2 1. INTRODUCTION
1.2 APPLICATIONS OF CLOTH SIMULATION
Before we overload you with mathematical expressions and derivations, let’s get you excited
by talking about common applications of cloth simulation. e applications can typically be
categorized in one of the following two categories.
• Offline simulations are computed, tweaked, and post processed before being rendered on
screen. e artist has time to run multiple simulations with different settings in order to
find the desired results. ese methods typically target high believability and controllabil-
ity.
• Real-time simulations involve computing the simulation dynamics at runtime. is will
allow the simulation to interactively react to user input and changes in the virtual envi-
ronment. is type of simulations have very limited computation time available to them
and are commonly implemented on GPU hardware. Real-time simulation algorithms are
required to be fast and stable.
Specific examples of both categories are given in the following subsections.
1.2.1 OFFLINE SIMULATIONS
e most obvious applications are the use in special effects, digital doubles, computer animation,
and virtual prototyping. e special effects industry has advanced so much that, instead of hiring
a stunt double, it is sometimes easier to just digitally recreate the actor. is requires that we can
also accurately model their clothing and the way the cloth behaves. at way, a smooth transition
can be made from the real actor to the digital double, leaving the viewer none the wiser on how
they performed the actual stunt. Spoiler: it’s all computers and the amazing craftsmanship and
dedication of animators and technical directors.
Computer animation is very similar to special effects, although the focus is often a lit-
tle different. Special effects want to stay close to reality in order to truthfully recreate actors.
Computer animation often involves virtual characters created by the director and their highly
talented development team. eir focus is artistic expression. Directors are very concerned with
being able to convey a very stylized style in order to tell the story the best way they can. e
focus in computer animation is thus mostly controllability and art directability.
As a last example, fashion designers can use virtual cloth models to find the right 2D
patterns that make up garments. A computer implementation of the cloth dynamics allows
them to quickly iterate on designs and visualize how the garment will drape and where folds and
wrinkles will be created naturally due to the material and sewing patterns. Virtual prototyping
allows them to save on material and fabrication costs and accelerates the design process.
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