks data [2]. Ahmed demonstrated a
Ku-band patch antenna with a larger bandwidth. He used
the skills of Defective Ground Structure (DGS) and Defect
Driven Patch to expand his BW. He proposed an impedance
bandwidth of 8 GHz, which is suitable for a variety of ap-
plications. It can be easily installed in related convenient
electronic devices. In this case, computer software called
computer simulation will be used for investigation and
analysis. Although the simulation design in his research
shows very good gain and efficiency, the research lacks
novelty [3]. Kajiwara believes that composite is very im-
portant for the production of high-functional or high-
quality materials and products. He has researched composite
technologies in polymer and glass processing. For the
multilayer process of polymer films, he has developed a
multilayer flow simulation for viscoelastic fluids and dis-
cussed the instability and encapsulation phenomena at the
interface from case studies considering mold configuration,
rheological properties, etc. Although the multilayer film
phenomenon in his research can also be understood from
simulation, the research process still has no data induction
[4].
In the process of realizing virtual clothing, the sample
interpolation synthesis method is used, and the human
body sample library is constructed using the above two
methods first, and then, the human body model is ob-
tained by interpolation calculation according to the
personalized parameters. Building a clothing model is
particularly important for the effect of trying on. e
clothing that needs to be displayed can be scanned and
then input into the computer to build the model. You can
also directly build the model in 3DMAX and other
software and then map its surface texture. e 3D model
in the 3ds file is loaded by the loop body nested switch
branch selection structure. Correspondingly, the write-
back operation of 3ds files is similar. Just follow the
general structure of the 3ds file and write the root block,
version information block, edit information block, key
frame information block, etc. to a brand new file in se-
quence. e main reason for this article to perform the 3ds
file write-back operation is that, after the clothing model is
dynamically simulated through the dynamic principle, the
deformed key animation frame needs to be saved as a 3ds
file so that it can be further imported into the 3DSMAX
software and generated by the renderer, form high-quality
picture information, and finally get high-definition ani-
mation video.
2. Real-Time Animation Complex for
Interactive Clothing Design
2.1. Computer Simulation. e so-called fabric computer
simulation refers to a computer that uses the computer’s
powerful graphics processing capabilities and image display
functions to quickly and realistically simulate the appearance
of the fabric after obtaining the fabric CAD product data and
related process parameters [5, 6]. Under normal circum-
stances, the fabric of computer simulation is mainly reflected
in the simulation function module of the fabric CAD, but
sometimes it is also directly used in a special fabric computer
simulation. It is an important means of testing the results of
fabric computer-aided design [7]. e powerful fabric
computer simulation function will greatly facilitate the
designer to check the fabric effect of the designed product at
any time during the design process and then be able to make
timely and effective design modifications [8, 9]. is fabric
computer simulation can greatly improve the design quality
and work efficiency, but more importantly, it has completely
changed the traditional mode of fabric design and pro-
duction [10]:
FR(j) � D2(j)
p×q,(1)
where FR(j)represents the quality of the fabric, Drepre-
sents the diameter of the fabric, and pand qrepresent the
correlation coefficient of the fabric. e frame rate of change
is a physical quantity that describes the speed of frame
movement [11]:
FCM(k) � 1
p×q×omax
p
t�1
q
j�1|o(i, j)|.(2)
Among them, FCM(k)represents the frame change rate
of the kth image frame. Because the color peak value of the
fabric is constantly changing with the correlation coefficient,
therefore, try not to use a single peak as the main color
feature of the venue [2, 12]:
mean �i�imax
i�imin hist(i) × i
i�imax
i�imin hist(i).(3)
Among them, hist(i)represents color statistics [13]:
SE(c) � exp 1−nc
α
.(4)
Among them, SE is the lens conversion rate and cis the
lens index value [14]. e specific definition of frame motion
intensity is as follows:
2Complexity
LMI(c) � 1
nc×mc
nc
j�1
mc(j),(5)
where LMI(c)represents the lens motion intensity of the c
lens [15]. Kalman filtering is an algorithm that uses linear
state equations to optimally estimate state through input and
output observation data. Since the observation data includes
the influence of noise and interference in the outside world,
the optimal estimation can also be regarded as a filtering
process. When using Kalman filter [16],
Xk|k−1�AXk|k−1+BUk.(6)
Calculate the optimal estimate from the observed value
Zkto modify the predicted value:
Xk|k−1�Xk|k−1+KkZk−HXk|k−1
.(7)
Among them, Aand Bare parameters and Hrepresents
the observation parameters.
