Research on the Collection and Display of Taiwan's Gaoshan

Traditional Clothing by Virtual Simulation Technology

Wang Yan

1,2

Faculty of Decorative Arts, Silpakorn University, Bangkok, Thailand

Industrial Design Institute, Minjiang University, Fuzhou, China

Keywords: Gaoshan Traditional Clothing; Virtual Simulation Technology; Virtual Display

Abstract: The main purpose of this research project is to simulate and display the traditional costumes of the Gaoshan

people in Taiwan from the perspective of design by the use of 3D scanning and virtual modeling technology,

and to analyze the important design techniques and visual features that influence the public perception of the

traditional clothing of the Gaoshan people.Firstly, six typical sets of Taiwan's Gaoshan traditional costumes

were selected. Then, the model with high degree of reduction was generated by 3D scanning. Secondly, a

MAYA modeling software was applied to build a clothing model and optimize the texture so that the virtual

simulation of clothing model can be preserved based on the 3D design software. In the display system,

Unity3D was used as a production platform to create the virtual display scene of the clothing museum. Finally,

it took the Unity3D as an engine to build a virtual museum display system platform for presenting the Taiwan's

Gaoshan traditional clothing.The research has realized the systematic display of the traditional costumes of

the Gaoshan people, broken through the limitations of the realistic display, and pushed forward the display of

traditional costumes to be terminalized, mobile and convenient. And the further ergonomics research can also

be carried out on the platform.The abstract should summarize the contents of the paper and should contain at

least 70 and at most 200 words. It should be set in 9-point font size, justified and should have a hanging indent

of 2-centimenter. There should be a space before of 12-point and after of 30-point.

1 INTRODUCTION

In order to better preserve the culture of traditional

clothing in Eurasian, and solve the problem of the

easily damaged traditional clothing as well as the

digital preservation of some existing clothing, VR

(Virtual Reality) technology can be applied, through

which a virtual 3D exhibition hall is created,

producing a lifelike "virtual environment" and

making users immersed in it by compiling realities

into a computer.

The digital collection of Gaoshan traditional

clothing in Taiwan is an advanced form of displaying

its culture and a significant form of technology

innovating, which promotes the integration of VR

with culture and education.

In this work, we are expecting to better inherit the

culture of traditional clothing with the help of VR

technology, which conforms to the future trend of

information technology innovation. Meanwhile,

combining culture preservation with VR is also a new

form of art and a new field of art.

2 OVERVIEW OF VR FEATURES

AND HARDWARE

2.1 VR Features

Existence：VR technology is a 3D image designed

by computer based on various sensory and

psychological characteristics of human beings. With

its stereoscopic and realistic nature, VR makes it as if

you were in the virtual environment when wearing an

interactive device. The most ideal virtual

environment is that one can not identify reality and

virtuality.

Yan, W.

Research on the Collection and Display of Taiwan’s Gaoshan Traditional Clothing by Virtual Simulation Technology.

DOI: 10.5220/0008763002550263

In Proceedings of the 1st International Conference on Interdisciplinary Arts and Humanities (ICONARTIES 2019), pages 255-263

ISBN: 978-989-758-450-3

255

Figure 1:Virtual scene (picture from this study).

Interactivity. Interactivity in VR refers to the

natural interactions between human beings and

machines, in which people perceive everything in

virtual environment through the mouse, keyboard or

sensing devices. VR system can synchronously

display images and sounds according to the user's

feelings and movements which is a real-time process

where users can manipulate things in the virtual

environment based on their needs, natural skills and

senses.

Creativity. Created by artificial design, virtual

environment in VR is not real, however, actions of

objects in the virtual environment are executed

conforming to the laws of physical motion in the

real world, for example, the virtual scenes of a

street are designed and created according to the

laws of street motion in the real world.

Figure 2: Virtual exhibition hall (picture from this study).

Multi-sensory. VR system is composed of various

sensing devices including visual, audible, and tactile

devices that enable it to have multi-sensory functions,

allowing users to obtain a variety of perceptions in

virtual environment as if immersed in it.

