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1. Navigation.

1/10 Default Workspace 2/10 Left: 3D sewing tools, only use in left 3D window Right: 2D sewing tools, only use in right 2D window 3/10 2D shapes tools 4/10 2D internal shape tools 5/10 2D edit pattern tools, line, point etc. 6/10 2D tape editor 7/10 Simulation start button, can also use space bar 8/10 Hot keys for 3D camera view display. Right mouse hold=rotate. Center scroll hold=pan 9/10 Project > Save As 10/10 Import(add), always use this when adding any additional information to the file.




1/2 If you cannot pan by clicking on the scroll wheel, go to your settings. 2/2 Adjust these options.
2. Export out of Rhino to Illustrator

1. Make sure that your shapes are closed curves in Rhino. The simplest way is to Dupborder your unfolded, flat surfaces.
2. Move your closed curve unfold to 0,0.
3. Export to Illustrator, scale 1:1
4. In Illustrator, open your file, select all the shapes, then go to Object > Artboard > Fit to Selected Art.
5. Convert units to mm.
6. Save



3. Import to CLO

1/5 After you have opened CLO, select the file drop-down menu and select import(add) Adobe AI/PDF. 2/5 Select your AI file and ensure that you are working in mm. 3/5 In this menu, ensure the two boxes in red are checked as like shown above. This will allow for the files to be made into a garment and any internal shapes to be registered as potential sewing lines. 4/5 Notice the flat file loads as it appears in the PDF. Parallel to the camera in the 3D view on the left and on the right the files are viewed as though flat on a table. Note if you move the flat files in the 2D view it will not affect their position in the 3D view and vise versa. 5/5 In this screen shot unlike 4, only ones surface is selected. You can select all at once and individual and edit the properties menu on the right.


1/3 If you have a hole that is filled in, select it. 2/3 In 2D window, right click on it and hit Cut. 3/3 Now select it again and hit delete.
4. Staging 3D

1/9 Select all patterns in camera hot key (2) front elevation, then change camera to hot key (4) side elevation. This is necessary to rotate all of your unfolded geometry to be parallel with the background grid. Not all rotations are from the center of selected surface or group of surfaces. All rotation should be performed in the view that is perpendicular to the surface. 2/9 Rotate all surfaces by turning the gumball 90 degrees, you can hold shift to lock the rotation. This screenshot is looking at the side view, where rotation has taken place. 3/9 To move surfaces in 3D use the gumball arrows up or down. Next, begin to rotate or adjust the posture of other surfaces once you have one resting on a ground surface. Note it is okay that the surfaces are not on the grid. They can be above or close to the grid surface but never below or the simulation will not work. Also the final posture should never be floating many feet above the grid in elevation view. 4/9 Again the rotation occurs in an elevation view relative to the direction of the rotation. It is importation to always rotate in views 2,8,4,6,or 5.These are as close to orthographic views as the program allows. 5/9 Once you have rotated and adjusted the surfaces, move them closer to where you want to sew or connect the edges. Be sure to leave spaces between the surfaces to allow for stitching. 6/9 Again rotate in “elevation” view. Note in this example all surfaces get rotated at once until their position is set. This is because its easier to rotate from the previous surfaces position. This will expedite the posture staging process. 7/9 Again rotation in “elevation” view. Note in this example all surfaces get rotated at once until their position is set. This is because its easier to rotate from the previous surfaces position. This will expedite the posture staging process. 8/9 Again rotation in “elevation” view. Note in this example all surfaces get rotated at once until their position is set. This is because its easier to rotate from the previous surfaces position. This will expedite the posture staging process. 9/9 Once final posture is set go back and make sure there is some space between surfaces to allow for stitching. This way you can see if the thread is tangled.

5. Sewing

1/14 After posture is set and you've spaced out the surfaces, determine if you have the stitch type 1 or 2. Type 1 is an equal edge to edge stitch: there will be a clean stitch from one surface to another. Type 2 is an unequal edge to edge stitching: the surface and its edge needs to be divided or notched to allow the stitching to stop where intended and not continue down the surface. 2/14 Type 1 does not need any surface adjustment. Using the stitching icon in the 3D window, ribbons select the tool and the edge of the surface to start the stitch. This surface will become colored thread once selected. Here it is light blue. 3/14 Once one surface edge is selected in the 3D window select an edge to stitch to. This edge will become colored thread. Here is it's light blue. 4/14 After selecting both surface edges the software will create stitches between the surfaces. Here it is in magenta, each stitch will be a different color. 5/14 The stitches should be straight like shown in the previous screen shot. If any cross appears in the stitching it means the sewing is reversed. 6/14 Select the stitch editing tool, next to the stitching tool, and select the set of stitches you want to edit. Right click and select reverse stitching. You can also use Ctrl+ B when you are stitching if you see this happening. 7/14 Type 2, shown in blue, requires edge notching to subdivide the surface edge to allow stitching to stop short of the entire surface. You can place notching on any edge. 8/14 To add notching you must select the tool in the 2D window ribbon. Once selected go to the surface edge and place notch at point where stitching should stop. 9/14 The edge will become blue when selected. That means the notch has been placed on that surface. 10/14 If you select the stitch edit tool in the 3D view you can see the notches on the surface edges. These will also appear as red dots when you are stitching. 11/14 Repeat this step where necessary for your posture. 12/14 Like Type 1 stitching, select the stitching tool in the 3D window and the edge where the stitching should start. Here you will see that the surface edge now has two options for stitching. 13/14 Continue to stitch the surface edges together. Note you will get a warning if you try to overlap stitching and it will not add stitches on top on one another. 14/14 Once the stitching is complete you can select the stitch editing tool from the 3D window ribbon and look at the active stitches on the model.


Taping

1/3 In the 2D window, find the collared shirt to tape a seam. 2/3 Click on an edge you want to tape. 3/3 With that edge selected, you can find taping options in the properties menu. This is also where you can turn the tape off for that seam.

6. Applying Materials

1/7 The fabric is set to default matte when the PDF is initially imported. To change the material you will use the window to the right. Download the 5 materials listed below to use in your project. 2/7 To add a downloaded material select the Add + too on the properties menu. 3/7 Once added, select the "open" icon to load your material. 4/7 Once you select open the windows menu will pop up and ask you to navigate to the material files. Select one of the material files provided and open. 5/7 Repeat this step to load in all five materials. 6/7 Select all surfaces you want to make a certain material and in the properties menu go to the fabric section, and use the drop down menu to select the correct material. Note that you can select all the surfaces or just some of them. 7/7 Color will change based on material


Kraft Paper
dull, medium brown, 1.00 mm thick
performs like kraft paper

Reinforced Paper
semi dull, beige, 10.00 mm thick
performs like thickened reinforced paper

Waxed Paper
reflective (high), dark brown, 5.00 mm thick
performs like waxed paper

Smooth Flexible Paper - Thick
reflective (high), light gray, 40.00 mm thick
performs like thick flexible foam or silicone

Smooth Flexible Paper - Thin
dull, yellow, 20.00 mm thick
performs like thin flexible foam or silicone