In the execution stage, the connection structure and
weight coefficients of the network have been determined and
will not change. At this time, there are [17]
U(t+1) �
n
j�1
Wij(t+1)Xj(t) − θ(t+1).(8)
Among them, Wij is the weight coefficient of the con-
nection between the ineuron and the previous jneuron. e
motion attitude determination optimization algorithm has
faster convergence speed and better optimization effect,
which is very suitable for large-scale data or large-scale
model problems [4]:
mt�β1mt−1+1−β1
gt,
vt�β1vt−1+1−β1
g2
t,
θt+1�θ−η
����
v+ε
√m.
(9)
Among them, mtand vtcalculate the first and second
moments of the gradient. In order to ensure stability, it is
necessary to simulate the applications installed on the cloud
computing and the entire operating environment of the
cloud computing [18]:
lqm �ΔQ
Q0∗100% �1−exp
i−kmaxtiexp −E
RT
⎧⎨
⎩⎫⎬
⎭∗100%.
(10)
Among them, ΔQand Q0are the data entered before and
after:
CLi�LNodei×Cr
AC
Cp
Node +LAC ×1−Cr
AC
Cp
Node
Level
.(11)
Among them, CLirepresents the resource service ca-
pabilities provided. In this basic framework, it is very im-
portant to study the interaction and collaboration between
the edge (fog) and the core (cloud) [19]:
Mt�M(1)
t+M(1)
t−1+ · ·· + M(1)
t−N+1
N�M(2)
t+M(1)
t−M(1)
t−N
N.
(12)
Among them, Nis the number of data and Mtis the test
data. e 3D fitting process based on computer simulation is
shown in Figure 1.
2.2. ree-Dimensional Fabric Geometric Model. In addition
to the weight of the fabric itself, the forces it receives are only
external forces, such as wind and air resistance. is divides
the effect of wind on the fabric into two parts, namely, the
regular part and the irregular part in the wind. In order to
describe the effect of wind on the deformation of fabric
texture, we apply an external force to the fabric texture
deformation model and then use this to describe the effect of
wind and air resistance on fabric texture deformation [20]:
FD�0.5MDρvr
2Ssin θ,
FL�0.5MLρvr
2Scos θ.(13)
e lift Fis perpendicular to the direction of relative
velocity. e wind force acting on the fabric is divided into a
regular part and an irregular part. e regular part force is
simulated by establishing the fabric dynamic equation, and
the irregular force is simulated by using a random signal
method [21, 22]. In addition, we can also simulate the in-
fluence of fabric material properties on fabric deformation
[23]. e irregular part of the wind can be controlled by a set
of cosine functions Gi[24]:
Gi(x, y, z) � Aicos ωDix +Diy
.(14)
A piecewise linear equation is used to express the re-
lationship between the amplitude Aand the abscissa x
[25, 26]:
A�kix+b. (15)
e wave equation of the fabric movement process is
simulated by the superposition of several cosine functions.
rough amplitude modulation (for example, the waveform
may correspond to the sound reproduced by the speaker or it
may correspond to the light intensity of the TV pixel. is
method is in contrast to the frequency modulation, where
the carrier frequency changes, and the phase modulation,
where the phase changes.), the final signal can be expressed
as,
F(x, y, z) � Hj(x, y, z) × cos ωDix +Diy
+S1t
.