2.2 Experimental Equipment Selection

3D modeling of VR is an important part of the

whole system, which are often built by graphic

libraries such as OpenGL. However, there are

many irregular objects in practice. As a result, it is

impossible to build models easily like that, hence

3D modeling devices for auxiliary modeling are

needed, such as 3D scanners.

3D scanner, also known as 3D stereo scanner,

is a high-tech product that combines light,

machine, electricity and computer technology,

which is mainly used to obtain the three-

dimensional coordinates of outer surface of the

object and the three-dimensional digital model of

the object. With the developing of 3D scanning

technology, more and more industries have begun

to use 3D scanners to create a digital model of

objects such as 3D film and television animation,

digital exhibition hall, costume customizing,

virtual reality simulation and visualization.

Through the non-contact scanning of the objects by

the 3D scanner, accurate 3D point cloud data on the

surface, is obtained and then the digital model is

created efficiently and precisely, realistically

reproducing the real world in digital form

Figure 3: Artec 3D scanner.

At present, 3D scanners are widely used in the

field of medical and preservation of cultural relics.

The 3D scanner applied in this study was a hand-

held Artec 3D scanner weighed 850g. The portable

device can be easily used outdoors or carried to the

object that cannot be moved such as objects in a

museum.

The use of 3D scanner is to create a point cloud

of the geometric surface of the object that can be

used to present the surface shape of the object. The

denser the point cloud, the more accurate of the

model. Furthermore, if able to obtain the color of

the object surface, the scanner can present the color

on the reconstructed surface, also known as texture

mapping.

The 3D scanner can be modeled as a camera,

both of whose information collecting is constrained

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in a conical range. The difference between them is

that the camera captures the color information,

while the 3D scanner measures the distance. As a

result, it is also called the 3D camera since the

measured results contain information of depth,

with which one can scan an object with 16fps and

get the color information with 1.3 megapixel and

24-bit true color. However, in order to obtain an

overall model, it is often necessary to change the

relative position of the scanner and the object or

place the object on the electric turntable due to the

limited scanning range. The technique of

integrating multiple models is referred as image

registration or alignment, which involves multiple

methods of three-dimensional alignment.

Figure 4: Artec 3D scanner for scan artwork.

Considering all the aspects, Artec Eva 3D

scanner is the best choice, which is a customized

product for fast, accurate and textured scanning.

There is no need to mark or calibrate, as it can

quickly capture the shape of the object with high

resolution and efficiently reproduce the lifelike

colors of the object with no limited application

range. The auxiliary software, Artec Studio, is a

powerful and evolving software that can be used to

scan objects, fill holes, optimize grid data, apply

textures, fair and measure.

3 DIGITAL COLLECTION AND

MODELING OF TRADITIONAL

CLOTHING

3.1 Process of Digital Collection and

Repair of Traditional Clothing

In the process design of this research, six sets of

Gaoshan costumes were selected. It takes about one

or two days for each to go from digital collection to

repair and modeling. Moreover, because of serious

fading and damage caused by long preservation, there

will be problems such as chromatic aberration. Based

on some literatures, fine tunings have been made to

achieve the original colors as much as possible. Color

tuning different from the original colors were also

performed for some certain costumes to present

innovations. The specific steps are as follows:

First, each costume needs to be arranged and

ironed before scanning. However, as some of the

collections are too old and exist too many and deep

wrinkles, a long time will be taken to iron.

Meanwhile, for costumes with high drapability, it’s

necessary to unfold them in advance to reduce the

wrinkles and put them on the mannequin to prepare

for scanning, which will cost about half an hour.

Figure 5: Clothing finishing by ironing.

Figure 6: Clothing finishing by hanging.

Second, Collect data and model the scanning

objects using the Artec Eva 3D scanner connected

to the computer.

Research on the Collection and Display of Taiwan’s Gaoshan Traditional Clothing by Virtual Simulation Technology

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Figure 7: Collect digital models with scanner.