(16)
e combination of fabric dynamics equation and
random signal is realized through the process of amplitude
modulation. Due to the influence of gravity, rod tension, and
wind rules on the movement of the fabric, the carrier signal
of the baseband function is realized by the amplitude
modulation method. e wind can be modeled as an in-
compressible constant-density fluid, and the numerical
Complexity 3
approximation method can be significantly simplified. e
simplified N-S equation can be expressed in a compact
vector representation:
zF
zt� −(F·∇)F−1
β∇p+v∇2F, (17)
where Frepresents the three-dimensional velocity field and v
represents the kinematic viscosity of the fluid [27].
3. Interactive Clothing Design Experiment
3.1. 3D Model Source. In the virtual fitting room, the main
objects involved are people and clothes. erefore, the 3D
model here also mainly refers to the human body model
and the clothes model. At present, 3D model-making
software such as 3DSMAX, MAYA, and AutoCAD has
been very popular and mature, and related instructional
tutorials are also spread in bookstores and networks. Take
AutoDesk’s 3DSMAX software as an example, and we can
use it to easily create various 3D models of clothes,
mannequins, and so on. e software can view objects
from multiple different perspectives and perform real-
time rendering and display.
e produced 3D model can be saved as a model file with
the suffix max for later use or further modification. In ad-
dition to our own use of 3DSMAX software to make models,
there are also many ready-made, very rich 3D model re-
sources in the network. Most of them can be downloaded for
free and used in our simulation for exploration and research.
Regarding the human body model, we need to consider
different information such as gender, height, fat, and thin. In
addition, different facial expressions, hairstyles, etc. need to
be considered. For this reason, regarding the difference
between height, fat, and thin, we either use algorithms,
software, and other means to parameterize the human body
of a specific gender, or we can make a specific model for the
human body of different height and weight and build a
human body model library. Various hairstyles also need to
establish a hairstyle library. After selecting the corre-
sponding model from the model library according to the
customer’s measurement information and then using tex-
ture mapping, the customer’s own facial photos can be
pasted to the head of the mannequin with the help of texture
mapping so that the body shape of the customer can be
almost completely established.
3.2. Realization of Virtual Clothing
3.2.1. Establishment of Human Body Model. In the field of
3D clothing, a more important research topic is human body
modeling. On the one hand, the model is the object to be
drawn by computer graphics, and its intuitive performance
is different body characteristics such as tall, short, fat, and
thin. On the other hand, the spatial characteristics of the
human body model is an important calculation basis to
realize collision detection. According to the characteristics
and mechanism of the realization process, modeling is
mainly divided into the following three categories: primitive
construction method requires the modeler to have a rela-
tively complete background knowledge of human body
structure and geometric modeling skills, which is the most
difficult, model reconstruction method requires three-di-
mensional scanning equipment to reconstruct the human
body in three dimensions with the help of instrument
measurement information, and sample interpolation syn-
thesis method first uses the above two methods to construct
a human body sample library and then obtains the human
body model according to the personalized parameter in-
terpolation calculation.
3.2.2. Establishment of Clothing Model. Building a clothing
model is particularly important for the effect of trying on.
e clothing that needs to be displayed can be scanned and
then input into the computer to build the model. You can
also directly build the model in 3DMAX and other software
and then map its surface texture or use it directly built the
clothing model. At present, clothing modeling methods
mainly include geometric, physical, and hybrid modeling.
e hybrid modeling method combines the advantages of
geometric modeling and physical modeling. It uses geo-
metric methods to build clothing models and then uses
physical methods to simulate local physical characteristics.
3.3. Model Loading and Key Frame Storage. 3ds model file is
one of the most common 3D model file types. e advantage
Figure 1: 3D fitting process based on computer simulation (http://alturl.com/vq2gu).
4Complexity
of this kind of model file is that it is directly supported by the
3DSMAX software and can easily export the max format
model file to the 3ds format, which is good for general
purpose. e 3ds file structure logic is rigorous and hier-
archical. It has decoded and disclosed the internal structure
features of the file to facilitate the direct secondary and use of
third-party programs. e idea of this article is to give
priority to support models such as flags, clothes, and
mannequins made up of triangles in the program. For this
reason, the 3ds model file format can meet our current
needs. e specific method is to first generate the max model
file through 3DSMAX software (or search some shared max
files from the Internet) and then export it as a 3ds file; then,
the program can load and store the 3ds file.
3ds files are based on the “chunk” storage structure. Each
block contains two parts: the block header and the block
content. e block number is an unsignedshort type of 2
bytes, and the block length is an unsignedint type of 4 bytes,
as shown in Table 1.
e blocks in the 3ds file are stored in a nested manner,
and multiple child blocks can be stored in a parent block.
Under normal circumstances, first is a top-level root block
(block name: MAIN3DS, ID: 0x4D4D), the root block
contains a version information block (block name: VER-
SION, ID: 0x0002) and an editing information block (block
name: EDIT3DS, ID: 0x3D3D). ere is also a key frame
information block (block name: KEYF3DS, ID: 0xB000).
Editing information block EDIT3DS further contains more
subblocks, such as model vertices, faces, lighting, texture
materials, and other subblock information. For each type of
data in the 3ds file, it is stored in the order of low byte first
and high byte last. e 3D model in the 3ds file is analyzed by
the loop body nested switch branch selection structure. Load
operation: the advantage of this is that when you detect any
type of block, you can read which block, without worrying
about the sequence and presence of the blocks in the file.
Correspondingly, the write-back operation of 3ds files is
similar. According to the general structure of the 3ds file,
write the root block, version information block, edit in-
formation block, key frame information block, etc. in se-
quence to a brand new file. e reason why this article needs
to write back the 3ds file is mainly that, after the clothing
model is dynamically simulated by the dynamics principle,
the deformed key animation frame needs to be saved as a 3ds
file so that it can be further imported into the 3DSMAX
software to generate higher quality picture information with
a renderer and finally get a high-definition clothing ani-
mation video. For this reason, in most cases, we only need to
rewrite the coordinate position information of the vertices in
the original 3ds file, and other textures, patches, and other
information can be copied directly.
3.4. Mannequin Action Library. e method of this article is
similar, using the bone skinning in 3DSMAX to realize the
animation frame of human walking. In order to allow the
program to further read and load the human walking ani-
mation, it is necessary to try to convert the animation done
in 3DSMAX into a way that can be read by a third-party
program, as in the previous section. For this reason, our final
plan is to make the human model and walking animation we
need in the 3DSMAX software, then move the time slider to
a certain key point in turn, and export the human model
actions at this time as a 3ds file. Continuing the same
procedure, you can get the file sequence of human walking
3ds format in the chronological order. We found in actual
operation that, in these 3ds files, not only the shape of the key
points after the deformation of the human body is saved, but
the corresponding bone block data is also saved at the same
time. To this end, we also need to re-import these 3ds files
into 3DSMAX software in turn, delete the bone-related data,
and then re-export them to 3ds format model files. In this
way, we can use the 3ds model loading module in the
previous section to directly read the key sequence of human
walking motion from these 3ds file sequences and prepare
for the subsequent key frame animation of clothes.