This is the preliminary scanning result of the

long blue shirt of the Gaoshan nationality. After

several times of scanning, there are many misaligns

in the structure due to the large area of the costume.

The scanning difficulty increases with the area,

consequently requiring a high configuration of the

computer, otherwise the scanner will be unable to

be calibrated during the process and the computer

running memory will be overloaded arising flash

backs. To avoid these problems, multi-scanning

and real-time saving are needed during the

collection process.

Figure 8: Preliminary scan result (front).

Figure 9: Preliminary scan result (obverse).

There are about 15 scanning results that need to

be aligned one by one. Looking for 3 identical

structural points or texture patterns between two

scans for alignment will take about 2 hours if the

costume structure is not that obvious.

Figure 10: Scan object alignment.

Figure 11: Scan object alignment.

This is the effect of the overall registration, fairing

and sharp blending of the model, the whole process

will take 1 or 2 hours depending on the file size and

difficulty of each scanning.

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Figure 12: Scanning object after fusion.

The system software will automatically fill some

areas after the integration and the extra parts need to

be erased by the eraser tool. Generally, the filling

points are connected with the edge of the costume,

where the demarcation is difficult to identify because

of the color. If part of the costume is erased, multiple

selections are generally necessary to make, which

will take 1 hour to go.

Figure 13: Select the extra part of the scanned object.

After grid simplifying and file downsizing,

texture mapping process is carried out during which

computer flash backs often occur, so it’s essential to

save the file step by step in case the file is gone.

Depending on the size of the costume, the mapping

process generally takes roughly one or two hours.

Figure 14: Texture map.

A clear chromatic aberration arises after the

texture mapping, hence it’s of great importance to

tune the color according to the reviewed data by

adjusting the color, brightness and saturation, keeping

the original color and making a change in color design

at the same time.

Figure 15: after the texture mapping.

Figure16: adjusting the color, brightness and saturation.

3.2 Collection and Arrangement of

Clothing Models

Clothing model collection. Considering the unit of

data collected by 3D scanner doesn’t match that in

Unity, some models need to be imported into 3dmax

for axial adjustment after the models are collected and

repaired.

Figure17: imported into 3dmax for axial adjustment.

Inspection and adjustment of 3D clothing models.

Given the low degree of matching between the

collecting software and the virtual simulation

software, a secondary inspection is required and

scanning should be performed again if there is a

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problem. The axial issue will cause running errors

when the collected data is imported into virtual

software, generating much more trouble in

debugging. Therefore, the data is generally adjusted

in advance in 3dmax and then export a fbx file to

import into Unity.

Figure 18: adjusted in advance in 3dmax.

3.3 Clothing Models Importing and

Debugging

Models importing and parameters setting.

Generally speaking, the imported clothing models

are dozens of times larger, which have exceeded

the size of the space model, as shown in the screen

shots. Design process of the latter five models are

basically the same, therefore, only one of them is

taken as an example for description.

Figure 19: exceeded the size of the space model in Unity3D.

Size and orientation design. The model size

should be adjusted to the proper size using scale tool

due to the mismatch between size and space as well

as the orientation which is often tilted and reversed

when imported.

Figure 20: using scale tool due to the mismatch in Unity3D.

Design of clothing model base. Considering

some half-length clothing models are not tall enough

to achieve a better experience for users, it is necessary

to design a pedestal for the suspended clothing model

given that the optimal view angle for a person is about

1.4 meters. The base should be simple and

inconspicuous with a round bottom, looking much

more realistic when the model is rotating.

Figure 21: using scale tool due to the mismatch in Unity3D.

Collision body and audio commentary of clothing

models. Similar to the space model, it is necessary for

clothing model to add a collision body so that the

model can be controlled in real time when the user is

playing, and it is convenient for the logic writing later

as well. The design logic of this study is to control the

audio commentary through a handle. Generally, it is

essential to check the Play On Wake, the real-time

play button, to avoid the audio commentary playing

immediately when entering the scene.