3.5. Key Frame Animation. In computers, key frames are
generally used to achieve animation effects. Usually, when
the continuous action key frames of more than 25 frames are
played continuously every second, the visually continuous
animation effect can be realized. e traditional movie film is
actually composed of continuous pictures one after another
to form a coherent video. Computer monitors also use this
principle to display frames of pictures on the screen. e
physics-based dynamics simulation animation actually
generates a frame of image sequence according to a certain
time step. Later, by continuously replaying these image
sequences, continuous animation can be realized. Due to the
complexity of clothing simulation, with the current level of
computer performance, it is still difficult to achieve real-time
animation while simulating. In order to solve this problem,
our approach is to store each key frame obtained by sim-
ulation in a disk file in time order. Before playing the an-
imation, first load the first K animation frames into the
memory at once and then use multithreading to play, while
continuing to load the subsequent animation frames. e
value of K can be determined according to the specific
performance. On a PC with a 2.91Ghz dual-core CPU and
2.0 GB memory, it is completely acceptable to load 20,000
frames of data at one time and then play the animation. In
the process of clothing simulation, whenever a frame of
animation is generated, we need to save it to a disk file in
time. For the animation frames of clothes following the
movement of the mannequin, in order to further reduce the
storage space and loading time during post-play, we have
designed the binary file structure of each clothing animation
frame by ourselves. In each frame, the first is the frame
unique identifier, frame type, frame version number, etc.,
followed by the index sequence number. en, the sequence
Table 1: Unsignedint type.
Offset Length Description
0 2 Block ID
2 4 Block length n
6n−6 Block data
Complexity 5
number and position offset of the mannequin action key
frame associated with the current clothes frame are stored.
In this way, the information in the mannequin action library
can be directly reused to achieve cycle walking without
additional storage and loading. e position offset is mainly
realized by using a cycle of walking motion frames of the
human body to realize a cyclic walking animation. Next, it is
to record the status information of the current clothes, that
is, the number of vertices and the list of coordinates of each
vertex. In order to further improve the loading performance
of key frames, dozens of frames of motion information can
be stored in one file.
4. Results and Discussion
4.1. 3D Fabric Texture Deformation Simulation. It is realized
by combining the MATLABFEM toolbox and the NN
toolbox. In the simulation process, the fabric wrinkle model
is first established by the B-spline curve method. 20 control
points are selected on each B-spline curve, and a total of 20
B-spline curves are used to establish the wrinkles of the
fabric. In this way, a total of 400 control nodes complete a
fabric surface model. en, use the FEM toolbox to load the
fabric force, including the fabric gravity, the fabric is pulled
by the rod, and there is a parallel and stable wind force. In
the process of FEM meshing, the neural network model is
used to control the dynamic meshing of finite element. e
effect of MATLAB meshing is shown in Figure 2. e
specifications of clothing accessories are shown in Table 2.
For the texture color value of the three-dimensional
deformed fabric, the analysis problem of the viewing angle
parameter is added. Regarding the plane deformation from
any angle, as long as the viewpoint is above the fabric, the
observed texture deformation is the same. For 3D fabric
texture deformation, the observed texture deformation ef-
fects are quite different. erefore, we need to consider the
difference in visual effects caused by different viewing angles.
When calculating the points on the spline control curve and
other points on the surface, a projection transformation
operation is required, that is, the distance between two
points is calculated. We control the parameters in the
B-spline curve for analysis according to the different de-
formation of the fabric texture. e color value of the control
point on the curve can be set according to the curve length in
advance, and the color value of the point outside the control
point can be obtained by using linear interpolation. In order
to realize the smooth playback of clothes animation, we use
linked list storage in the memory. For deformable bodies
such as cloth and clothes, since the vertex position and
normal information change in each frame, we are the same
as the storage format in the disk file and mainly store thise
key information in each frame node. e gray-scale pro-
cessing effect of MATLAB on the fabric is shown in Figure 3.
e key action frame information structure is shown in
Table 3.
No. 01–04 fabrics are affected by various influencing
factors. Among them, No. 04 woolen thick material is most
affected by the back needle length, which is −0.787. e
experimental average bag length is only 131.21 mm. Worsted
thin material is hardly affected by the length of the back
needle, the stitch length, the start/tail seam length, and the
correlation coefficient between the bag length and the back
needle length is only 0.143, while the experimental average
bag length is 138.48 mm. e length of the clothes pockets
made in the experiment are all 140 mm, but due to the
different degree of influence, the experimental results show
that each clothes pocket cannot reach this ideal value. It can
be seen that the general trend is the thinner the fabric, the
smaller the pocket size change, and the thicker the fabric, the
greater the change. e average length of the clothes pocket
of No. 03 fabric is slightly larger than that of No. 02 fabric,
and the thickness and weight of No. 03 fabric are larger than
those of No. 02 fabric. is is contrary to the experimental
conclusion. However, we found that the fabric of No. 03 is
sparser than that of No. 02, so we believe that the change in
the length of the clothes pocket has a very important re-
lationship with the tightness of the fabric. e experimental
average values of 01 and 02 fabrics are shown in Table 4. e
experimental average values of 03 and 04 fabrics are shown
in Table 5. e comparison of elastic coefficients of the four
fabrics is shown in Figure 4. Figure 5 shows the animation
types of clothes pockets made of 4 kinds of fabrics.
Because the fabrics 01 to 03 used in this experiment are
fabrics commonly used in general suit making, fabrics 04 are
thick and sparse fabrics commonly used in autumn and
winter. It can be seen from the experimental results that the
change of the 01–03 fabric is 1.5mm-2mm, and the change
of the 04 fabric is much larger than the changes of the other
three fabrics, about 8 mm. In the actual operation process, if
the size of a clothing pocket changes to 8 mm, on the one
hand, it will exceed the customer order tolerance (allowable
error range) and face the risk of return. On the other hand,
due to the reduction of too much volume, it may cause the
clothes to be returned. e pockets shrink and affect the
appearance of clothing pockets. e experimental data of
No. 04 fabric can be seen: when setting the same pocket
length, the longer the back stitch, the shorter the bag length;
when the same back stitch length, the longer the starting
stitch length, the shorter the pocket. As the sewing thread
will shuttle back and forth in the fabric during the sewing
process, it will inevitably cause a certain amount of traction
on the fabric, so the chance of such traction should be
minimized. is should shorten the length of the reverse
needle and the starting needle length within the allowable
range. In addition, clothing pockets of the same length and
different stitch lengths will produce different numbers of
stitches. In order to reduce the number of stitches and the
chance of contact between the suture and the fabric, the
stitch length can be increased appropriately. For fabrics that
are thicker and sparser, they are more sensitive to changes in
various factors, so you should appropriately reduce the size
of the back stitch length and the starting seam length, in-
crease the stitch length, and think that the back stitch is
3 mm, the start/tail seam is 5 mm, and the stitch length is
3 mm, and this set of data is more suitable for fabrics such as
No. 04. e research data of No. 04 fabric is shown in
Table 6. e analysis of the research data of No. 04 fabric is
shown in Figure 6.
6Complexity
Figure 2: e effect of MATLAB meshing (http://alturl.com/c4dkq).
Table 2: Clothing accessories’ specifications.
Specification species Size
Fabric 25 cm ×7 cm
Pocket pad 17 cm ×5 cm
Noodles 50 pcs
Bottom line 50 pcs
Lining 15 cm ×2 cm
Figure 3: e gray-scale processing effect of MATLAB on the fabric.
Table 3: Key action frame information.
Offset Length Description
0 2 Frame ID
2 2 Frame type
4 2 Version number
6 4 Frame number
10 4 Human action frame number
14 4 Human body action frame position offset
18 2 Apex days
20 nItem coordinate list
Table 4: 01 and 02 fabric experimental average.
Pocket parameters
Numerical value Mean01 Mean02
Bag length 138.48 138.22
Beginning and ending stitch length 1.450 1.466
Middle stitch length 2.200 2.22
Back needle length 6.60 6.77
Complexity 7
0
0.2
0.4
0.6
0.8
1
1234567891011
Stretching rate (%)
Number of experiment
Fabric01
Fabric02
Fabric03
Fabric04
Figure 4: Comparison of elastic coefficients of various fabrics.
Figure 5: Animation types of clothes pockets made of different fabrics (http://alturl.com/qb5jb).
Table 5: 03 and 04 fabric experimental average.
Pocket parameters
Numerical value Mean03 Mean04
Bag length 158.22 178.22
Beginning and ending stitch length 2.466 4.466
Middle stitch length 4.22 6.22
Back needle length 8.77 10.77
Table 6: 04 fabric research data.