Figure 22: add audio commentary in Unity3D.

4 MATCHING DESIGN OF HALL

AND CLOTHING MODEL

4.1 Size and Angle Design of Virtual

Hall and Clothing Model

It demands a constant Game test to achieve the

coordinated design, the size of a clothing model is

first determined and the others are basically the same,

the size results are obtained as shown in the

screenshots after repeated testing.

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Figure 23: repeated testing in Unity3D.

4.2 Light Effects between the Virtual

Hall and Clothing Models

In the design of the exhibition hall, the overall

lighting should not be too strong, since the lighting of

the exhibits is the most important, attentions should

be paid to the coordination between the virtual hall

and the clothing model. The clothing model is

basically determined in this step, the other five

models are imported in the same way.

Figure 24: Light effects testing in Unity3D.

5 INTERACTIVE DESIGN

5.1 Overview of Interactive Design

Without customized scripts, it is difficult to

implement complex functions only through a

graphical interface, though Unity is a powerful

graphic editing software. First of all, the purpose of

this study is to achieve an interactive effect—showing

the traditional culture of Gaoshan costume, which

will need the interaction between the user and the

costume model, such as real-time control of the

movement of the clothing model, user’s motion in the

scene, the audio commentary of the clothing

model.Create a script, click [Assets] → [Create] →

[C#Script], or in the Project.

5.2 Overview of UI Control Interface

Design

Principles of the interface design can be summarized

into three points: making the user control the

interface, maintaining consistency of the interface,

and reducing the burden of user’s memory, mainly

including the user principle, the minimum

information principle, helping and prompting

principle, and the best combination principle.

Figure 25: UI control interface design in Unity3D.

In the human-machine interface design, design

analysis should be performed first, and the type is

determined after determining the task. At present,

there exist a variety of human-machine interface

design types with different qualities and

performances, and the creative use of multimedia will

greatly enhance functions of the application.

5.3 Get the SteamVR Plugin

To develop SteamVR, the SteamVR plugin should be

first imported, which can be downloaded from the

Asset Store.

Figure 26: add SteamVR plugin in Unity3D.

5.4 Logic of HTC Vive Handle

Set the handle event through the SteamVR

component, realize the function of manipulation

model by colliding with the collision body. The main

logic code is in the DyhVREvent.

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5.5 Logic Design of Clothing Model

Control the rotation direction and position of the

clothing model as well as data exporting by the logic.

5.6 Logic Design of Model Exporting

This virtual interactive project is equivalent to a

platform that can change the virtual model, where the

virtual hall and the clothing model can be replaced by

changing the model without altering the logic in case

there is any supplement afterwards.

Figure 27: Loading resources in Unity3D.

Figure 28 Show virtual Taiwan Gaoshan costumes in VR

6 CONCLUSIONS

In this work, taking six sets of Taiwanese Gaoshan

traditional clothing as the object, through 3D

scanning and virtual simulation, a rapid generation

process of virtual reality scene suitable for art design

is proposed. Integrated with 3Dmax, Unity and other

virtual scene producing software, as well as combined

with other 3D modeling and virtual simulation

software, the 3D scanning technology will greatly

simplify the process from the design to prototype and

final display, increasing the efficiency of the design

industry.

This research should have good research and

application prospects, which will help theoretically

and empirically understand the further application of

VR technology in the field of design education,

especially the international design education.

Meanwhile, it is also possible to probe an immersive

design process based on VR technology, which will

not only promote the efficiency of design education

but also can be applied to enterprise training and a

wider domain of industrial design.

ACKNOWLEDGEMENTS

This work was supported by Young Teacher Social

Science Research Project in Fujian

Province(Grant: JAS160421) “Research on the

Separation of Contemporary Chinese Fashion

Culture”, Outstanding Young Scientists Training

Program in Universities of Fujian Province. The

authors also acknowledge the Fuzhou science and

technology project (project No. 2017-g-107) and

MOE (ministry of education in china) project of

humanities and social sciences (youth fund project

No.16yjczh106).

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