Number Bag length Beginning and ending stitch length Middle stitch length Back needle length
1 130 1.8 2.5 10
2 130 1.8 2.5 10
3 130.5 1.8 1.5 10
4 131 1.8 1.5 10
5 131 1.8 2.5 5
6 132 1.8 2.5 5
7 131 2.5 2.5 10
8 13 1 2.5 2.5 10
8Complexity
4.2. Animation Simulation analysis. e simulations were
performed using pure CPU mode, pure GPU mode, and
CPU/GPU hybrid architecture mode. Time statistics are
shown in Table 7, and the performance comparison of
each stage is shown in Figure 7. It can be seen from
Figure 7 that the GPU has a speedup of 30–40 times
compared to the CPU in the higher parallel stages such as
force calculation, collision processing, and position up-
date. However, when dealing with over-stretching, the
degree of parallelism is not high, and the performance
drops instead so that the overall performance is only
improved by less than 2 times compared with the CPU
method. In the CPU-GPU hybrid method, modules such
as force calculation, collision processing, and position
update use the GPU method, while over-stretching is
processed by the CPU method, making the overall per-
formance 10 times higher than the pure CPU method. e
clothing animation interface is shown in Figure 8.
Table 7: Simulation time statistics.
Method Force calculation
(S)
Collision detection
(s)
Location update
(S)
Stretching treatment
(S)
Data transmission
(s) Total time (s)
CPU 20.352210 68.335612 7.309783 5.584585 0.000000 99.642260
GPU 0.583196 1.766177 0.241601 50.523434 0.974678 50.629531
CPU-
GPU 0.582513 1.804824 0.241195 5.589183 1.862065 10.333219
0
20
40
60
80
100
120
CPU GPU CPU-GPU
Time (S)
Method
Force calculation (S)
Collision detection (s)
Location update (S)
Stretching treatment (S)
Data transmission (s)
Total time (s)
Figure 7: Performance comparison of each stage.
130 130 130.5 131
1.8 1.8 1.8 1.8
2.5 2.5 1.5 1.5
10 10 10 10
0
20
40
60
80
100
120
140
1234
Research data (mm)
Fabric type
Bag length
Middle stitch length
Beginning and ending stitch length
Back needle length
Figure 6: Analysis of the research data of fabric No. 4.
Complexity 9
5. Conclusion
is research mainly discusses the real-time animation
complex of interactive clothing design based on computer
simulation. In the process of realizing virtual clothing, the
sample interpolation synthesis method is used, and the
human body sample library is constructed using the above
two methods first, and then, the human body model is
obtained by interpolation calculation according to the
personalized parameters. Building a clothing model is
particularly important for the effect of trying on. e
clothing that needs to be displayed can be scanned and then
input into the computer to build the model. You can also
directly build the model in 3DMAX and other software and
then map its surface texture or use it directly built clothing
model. e 3D model in the 3ds file is loaded by the loop
body nested switch branch selection structure. Corre-
spondingly, the write-back operation of 3ds files is similar.
Just follow the general structure of the 3ds file and write the
root block, version information block, edit information
block, key frame information block, etc. to a brand new file
in sequence. e main reason for this article to perform the
3ds file write-back operation is that, after the clothing model
is dynamically simulated through the dynamic principle, the
deformed key animation frame needs to be saved as a 3ds file
so that it can be further imported into the 3DSMAX software
and generated by the renderer, form high-quality picture
information, and finally get high-definition animation video.
is research helps to promote the development of 3D
virtual clothing design.
Data Availability
No data were used to support this study.
Conflicts of Interest
e authors declare that they have no conflicts of interest.
Acknowledgments
is work was supported by the Natural Science Foundation
of Fujian Province (Name: Research on Intelligent Design
Technology of ree-dimensional Garment Pattern Cutting:
2020J01392).
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Complexity 11
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